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Post by jazznoise on Jun 12, 2018 3:26:44 GMT -6
The issue to me is that speaker decoupling is for the room and not the surface, so a low mass table isn't actually so bad. It's a sturdy table that allows the low frequency energy to disperse into the floor and from there into the walls and ceiling that's problematic. Poor speaker isolation is about exacerbating room modes and distortion of the stereo image, not just frequency coloration.
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Post by jazznoise on May 31, 2018 4:39:57 GMT -6
Its usually error correction for tracking mistakes, like cleaning up spill in Tom mics or getting rid of some hat on the snare mic.
For style reasons low passing electric guitar or bass can be cool if you want good guitar-cymbal separation. I did a Doom type record recently and we found this helped the drums feel more distinct from the blown out guitars.But on my bands own album I went for dark, ribbony drum sounds and Km184s on the guitar cabs cause we wanted them bright and jagged. It's really about *how* you want the bits to fit together.
It's also a good effect utility, low passing before hitting a distortion or low passing before/after a reverb or even on a drum parallel. I still use it much less than high pass filtering, which still isn't much.
Re: tapeyness. Meh, I doubt anyone making a record was delighted to hear back a project on an LP with the top and bottom cut.
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Post by jazznoise on May 24, 2018 15:10:32 GMT -6
MRI activity is a strong correlator if its in the correct place but the issue is will it be a distortion product or the actual tone in question? The methodology is everything
I think we most always agree on the engineering and performance side, John
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Post by jazznoise on May 22, 2018 6:07:20 GMT -6
I'm just jumping in to say the studies John's referring to are about the Hypersonic Effect. They've never been able to replicate those experiments as the methodology is so flawed that to say it's been debunked is being generous. Not even sure if that was ever published in an international peer reviewed journal. Anyway it's simply never been proven that our auditory system can accept information at that high a frequency - and it's very simple to do it: Brain's mirror audio, so by playing a tone to the listener you could probe or scan the auditory cortex. If the person is hearing it, it should be there. Except it wont be.
To go wayyyy back to the original point, I've no idea what mixing to make something sound like vinyl is. Especially since the inside and outside of a vinyl record sound different anyway - the inside has less headroom, less treble and more distortion. Mix it so it sounds good, worry about the medium afterwards.
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Post by jazznoise on May 13, 2018 11:38:12 GMT -6
No. Absolutely not. Gibson has attempted to emulate Fender in the past and has always failed. What was that 3 pickup, bolt-on abortion of the Norlin era? The S-1? And let's not forget the late, unlamented Sonex. Nobody wants those, not even now when they're rare (because nobody bought them.) Gibson is Gibson. The road to recovery is to BE GIBSON. That means making a QUALITY INSTRUMENT, not cutting corners and raising prices. And that means having the company run by GUITAR PEOPLE, not biniss dweebs. People who buy quality instruments understand is that they're generally more delicate than beaters. Stradivarius violins have lasted hundreds of years. My J-200 is 59 years old. It's had some repairs over the years but it's still in fine shape and there's no reason it won't be in another 100 years with proper maintenance. If you want a cut rate, cheapened Gibson buy an Epiphone. Gibson needs to go back to the core product line and to stop making 37 different versions of each. You want custom paint? Order it, pay the premium, and wait 6 months, the way it used to be under CMI. You want fancy inlay? Ditto. Special pickups? Install 'em yourself or have you local guy do it. And stop trying to pass off cheap machine made instruments as hand crafted or hand finished. Even a blind man can see that they're not. This one of these situations where you're not really disagreeing with me as much as just sounding like you are. Yeah they need to stop passing off bleh quality on premium prices, the easiest thing to be is to drop the price of them down. The wood quality has changed, the manufacturing has changed and it doesn't make sense. There's no way I'd bring an Epi on the road. I've seen the headstock pop clean off. That's too frail for touring and not workable for most low income, ie most, bands. They go with fenders cause if you break the neck you've your guitar back good as new for 100 quid. It's not about emulating other manufacturers, it's about addressing the actual technical flaws that gigging musicians bemoan and not making ridiculous solutions to one's they didn't. Bolt on necks with thicker headstock won't ruin those guitars,and 'studio' instruments aren't a thing anymore. Who tours a Rhodes when they can have a Nord Stage?
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Post by jazznoise on May 11, 2018 8:50:01 GMT -6
I hope whoever buys them can turn the Gibson into a sellable product. They were always too expensive and too fragile for us. Modern consumers want affordable instruments and they understand they won't last forever. My Squire Jaguar is on the bus with me right now - stays in tune, I've done a lot of shows with it and any maintenance has been done at home. Hard to argue with
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Post by jazznoise on Apr 22, 2018 7:13:27 GMT -6
So I went and did it and swapped the 12ax7 out for a 12AT. Definitely prefer it, much more clean headroom. Much more usable amp now Imo. Also swapped the bugera 12ax7s for some EHX ones, no harm done.
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Post by jazznoise on Apr 20, 2018 13:46:32 GMT -6
3 revisions per mix or something is way wrong. I tell my clients that - the rough recording they leave on I try to have 80% of the way there. I'll do the majority of my hours in the first draft. Get the feedback and expect to make some reasonable changes on the 2nd draft. The 3rd draft should be really subtle - usually stuff like wanting a certain fade brought forward or their guitar solo coming up 'a hair' (usually that means to me bring it up a few dB, drop some other element in the same range or add a little more presence).
Sometimes I've found that to mean it just needs more level riding, they may not want the whole thing up.
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Post by jazznoise on Apr 12, 2018 14:02:25 GMT -6
Very compressed mixes will always sound worse on radio stations as there's a fair amount of clipping and limiting before the transmitter.
I like some of the top a modern mastering chain can add but there's a limit. And of course, in the old days, cheap records were distorted to bits. Lots not kid ourselves, bands had to fight labels for good vinyl releases ed. Even The Beatles.
The real irony is really compressed recordings sound quiet to me, like they're stuck in a box they can't get out of. I've done some loudish stuff but the few times I've really heard audible clippingng on a master of a track I did I've been annoyed. Why even bother?
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Post by jazznoise on Apr 12, 2018 9:12:31 GMT -6
If people are buying it that must mean they like it.. so why not do it? Sonic Reducer or Sonic Reductionist? Gonna take it as Devils advocate and bite. How do you know what you like if you don't even know what it is?
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Post by jazznoise on Apr 9, 2018 2:36:33 GMT -6
you need a super computer that will launch rockets, otherwise, its an Aggravation Device.
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Post by jazznoise on Apr 6, 2018 4:58:21 GMT -6
I've used two overhead mics in a spaced pair and then an AEA R88 overhead center, slightly out front, but close in. Makes for a great sound. When I do 3 mics it reminds me of some of fugazi's work. I'd actually love to know how they did the drums on Red Medicine. Big fan of the sound of that record. RE: Multiple overheads. I guess it makes sense if the stereo pair is more of a spot for the cymbals. I don't tend to find my overheads phase with my close mics, but then they're usually about 5-6 feet away from the snare. 4 if I'm going for something more dry. My 'center mic' would almost always be from a front of kit perspective - these days placed at the far side from the hi hat facing at the kick/snare line.
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Post by jazznoise on Mar 30, 2018 11:30:30 GMT -6
A lot of modern stuff has hardware monitoring - including the Focusrite stuff. Does indeed make a big difference, I never monitor with latency. Just hate it.
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Post by jazznoise on Mar 17, 2018 2:54:54 GMT -6
I'll bet on the best result being a mix of every option you can think of, each just barely doing anything, all adding up to something larger. Yeah, a lot of small moves would be the way to go. Series and parallel compression on the choir mics to improve the balance, probably some dynamic EQ and some ducking. Hope for the best, but I think it's important in these scenarios that people manage their expectations. It's past the point of prevention and if they can't fix it by retracking the choir then it's down to the laws of physics.
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Post by jazznoise on Mar 14, 2018 13:37:04 GMT -6
Just use 48khz and be done with it. At least with the setup I use I find it's the best tradeoff, I didn't expect it to be better than 44.1 but it is.
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Post by jazznoise on Mar 7, 2018 20:30:11 GMT -6
I almost never work to a click, and often I find when bands want to use one it's a disaster. I use them for dropping people back in (pre-record count in) sometimes, but that's about it.
If you wanted to groove on it, I guess my advice would be the old jazz trick. Use the metronome at half time and treat it as beats 2 and 4.
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Post by jazznoise on Mar 6, 2018 8:53:52 GMT -6
Sorry, yeah, I was half asleep replying. That said the more I think, increasing the amount of shunt feedback will linearize the response of the tube too. That's also going to change the sound, and the overdrive characteristic. I think my options are really preamp tube swap, phase inverter tube swap or attenuation of the input signal.
Bit of a minefield, really!
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Post by jazznoise on Mar 4, 2018 7:50:56 GMT -6
If changing the tube doesn't work, I might try reducing the cathode resistor. I think I'd have to more or less halve the gain, to get the same result - we'll see!
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Post by jazznoise on Mar 2, 2018 6:30:29 GMT -6
Right, that's the whole issue of the output impedance of the tubes. However I'd assume if the filter network created a bigger load than the amplifier could take, then I'd assume that would also increase the distortion. johneppstein the idea is to introduce dynamic range and be able to use a mix of pedal and amp drive when needed. The other option is to use a pad before hitting the input stage, but that seems like it's just going to cause more noise issues.
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Post by jazznoise on Feb 28, 2018 10:01:31 GMT -6
Your preamp tubes are a big part of the tone of the amp. Some tubes will brighter, darker, quieter, have better low end, etc. I couldn't tell you the technical reasons why but from experience it can definitely make a noticeable difference. I like NOS Jan Philip's or Jan GE 12ax7's a lot for these duties. I get you, but also don't I'm deliberately changing to 12AY7's to get more headroom out of the preamp stage. I was hoping for some specific idea of the tonal change from a 12AX to 12AY, but I'm starting to see it's probably just not that simple.
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Post by jazznoise on Feb 27, 2018 18:23:10 GMT -6
Thanks for the reply!
In terms of changes in tone, how so? I get that the plate resistance will be different, so the dampening factor for any filters following could be lower, but is there a distinct consistent change you could expect or predict?
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Post by jazznoise on Feb 27, 2018 4:06:32 GMT -6
So I recently got a deal on a Bugera 1960 infinium head, with the post phase inverter master volume and all. I know it's Behringer, but with what people now pay for a Peavey Bandit I'm just gonna enjoy owning a big tube amp. Sounds really good especially with drive pedals, but there's a good deal of noise and the breakup onset is way too quick (about 3!).
So it's got me thinking of switching to something like a 12AY7 for the input (what's used in a bassman, I beleive?). I know it's not technically correct to swap a tube without changing the biasing, but I'm just curious as to the experience of others.
Then on the noise end, will upgrading my preamp tubes like the Russian EHX ones make an improvement? It seems to be independent of the power stage.
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Post by jazznoise on Feb 22, 2018 11:47:15 GMT -6
Burnt sausages all round!
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Post by jazznoise on Feb 18, 2018 19:21:12 GMT -6
Soldering in one's underwear is not advocated. No good in risking burning good underwear, right?
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Post by jazznoise on Feb 10, 2018 9:35:49 GMT -6
De-essibg is tough to get right. I usually brighten the vocals before the compression, and then take care with the attack setting. Eq any slap or reverb sends as they can really emphasise sibilence. If it needs more top, the Dolby A trick works great.
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