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Post by iamasound on Dec 26, 2016 20:53:51 GMT -6
Are you talking about creating a groove or highlighting a groove, that is, highlighting the accents of a rhythmic part with a gate?
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Post by iamasound on Dec 16, 2016 14:24:37 GMT -6
A made my ears grin just that much more.
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Post by iamasound on Dec 14, 2016 6:42:46 GMT -6
Thanks for the technical tip. I know that my performance will be stronger sans cans.
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Post by iamasound on Dec 12, 2016 7:40:36 GMT -6
I have never ever contimplated singing while monitoring with speakers. My forever issue when singing with cans covering my ears is that I am hyper critical of every single nuance. Every slight imperfection that I percieve seems to make me "shy" as takes go by, it sort of inhibits me from performing with and using my natural abilities. Singing in the forest while walking my dog or singing to cows in the barns around my village (cows love it when you entertain them as their lives are usually quite boring. They also dig my harmonica playing, at least that's what they tell me %) I am open and powerful. With cans it like I crawl inside and hide. I am going to experiment using my umt70s in figure 8 with the null aimed towards the speakers. Thanks for dredging this idea up from the bog of my subconsious memories, I have a sneaking suspicion that this will work out really, really well.
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Post by iamasound on Dec 8, 2016 0:43:16 GMT -6
Again, crazy beautiful. I could just stare at his microphones and appreciate them as works of art unto themselves. The fact that they capture audio as beautifully as they do is an added bonus.
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Post by iamasound on Oct 24, 2016 6:47:45 GMT -6
RIP
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Post by iamasound on Oct 7, 2016 9:03:58 GMT -6
Continuing a converstaion that ercin was kind enough to chime in on and to help try to explain to the dullard that is the greatest part of me, I would like to hear more of what he and others have to say about what future technologies will bring to both the table and our ears in the way of capturing and experiencing sound. I read this small article concerning Sennheiser's announced AMBEO 3D offering and thought it a likely starting point for mine and others enlightenment. It seems that if we head down this path we would need to retool what we think of as the tools of the trade as well as how the end listener would participate on the casual level. en-us.sennheiser.com/news-shape-the-future-of-audio-sennheiser-presents-ambeo-3d-audio-technology
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Post by iamasound on Oct 7, 2016 8:44:42 GMT -6
At that price point I couldn't justify popping for that screen...8)
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Post by iamasound on Oct 5, 2016 19:50:22 GMT -6
I haven't used a pop filter in a long time as I always hear things that I do not like coming through the other side. I have worked on technique and of course placement to make it possible, but whenever 99% of the time when someone else is going to sing with my mics I sure as heck put one up. Someone blew out the diaphragm of a 414 a few years ago when they got real close and loudly screamed "Power to the people" before I put up the screen or had even turned on phantom power. They both ate and bought that mic and were not invited back.
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Post by iamasound on Sept 29, 2016 10:16:28 GMT -6
Well, iamasound, ericn made perfect sense to me. Yo can't change one part of the equation without another... either the other variable or the result. I'm trying to wrap my head around the idea of omni speakers. Would I be getting close if I thought that an array of microphones would be needed to capture in three dimensions?
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Post by iamasound on Sept 28, 2016 8:18:10 GMT -6
It is theoretically possible to create a more realistic reproduction of sound with a pair of spherical omnidirectional monitors. But that may have to move beyond the loudspeaker concept. Just my noodle settled tangled up in thoughts again... Well there are those crazy million dollar price range ion or Plasma speakers and some esoteric B&O that are pretty much omni. Having lived with dipoles and Bipoles ( speakers not talent) and at times tried to mix on them I'll say this when and if we have a revolutionary quality affordable Omni speaker system we are going to have to totally rethink the microphone ! Yes I love my Magnepan MG 3.5's even if At the moment they are in their boxes, nothing and I mean nothing comes close to that line source true ribbon ! Hello ericn, what do you mean by.."I'll say this when and if we have a revolutionary quality affordable Omni speaker system we are going to have to totally rethink the microphone!"Thanks.
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Post by iamasound on Sept 26, 2016 15:29:17 GMT -6
That is exactly the reason I walked from a fellow selling a three pack for like $1000. I froze a moment then continued on my way.
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Post by iamasound on Sept 26, 2016 15:20:51 GMT -6
How much SPL can this thing handle? Can I set it 2 inches in front of a cranked half stack without worry? It supposedly has a very thin ribbon. The one that I was sent to test apparently couldn't handle shipping vibration and supposedly ended up with a sagging ribbon. If it can't handle that, I'm not sure it'd last in front of a cranked speaker, IMHO. More than likely from what I have heard from other voices here as well as other sources concerning the microphone's integrity, it was most likely abused on the way over to you a bit. Air pressure is one thing, being treated like a football on it's journey from it's birthplace to you is quite another situation entirely. It could go either way though.
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Post by iamasound on Sept 26, 2016 7:32:40 GMT -6
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Post by iamasound on Sept 13, 2016 9:09:49 GMT -6
Thank you all for the good info. I guess since I have no experience in or any education in the rhealm of ampifonics that I will hand it off to some self proclaimed expert in my immediate area. I will come back to this thread when all is said and done and the amp is omce again quiet-ish and well behaved.
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Post by iamasound on Sept 13, 2016 9:09:28 GMT -6
Thank you all for the good info. I guess since I have no experience in or any education in the rhealm of ampifonics that I will hand it off to some self proclaimed expert in my immediate area. I will come back to this thread when all is said and done and the amp is omce again quiet-ish and well behaved.
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Post by iamasound on Sept 9, 2016 0:36:17 GMT -6
I just yesterday bought a Schlagwerk RTS 41, a nice 16 inch frame drum as added flavor to use in a collaboration in which we will be using lots of hand drums. I always enjoy listening to as well as watching people play these wonderful instruments, and I will now have the opportunity to put in some time into exploring the sounds that I can coax out of this nice percussion instrument, as well as being able to tap into newfound inspiration that only a new toy as this can afford, to lay down some new groovy grooves that I would never have come up without. I also have never in my memory ever recorded a frame drum, so this too will be fun to see what I can come up with in the way of microphone choice and placement. It's gonna be great and I can't wait to begin.
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Post by iamasound on Sept 7, 2016 5:50:58 GMT -6
I guess I will buy one each of preamp and power amp and see if it rids the amp of the ssssss's. It is both channels so I am thinking it might be V1 or one of the two power stage bulbs, but really, I'm kinda talking out my butt as I am only book knowledgable and not a veteran tube guy, except for the sometime light that turns on above my head if I have a great idea about something. Thanks for the response.
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Post by iamasound on Sept 6, 2016 11:51:31 GMT -6
Thanks EmRR,that I will do. I mostly wanted to swing it by to see if the raspy ssssss that I hear only when I play something was actually symptomatic of microphonic nonsense and not something else that I actually should worry about. Cool bones. I will rest a little easier.
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Post by iamasound on Sept 6, 2016 7:30:11 GMT -6
I am hearing a sizzle sound when playing through my new used amp and thinking that it is that microphonic telltale sign that one or more of the tubes are entering the home stretch and need be put out to pasture. Should I just switch out all of them or is the sound that I am hearing indicative of a preamp tube fading away or perhaps a power tube begging for retirement. The last tube amp I had was a Mesa Mark IV that was good to go until I needed to sell it, so I am not well versed on the life of a tube and never had any extended conversations on the philosophy of bulbs. I beg ignorance on the subject. Thanks to those in the know.
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Post by iamasound on Sept 5, 2016 7:30:40 GMT -6
For all that my RE-20 knows, I could be tracking my vocals in Abby Road Studios and not in my horrid little room.Ignorance is oft times bliss.
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Post by iamasound on Sept 2, 2016 14:27:11 GMT -6
It is also incredibly versatile because it has an active eq system that let's you dial in pretty much whatever you need to hear. Combine that with the H/S/S pickup setup with a push pull for the humbucker and your good to go. That Falcon Tremolo system that let's the guitar stay in tune even if you bust a string doesn't hurt the cause either and is second only to the Trans Trem of my mid 80's Steinberger (which needs some very expensive repair atm). I think it was 5 bills that I paid for the guitar and 5 more the great work to bring her back. I am one lucky dude.
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Post by iamasound on Sept 2, 2016 13:35:02 GMT -6
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Post by iamasound on Sept 2, 2016 13:23:02 GMT -6
Finally. I had bought a made in Japan 1989 Blade RH4 that had a perfect neck (oh, such a sweet neck) and body, like it never was really played much, but for some odd reason was cherry picked for the pickups with the humbucker missing in action, all what was left of the cool and innovative spring string tree was a hole in the headstock, the mirrored pickguard replaced and the wiring was all discombobulated. I took her to my tech guy who who inherited Gary Levinson's old shop, where he originally put together his guitars before he had them completely fabricated and assembled in Japan. Philip and Mark matched the brass knobs so it looked balanced and correct, installed original pickups and the mirrored pick guard, dressed the frets and set her up wonderfully and just how I like it. The guitar now...is freaking awesome. The swamp ash body is of course heavy, but the instrument is so well balanced that it almost defies gravity while sitting on my shoulder. And the sound, well, just magnificent coming through the Vox AC15 C1 that I scored for stupid cheap. I named her Xanthe Savita, a combination of Greek and Hindi which translates to "Golden Yellow Sun" to reflect her beauty, her's the color of liquid ambered honey. This is one sexy guitar and I only hope that I can do her justice by playing her as well as she deserves. I couldn't be happier.
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Post by iamasound on Aug 25, 2016 10:14:01 GMT -6
My guess is that it will be a channel strip with both preamp and compressor choices.
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