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Post by jazznoise on Mar 4, 2014 7:56:21 GMT -6
Anybody want to buy a guitar? I'm not joking. This thread has me thinking hard about priorities. Pretty much anything in the photo on the right would be available except for the resonator. I need to break the buying cycle, and I think selling a few pieces would do it. As a friend, Matt, I would advise you sell a Gibby or 2, and maybe a Strat or 2. If you want a large pallete of guitars - try a 12 string, or a Gretsch or a Fender Bass VI. A cheap hollowbody, even. I'm one for a sort of "1 of every kind" approach. I have a cheap strat with flats, my Mex with 11's and my Jazzmaster with 11's. I've a cheap bass with flats and I can access a J-Bass when I need it. So a P-bass is my next logical buy! As for my mic collection? 2 or 3 nice dynamics and a nice SDC pair and I'm done. Maybe a few cheap toy ones, but no more big splurges till they earn their money back. Anyway, I hope my advice resonates with you as much as that resonator you'll send me out of gratitude will resonate with me. Or the Gibson, whatever..
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Post by jazznoise on Mar 2, 2014 16:04:08 GMT -6
He's right, though.
Did metal vocals last week. I've a new fairly dark LDC - singer had previously had to use my ribbon mic to sing (too skinny for anything else, needs the bass).
Sounds better, but the main thing I noticed is he IS a better singer than he was then. He didn't wanted to do some pig growls - 58 in the hands, blasted out 4 takes. Timing was good, lines up good, sounds good. Straight up the new tracks we're doing kick the old one's ass.
When he was bad, a U47 couldn't save him. Now that he's better, a 60 euro dynamic wont really hurt him.
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Post by jazznoise on Mar 2, 2014 11:23:12 GMT -6
Well vocoding comes from telecoms and was developed for cheap, intelligible modulation of voice signals - but I wasn't aware Talkboxing went back before the late 60's!
I'm a big fan of both technologies. I have a Danelectro but it's hard to get it to do clean sounds, so that mixed with my poor skills mean I can't exactly go Roger Troutmann. Still tempted by the EHX Iron Lung...
Excellent video, thanks for sharing.
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Post by jazznoise on Mar 2, 2014 9:32:03 GMT -6
Try clearing the cache in your browser, Gouge, the site seems to work fine for me.
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Post by jazznoise on Mar 1, 2014 17:48:58 GMT -6
Sounding good! I listened back on my desk and a few dB on a 10Khz shelf brought it to life! If you're looking for more attack my only advice would be to parallel the dry back in a touch.
He seems to strum really close to the middle of the neck. Super cool tone. Thanks for the Jag tip. I've been tempted before - I'm sure it'll go on. Thinking I'll pick one up when I'm in Japan!
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Post by jazznoise on Mar 1, 2014 17:14:45 GMT -6
"You're wrong. It works fine. Professionals use it" >Proof that there are problems "You can use facts to prove anything. You're warping the reality to suit your arguments. It works fine. Professionals use it."
Whatever, Dr. Bill. You're the expert. Sorry I stepped on your baby blankie.
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Post by jazznoise on Mar 1, 2014 16:23:03 GMT -6
I don't remember PT 9 or PT HD liking working with video very much. What??? These kinds of comments makes me believe you have never used PT at all - especially in the aspect of post production. Aside for all other issues which could be honestly debated in regards to music production, PT is the de facto standard in Hollywood for music editing and dubbing, dialog cutting, SFX design, Foley and remixing. Beginning, middle and end of story. Avid makes their bank off the post production industry. All of whom are syncing to video every day of the week. Will it stay that way forever? Who knows, but in the immediate future, there will be no change - PT rules the roost in the film/video industries. Well I have. And to say it regularly decided to not display the video and required a restart would be an understatement. As for scrubbing/fast forward? Forget about it. It probably syncs to video externally fine. But on a Mac with OSX and PT9 it was beyond crap. 5 minutes googling and you're going to see plenty of professionals documenting their own troubles with it: randycoppinger.com/2011/08/31/protools-h-264-video-problem/Google around if you want. Maybe they've made serious headway in the last 2 point updates, but PT's 9 was far from the perfect Audio-Post tool. I really feel like some PT users treat any criticism of the product as a mark against themselves. I don't care how big the software company is or how many times Avid have undercut people to get their installations in a large broadcast/post company. I don't care if CLA uses it or if it was used to make Lord Of The Rings. That's completely irrelevant to the pro's and con's of the software and it's a childish argument.
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Post by jazznoise on Mar 1, 2014 14:40:29 GMT -6
I definitely want to hear it! I've always wanted a ric. Kinda tempted by those Fender Tele basses too. Anything for that Lou Barlow tone!
No M/S or XY for the ambience?
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Post by jazznoise on Mar 1, 2014 14:35:44 GMT -6
It hurt the users, it's hurting the employees and it definitely hurt the product. I dunno man, PT has made me hundreds of thousands of dollars over the years. It hasn't hurt me one tiny bit. In fact, it has revolutionized my business to the point that I'm able to do things I only dreamed about before - both musically and business wise. And the product? It's rock solid. The employee's? Well, I'm sorry for the ones that will get laid off, but if they work at avid, they inevidably know what's going on. They have had their chance to turn things around, or bail out. They have the same chances and opportunities that we all have with our businesses. There is no free lunch for anyone these days. Most long time pro adopters (I can really only speak to the larger studio's in LA as that's where I'm from) feel pretty much the same way. It seems it's those that DON'T use PT that are the main haters. Cause they can't afford it?? I'm only speculating that of course, but that's my guess. I was not happy about how AVID rolled out HDX, but I don't have to upgrade, and I didn't. I sent my message loud and clear. Problem solved. I was still left with arguably the best DAW software/hardware system out there, and EVERY PT system I've ever bought or spec'd has paid for itself MANY times over by the end of it's life cycle including making a decent living for me while it was in operation. And they (DAW'S) ALL have a life cycle - Apple, Steinberg or whatever. I learned long ago that jumping on the "latest/greatest" bandwagon every time someone rolled out an upgrade was a losing proposition. Doesn't matter if it's apple, microsoft, avid or yamaha. I look forward to what PT has in store for us in the future. They have always moved slowly, but also, they have always revolutionized the industry with their releases when they come.... The cost of upgrades has been high relative to other software in multimedia, and wether or not they were worthwhile doesn't really justify it. Locking the hardware and software together like they have, and repeatably dropping bombs on their consumers (see the 32 - 64 gap. Plenty of DAWs have done it, and much of it offered at least limited support). No one is saying it doesn't work, but that it completely justifies their moves is a false dichotomy. And when they didn't - like the D-Command we had installed in a local college. It repeatedly blanked itself and when we contacted Digidesign we were told "Oh, yeah, those desks aren't very good. The new ones are much better!". That's not customer support - that's "Fuck you, pay me" without the Goodfellas sheen. As for the employees being able to "Turn things around". I think I'd lose my cool if I decided to comment on the disparity of what front line workers see, what self absorbed executives see and what the reality of the scenario is. Suffice to say - no, that's not an acceptable way of thinking of that. It benefits everyone to have a company operate as best as possible and there's a moral perogative to do so.
Why is acceptable that people use things as banal as a digital audio workstation pull the wool over an artists eyes over the result of their art? Not to mention it wont always do the job. I don't remember PT 9 or PT HD liking working with video very much.
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Post by jazznoise on Mar 1, 2014 11:10:48 GMT -6
...Caution, thin ice...... (Rush? Clapton? C'mon guys, what's next? Beatles? Beethoven? Bach?) :-D Clapton has some great records and some abysmal ones. He followed his nose, I guess I don't really like Bach. I don't get Pink Floyd at all. Piper is a cool record, but stuff like DSotM is boring to me. I listened to Electric Ladyland last week and didn't like it, either. Anyone need any sacred cows bled?
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Post by jazznoise on Mar 1, 2014 9:25:52 GMT -6
My hated for PT's developed when they'd no offline render. The hybrid guys might not have cared, but I've worked on 40 minute long peices of music for an installation. Wasn't exactly sympathetic to my plight. That and things like setting up tracks, headphone mixes etc. just takes longer than it should. In Reaper we can be tracking and I can be naming and organizing audio tracks while listening. No pause in playback for creating new tracks or inserting an EQ. This doesn't make Reaper great - but it means the workflow makes sense for us. It's fast and painless.
None of the plugin formats Pro Tools have introduced have ever demonstrated superiority over VST2 or VST3. And indeed people such as Dave from GForce has stated that their SDK is a pain to use. He actually stopped developing for it altogether when they changed over from RTAS.
My other major gripe is the additional overheads that came with all their stuff from it being proprietary. And I know we can say "Oh well a lot of that's gone now" but it's too late. It was a cynical, elitist policy and it kept the cost of making music artificially high. The market is having to deflate as our product devalues and this stuff is a very delayed reaction to it. It hurt the users, it's hurting the employees and it definitely hurt the product. What a stupid tragedy for people to lose their jobs for the sake of a company wanting to look cool.
I'm not a hater in that I don't hate the software - I'll use it any day of the week. But I hate the culture it brought with it. I'd see that dead before the software any day.
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Post by jazznoise on Feb 28, 2014 10:35:35 GMT -6
The front and rear plate of the capsule should have a gap. Probably not air, now that I think, but it's still there.
Or have I gone full retard?
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Post by jazznoise on Feb 27, 2014 16:35:59 GMT -6
In Ireland the prices have gone to €5000 a year (About 7000 of your native Burgerbucks), but I availed of a grant that meant I went for free + a small stipend for travelling costs etc. svart I hear you on the proprietary crap. Total nonsense and hype and I'll be glad to see it dead. Everything from Gearslutz to Pensado's Place to Sound On Sound just feels like a pontificating platform for how to tell people how to make music professionally. Relying on an artists insecurity in their own creations, I think, is a particularly low move. Totally off topic but I met a programmer from M-Audio once when I was working in a shop - started talking shop when he saw I'd brought the Everman Master Handbook of Acoustics to work (what a bike ride!). Nice guy - I thought his kids how to shoot bows and arrows. Don't think he liked that...
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Post by jazznoise on Feb 27, 2014 15:06:54 GMT -6
My tears couldn't fill a thimble. I feel sympathy towards those that bought their software - especially the video guys, as Avid Composer is a total crock, but quite a few people had been warning the media community off drinking the proverbial kool aid. It's an okay product. Anything else could replace it - and they will. Man, I couldn't agree more. After years of watching droves of kids pile into for-profit "schools" like Full Sail after being promised lucrative careers in music, I saw that Apple and Avid teamed up to strong arm these types of places into only teaching their products to the kids. It's not uncommon for them to sell/rent the macs, interfaces and software at below cost, just to get it in the classrooms, and then have fine print clauses where the schools can't teach anything else like Cub-endo/Reaper, etc on windows machines or risk litigation and removal of the Mac/Protools setups, leaving them on the hook for all expenses. It's criminal. Now we have droves of "graduates" which have flooded the market which believe macs and protools are the ONLY game in town. Everyone who walks into my studio asks the same question.. "That looks different, what version of Protools IS that?" It's Reaper, on a 10 year old PC, running as much as 48 audio tracks without a sweat. I know they're spouting up here, and the few of I know are spoken well of, but I'm glad I didn't go down the private school road. Not that my Music Tech degree got me any jobs, but it did mean they had to teach me enough technical skills to actually award a diploma. Sadly a lot of my class would of the mind above. Complaining they can't afford to get the kit together to run a proper facility - but refusing to use what's within their budget. And a well priced interface with reaper and a couple of moderately priced mics is clearly the way to go from a fiscal perspective. Of course I still get looks when I say Reaper. But once they hear the work the skepticism stops.
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Post by jazznoise on Feb 27, 2014 12:01:02 GMT -6
My tears couldn't fill a thimble. I feel sympathy towards those that bought their software - especially the video guys, as Avid Composer is a total crock, but quite a few people had been warning the media community off drinking the proverbial kool aid.
It's an okay product. Anything else could replace it - and they will.
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Post by jazznoise on Feb 27, 2014 4:10:52 GMT -6
First heard him when I got a Flamenco compilation when I was about 15. Great musician, truly a loss.
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Post by jazznoise on Feb 26, 2014 18:41:16 GMT -6
It's not quite transparent, it's a booster that has a variable Z/gain setup where you lose top as you push the front end harder.
To say it's the best distortion maker ever is an understatement. It IS overdrive. Build it for 50 quid.
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Post by jazznoise on Feb 26, 2014 16:14:17 GMT -6
Is that cap possibly there to compensate for the group-delay caused by the air gap? It is a very small cap!
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Post by jazznoise on Feb 26, 2014 16:12:29 GMT -6
Does that mean I am a lurker too? Not if we acknowledge y-HAH WE GOT YOU!! Welcome! Hello! Hi!
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Post by jazznoise on Feb 26, 2014 16:10:08 GMT -6
Current noise is indeed the problem you can run into on the other side of impedance. But, while audio impedance can be low, I've never heard of a circuit in which current noise was the dominant noise source. I'd love to see an exception, though. Every day's a school day.
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Post by jazznoise on Feb 25, 2014 18:55:25 GMT -6
What!? ..I'll get my bags, then
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Post by jazznoise on Feb 25, 2014 16:25:59 GMT -6
Waiting on those toaster ovens, no doubt.
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Post by jazznoise on Feb 25, 2014 15:55:43 GMT -6
I forgot one caveat. On room mics were I feel noise might be an issue, I'll crank the gain. Less Johnson noise, so by running a little hotter you keep the noise floor down. Since with ambient mics you get a more averaged sound, it's usually pretty safe. Dynamic or condensor? Johnson noise is roughly constant, but you'll be swamping that noise with shot or flicker noise from cranking the preamp, and of course NF from the preamp as a whole.. So one, for another I suppose. The good news is that mics generally have pretty clean gain compared to preamps, so their NF will swamp the preamp NF partially and as long as you don't really bugger up the gain staging from that point onwards, you're going to be OK. Either. Johnson noise in a preamp will reduce as the resistive load is decreased. It follows that more gain is always quieter until the signal clips, at which point your SNR will begin reducing again. Taking the Douglas Self' example a 200 Ohm load gives you an absolute noise floor of -129 dB. Clean gain of 70dB - digital or otherwise, makes that -59dB. However pre-amps with a large quantity of shunt or series feedback will be adding noise, in the example schematic he gives has a minimum gain of 0 and a noise floor of -99.6 dB. That's 30dB noisier by the time it hits your daw, and while different circuits will do it differently, you can bet the noise floor drops with increasing gain.
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Post by jazznoise on Feb 25, 2014 12:44:33 GMT -6
I forgot one caveat.
On room mics were I feel noise might be an issue, I'll crank the gain. Less Johnson noise, so by running a little hotter you keep the noise floor down. Since with ambient mics you get a more averaged sound, it's usually pretty safe.
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Post by jazznoise on Feb 25, 2014 8:01:48 GMT -6
HAH! I was thinking of Fleming's Left Hand rule. Glad to know I learn something good at school!
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