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Post by swurveman on Sept 21, 2019 9:43:59 GMT -6
I'll be very surprised if state taxes don't go up, along with special gas taxes and other types of taxes. I file taxes in 17 states based on my ownership in our S Corp. family shower door company. All my state taxes are based on my federal taxable income, which dropped dramatically due to the S Corp federal tax cut and the accelerated depreciation that was part of the cut. So, states are getting a lot less revenue from me and every shareholder of every S Coop in the country.
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Post by swurveman on Sept 14, 2019 7:41:23 GMT -6
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Post by swurveman on Sept 12, 2019 16:44:43 GMT -6
Scam or not - I really prefer not rewarding scavenger behavior on artists. Especially in the non-commercial radio lane. It could be a good investment in my opinion if, like in the old days, the DJ spent some time talking about the artists. How hard would it be to say "That's (Your band), you can buy their music at (............ .com). Of course, who buys music? :-(
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Post by swurveman on Sept 12, 2019 7:25:47 GMT -6
Programed drums. Steely Dan Even though he has a full acoustic and percussion set-up, For song writing my drummer plays a Roland V drum set into SD3. It's hard to tell the difference. The ZZ Top album Eliminator - ZZ Top's most commercially successful release- used a drum machine, and that was back in 1994.
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Post by swurveman on Sept 9, 2019 16:20:19 GMT -6
Along with Fletcher, I also miss... The Thrill Factor Slipperman Philly Soul (Bobby Eli) Honorable mention... Mixerman (still active posting/blogging though) Chris The Thrill Factor must still lurk there. Last spring he inquired about my UA LA-2A that I listed there.
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Post by swurveman on Sept 7, 2019 15:37:34 GMT -6
Over drive an 1176 in parallel and mix to taste. Can also overdrive the 1176 into another tube style comp and also over drive it. Good distortion Do you do it in the all buttons mode, or some other setting. How much compression? Are you pegging the parallel 1176?
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Post by swurveman on Sept 7, 2019 10:46:54 GMT -6
Can't you assign outputs inside SD for the channels and Sub Groups and the then output those channels and subs to your DAW? Nothing should change about their presets and the channel/sub sounds they produce.
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Post by swurveman on Sept 7, 2019 9:44:21 GMT -6
Another aspect is the interaction between the volume of a real amp and the guitar in a room. The acoustic interaction will make a guitar more responsive compared to playing through near field monitors at ear or lease saving volume. Don, when you record your amp/performance, do you play in front of your cabinet with monitoring speakers playing the backing track to get a feel for it, and then record it with headphones on and the monitoring speakers off? I often struggle with getting the right textures from my guitar playing, and I wonder if it's because I'm recording the amps in the other room, while I'm monitoring on my mixing speakers. So, I'm curious about playing in front of my amp with a comparable volume level of the backing track in the room.
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Post by swurveman on Sept 7, 2019 9:15:57 GMT -6
I'm sort of partial to an astatic mic through a small amp that's cranked and mic'd. I use a blue bullet and either a Gibson BR6 or a Vintage 47 I used that quite a bit and sometimes double tracked it with a clean vocal and ride each one up and down depending on the verse. You can hear it here raw up till the 2nd to last verse where I switched to a Shure 55, if I recall. murdercreekassembly.bandcamp.com/track/roll-away-slowlythis one is double tracked and echoed in at various places for effect: murdercreekassembly.bandcamp.com/track/dave-long-aint-nobodyAlso the Shure SM5b is about the most gravely mic I've sung into. Take off the foam thingy, get right up on the element and use a pre that loves detail. Now that thing through an amp distorting would probably stellar...I might have to try that. You can hear it here on the first verse, the other versus are the SM7b. murdercreekassembly.bandcamp.com/track/sissys-lullabyThanks. I usually sing out of a SM58. Not sure if that's considered non gravelly, but my pitch is better when I play guitar while singing, so I use a dynamic mic instead of a LDC. I was surprised that your vocals didn't sound more distorted running them through an amp. The smallest amp cabinet I own a 2x12" with alnico blues. I'll try it out. Thanks!
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Post by swurveman on Sept 7, 2019 7:46:35 GMT -6
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Post by swurveman on Sept 6, 2019 4:47:28 GMT -6
The great thing about it is how easy it is to audition different sounds- more or less distortion, effects etc- when arranging a song. I wish I had one for that purpose, and then use a real amp with real pedals for recording after I knew what the sounds of the guitar arrangement was.
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Post by swurveman on Aug 30, 2019 7:57:38 GMT -6
So when something like running a hardware compressor on a buss using Logic's I/O plug.. Is dithering necessary? And if it is, how would that work? ..how and where do I apply it? According to some very smart people, it is necessary. Accordong to some other equally smart people, it's not. I have done my own test, with about 14 channels of external I/O, and using a couple different dedicated dither plugins. My DAW is Logic and my interface is RME. My conclusion is that it is not necessary. This also happens to agree with the designers of my daw and my interface. It would be cool if there was something like what Ozone 8 has, where you can hear what is lost when you go from 44.1 to MP3.
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Post by swurveman on Aug 30, 2019 7:35:45 GMT -6
Nice job. I suspect tape would have gotten you even closer to Frey's Rhodes sound.
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Post by swurveman on Aug 29, 2019 15:05:56 GMT -6
Yep. I'm not one to say "they just don't make em like that anymore", but that song may be an exception. Good luck trying to find a virtual Rhodes that sounds like the one Frey played. I love how Henley plays a tom instead of a snare to get a fat/low contrast with Schmidt's tenor voice. A total band collaboration at the peak of their power. I don't hear anything remarkable about the Rhodes. Light phaser...and mostly any half way decent Rhodes sample will do. I'd put money on Frey&Co not touring with a Rhodes post 94 reunion...because that kind of simple Rhodes part--you can get well from anything. Joe Sample, he ain't. Then maybe it's tape saturation, because it doesn't have any of that tinkly bell like sound.
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Post by swurveman on Aug 29, 2019 12:22:57 GMT -6
The Eagles: I Can't Tell You Why. Minimal arrangement. Lots of space and air. An absolute fav. So beautiful. Yep. I'm not one to say "they just don't make em like that anymore", but that song may be an exception. Good luck trying to find a virtual Rhodes that sounds like the one Frey played. I love how Henley plays a tom instead of a snare to get a fat/low contrast with Schmidt's tenor voice. A total band collaboration at the peak of their power.
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Post by swurveman on Aug 28, 2019 6:34:23 GMT -6
The Eagles: I Can't Tell You Why.
Minimal arrangement. Lots of space and air.
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Post by swurveman on Aug 24, 2019 9:28:27 GMT -6
Has anybody cloned the API 2500? It's a very flexible compressor with a punchy, brighter sound than your typical SSL type stereo compressor. I saw one used for $2,200.00 on Reverb, but that's beyond your budget.
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Post by swurveman on Aug 20, 2019 13:10:43 GMT -6
I love working with a compressor while singing. It is the thing I miss most about selling my LA2A and 1176. The UA LA2A stretched with my voice in a very fun and pleasant way. It's like a Tango with the compressor.
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Post by swurveman on Aug 18, 2019 12:54:43 GMT -6
I will point out that the way I use it is both technically "recommended" by Royer....and not standard. 12-18" out in front DEAD on center of the speaker. Sounds about like the amp in room. I start around a foot--if it's too bassy, it's moved back....to middy, it gets moved closer....but, I honestly find that eyeballing that range is all I do...I DO patch in an EQ when I track amps. I like the sound of those transformers, even when it's flat on guitars--but, also, I do one take--and if there's something "lacking", I find what needs to be done with the digital EQ--and quickly dial that into the analog so that take 2 has the final tone. It's almost always a 2-4khz boost--which is what the 57 or 421 brings to the equation. I did the combo thing--it absolutely works wonderfully nearly every time....BUT....you HAVE to use 2 tracks. I didn't have analog summing capability when I was doing that....but, even then--the "magic" is that you HAVE the two faders come mix of yin and yang. It's not that the combo makes something "better" than a single mic--it's that you can punt that until mix down--bring in the Royer for more chunky bottom and top....bring in the 57 for the pokey honk--without even EQ'ing. So--point being, it makes the Royer itself the dispensable one of the two most of the time, which is why they get sold a LOT and people don't "get it".....IMO--it's a combo. You literally HAVE to use both mics OR just use the 57. I didn't have as much luck moving them back--it makes the Royer sound like a million dollars and the 57 sound like ass. So, ultimately, I just got into the routine of that easily repeatable placement of the ROyer and just patch in the EQ in case it needs some nose put on it. I use an XLR splitter as a combiner. The low output impedance of the r121 seems to tamp down the 57's peaks. Line up the "ears" of the royer with the 57's sticker and you're golden. Which one do you use?
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Post by swurveman on Aug 16, 2019 11:52:58 GMT -6
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Post by swurveman on Aug 8, 2019 9:30:42 GMT -6
My console has moving fader and mute automation.
As to recall of EQ, etc, there are these things called China markers. The come in colors, so you can recall multiple settings. They cost about a buck each at good hardware stores.
The Toft ATB doesn't have fader automation.
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Post by swurveman on Aug 8, 2019 8:35:04 GMT -6
I don't want any more gear. I've written 10 new songs and plan on writing 10 more. Then, since top notch studio time has never been cheaper, I'm going into a studio with studio musicians to record. I know it's a long shot for any musician, but I'd rather be completely happy with my album, than half ass it in my space. Since I'm a rock writer, no drum VST is going to match the vibe of a great studio drummer in a great room. In addition, getting a very good mixer has never been cheaper as well. So, we'll see about that. As well as mastering.
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Post by swurveman on Aug 7, 2019 9:11:00 GMT -6
I didn't like Arc, bought Sonarworks, and didn't like it. I'm happier knowing my room and my monitors. If anybody wants to buy my Sonarworks with the mic, I'll be glad to sell it to them
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Post by swurveman on Aug 3, 2019 7:54:26 GMT -6
I've had a lot of experience with 3U. Are you still using the 3U CM100c mics Ragan? This clip sounded fantastic, but on their eBay site they don't have any available.
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Post by swurveman on Jul 30, 2019 6:43:54 GMT -6
I think it's human nature to want to know what the original (or at least the original's lineage) sounds like. I bought the UA LA2A and the 1176 first. Now I want to know what the clones sound like! I bought a Smart C2, but I wish I had bought an SSL due to the same logic why I bought the UA gear. It will be interesting to hear the LA2A/1176 differences now that I've heard the original.
Note: I'm not gonna debate the Urei vs UA thing. So, if you're so inclined I won't go there.
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