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Post by kcatthedog on Jan 19, 2019 15:12:11 GMT -6
Nice. I had an origin here and I didn’t think it sounded bad in anyway, the clean channel didn’t sound like the dsl clean which I really preferred, so the origi went back.
I got some good news about my blackstar club 40 mki, just tubes nothing wrong with the amp, so I’ll put some new tubes in it and see.
I am not certain if I will keep the blackstar but will see. Due to trying a variety of amps, I know I really like that dsl clean sound and how that channel takes a pedal and like everyone a vox 30, just brings something special to the table. So, I’ll see if I can find a good used one.
I also really like the blackstar special anniversary 10 watt artisan amp but haven’t played one live.
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Post by Guitar on Jan 19, 2019 15:26:28 GMT -6
Nice. I had an origin here and I didn’t think it sounded bad in anyway, the clean channel didn’t sound like the dsl clean which I really preferred, so the origi went back. I got some good news about my blackstar club 40 mki, just tubes nothing wrong with the amp, so I’ll put some new tubes in it and see. I am not certain if I will keep the blackstar but will see. Due to trying a variety of amps, I know I really like that dsl clean sound and how that channel takes a pedal and like everyone a vox 30, just brings something special to the table. So, I’ll see if I can find a good used one. I also really like the blackstar special anniversary 10 watt artisan amp but haven’t played one live. That's really the thing for me about the DSL, other than the amp sounds. It loves to take pedals. There's a guitar player from Fu Manchu (band) who plays old Marshalls and a DSL100H also. He was talking about how, "Some amps will just take a pedal gladly, give me some more, and other amps say no thanks I can't quite do it." That is perhaps my favorite part about the DSL, you can just brutalize the front end of it with anything you can think of. It's got so much power and finesse on the back end that you'd be crazy not to watch the main volume control. One of these days I'm going to have to get my chops up to where I can really feature those kinds of pushed sounds. They are not so easy to record, either. There is a difference between the sound in the room and the sound coming off the studio monitors, I guess that is always the problem.
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Post by kcatthedog on Jan 19, 2019 15:55:58 GMT -6
Sound in your head is very important but I’ll take feel in the performance over the exact sound? You csn’t Tweak feel but you can tweak sonics? I find every song/session seems to have a life of its own and I just don’t fight that anymore and think my preconceived ideas were just steps on a path and if the path is heading off somewhere different: I’m down let’s go and see what we find there! I think it’s good to have a sense of adventure with recording?
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Post by Guitar on Jan 19, 2019 16:05:53 GMT -6
Sound in your head is very important but I’ll take feel in the performance over the exact sound? You csn’t Tweak feel but you can tweak sonics? I find every song/session seems to have a life of its own and I just don’t fight that anymore and think my preconceived ideas were just steps on a path and if the path is heading off somewhere different: I’m down let’s go and see what we find there! I think it’s good to have a sense of adventure with recording? Yeah I think that's it. Feeling, emotional response, getting "somewhere" by any path. Putting that into the track. I just struggle to do the "big rock" thing as a One Man Band. I really am kind of helpless at it without assistance so a lot of my recordings are "demos" in that sense.
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Post by kcatthedog on Jan 19, 2019 16:36:24 GMT -6
I kind of go with what happens but why not break down what you mean by big rock sound, there are some very very knowledgeable people here who could likely give you some great tips ?!
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Post by Guitar on Jan 20, 2019 5:53:12 GMT -6
I kind of go with what happens but why not break down what you mean by big rock sound, there are some very very knowledgeable people here who could likely give you some great tips ?! Tips are welcome! I think a lot of it is the fact that I am only an intermediate drummer still learning, and playing to a click doesn't have the same feel as playing with real pro musicians in a room. The tracks don't always come out sounding connected and played as one. When I've been in bands, I could get a big crushing sound. Here at home alone I can only sort of hint in that direction, it never comes out with the same energy or feeling. I just don't know how to fake it. I don't think the songwriting is a problem, the mixing is going fine as well. To make things worse I have to mind noise in the house so I only get one or maybe two takes and the parts are written on the spot, no practice or warm up time. Once in a while things click, and I am getting better. I just can't figure out if there's any logic or formula to it. If you have any tips I'm all ears! EDIT: I think drums are the big issue. I might need to set my ribbon mics up to get a bigger and darker room sound. Those tracks sound consistently better.
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Post by kcatthedog on Jan 20, 2019 7:53:46 GMT -6
I presume you are playing real drums but have you considered some roland with good drum libraries: all your room and acoustic problems solved ?
I now know Ragan is loving his roland and drum package solution and he is a real drummer too. His tracks are sounding great to me.
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Post by Guitar on Jan 21, 2019 11:53:38 GMT -6
Hey KCat,
Your responses motivated me to set up a ribbon mic I haven't used on drums yet as a mono room.
I haven't tested it yet, but I'm looking forward to hearing some low end again. On something besides just the kick and floor tom.
Beyer MPC67 is a good room sound, but it's too thin sounding to work on "everything" I think it will have a more specific application, or a combined application. I would ideally set up 4 room mics but I'm not sure I want to give up hybrid mixing AD/DA channels on the patchbay.
My interface is maxed out at 26 inputs currently.
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