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Post by geoff738 on Aug 29, 2016 10:34:18 GMT -6
I just got one of the originals (not B). Been using it on guitar amp cause it was laying around. Surprisingly great sounding. At some point I'll get around to pulling it off the amp and trying it elsewhere.... A few months back somebody here posted a link to a comparo running 16 different mics tracking a reamped guitar. So, same performance, mics placed in the same place. I did a quick and dirty listen, and the SM7 one was my fave. Not what I would have expected. But, nothing had eq, and the mic placement maybe been kinder to certain mics than others. But still, given that tests methodology, I preferred the SM7. cheers, Geoff
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Post by geoff738 on Aug 29, 2016 10:14:07 GMT -6
I've tried a few of the resistance/load boxes. At moderate gain reduction they can sound ok. Not great, but ok. I'm not sure I ever tried recording using one though, and am also not sure how much Fletcher/Munson played a role either.
The Fryette thingy, and the Bad Cat Unleash, and now there's a Radial one too, work in a completely different way. They take the speaker out form the amp, convert that to line level, then run it through an amp built into the unit, which acts as a master volume, and then the speaker out from that gets fed to a speaker. It can attenuate, or amplify. And it can be used for a few more applications as well.
Theyre supposed to sound way better than the resistance based ones. Was hoping somebody here had used one and could chime in.
Cheers, Geoff
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Post by geoff738 on Aug 29, 2016 9:43:35 GMT -6
I saw a vid a few years ago putting up anSM7 and a 57 pulled back a few inches so their capsules were in line. On that vocalist the results were amazingly similar. Always meant to do that simple test myself but never have. Anybody out there tried this?
I bought mine around '95 or so. Because at the time, RE20s seemed to be everywhere and I wanted something different. So, now I have the same mic everybody else has, but mines an A version.
Mostly use on vocals. Guitar and bass cabs. Way back when I tracked drums I had an Atm 25? That got floor Tom duty, but the Sm7 or 421 would see rack Tom or kick. I preferred the 421 in both those applications, but I had to use what I had.
Cheers, Geoff
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Post by geoff738 on Aug 27, 2016 12:32:04 GMT -6
Being a recording forum, I'm most interested in people's experience with using them in the studio, but gigging or just noodling around at home experience is also welcome.
I know some of us have less than ideal recording spaces, and I'm thinking in particular of apartments. Attenuators vs. Other methods of volume control, for example.
I'll also add that I'm looking into the Fryette stuff, and in particular the Power Station. Not technically an Attenuator, but that is one of its functions, and the one I'm most interested in. They also have another DI gizmo that I haven't completely grokked.
Cheers, Geoff
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Post by geoff738 on Aug 22, 2016 15:34:06 GMT -6
The top of the line kit is still almost 10 grand in Canadian bux. Still pretty steep. Cheers, Geoff
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Post by geoff738 on Aug 22, 2016 14:54:08 GMT -6
I have a drummer friend who has been waiting for the top end Roland's to come down in price. Still waiting.
Another buddy got a cheap Yamaha kit for his kids to bash around on. Fun, but really a toy.
Cheers, Geof
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Post by geoff738 on Aug 20, 2016 12:40:36 GMT -6
Also came across this on the Eastwood site: Link Wray
Has period correct single coils, unlike the other Eastwood Twin Tone models which have humbuckers. This talks about the wacky Supro pickups/wiring
Will be interesting to see how close to period correct the Supro reissues will lean. Not Supro, but wicked retro-futuristic guitars being built by Eastwood. lWant!
Cheers, Geoff
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Post by geoff738 on Aug 17, 2016 23:36:54 GMT -6
So cowboy, what filters were you using? Cheers, Geoff Well I was always using HPF. But usually used a slight roll off (if any) on the highs such as a pultec. I've found lately that a steep 48db per octave LPF works well for my stuff. It's mix between finding the right roll off between the lows and the highs. Change one, and then change the other until it comes into focus. Back and forth. Wow, 48 db sounds pretty extreme to me. Anything above 12 gets me a bit, well, questioning things. But I'll admit it may be a bit of a case of going with the perceived notion that the steeper the filter, the more wonky the artefacts. Does the steeper the filter alter the amount of the bump at the corner frequency? And Cowboy, are you using filters in your DAW, plugs, outboard? Great topic. I definitely will be listening to the top octave with a more critical lens. Cheers, Geoff
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Post by geoff738 on Aug 16, 2016 18:24:09 GMT -6
Ended up buying a 61(ish) Dual Tone. Cheers, Geoff
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Post by geoff738 on Aug 16, 2016 18:09:46 GMT -6
So cowboy, what filters were you using?
Cheers, Geoff
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Post by geoff738 on Aug 16, 2016 17:27:17 GMT -6
I've seen someone dogmatically apply extreme HPF and LPF on all of their tracks and the result is really bad audio, so that was a cautionary tale to me to not take it too far. Don't throw the baby out with the bath water. This also brings up the question of the quality of the filters. Are the ones that come with our DAWs good enough? Or are they fixing one aspect of digititus at the expense of a different digital artifact? Cheers, Geoff
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Post by geoff738 on Aug 14, 2016 20:11:39 GMT -6
Yeah - definitely. Listen to the latest Keith Urban record. Sounds really good to me. But you don't hear much of anything over 12khz With my ears you sure don't! I think I sometimes confuse clear with bright. Confuse is maybe not the right word, but I want clear, wide, deep mixes. Sometimes they just end up bright. I think because I fear dull. Can somebody speak to the cutting of high frequencies in the range of human hearing, but the boosting of "air" stuff (well) above 20 KHz? Cheers, Geoff
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Post by geoff738 on Jul 27, 2016 22:30:54 GMT -6
I didn't want to single Don out because I know there are others on here who have worked with Sandy. But I didn't really realize how tight the bond between BOC and Sandy was until I read Don's post. And, he did a lot more than BOC too. The Dictators. The second Clash record, which has been given a bit of a hard ride. It's a frikkin great record!. And many others.
So, my condolences to all of Sandy's family and friends.
And and thank you Don for your kind words.
Gonna go give Tyranny and Mutation a spin. Been too long.
Geoff
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Post by geoff738 on Jul 27, 2016 22:21:08 GMT -6
I've played a few Swarts. They are glorious. Darkly tweedy. I play a Tele and it is a match made in heaven.
They are apparently derived from a Gibson circuit. I love 'em.
That said, the smaller ones can sound a little boxy. I think some of them come with 8" speakers? I personally would stay away from those. Not that they don't sound good, but a bigger speaker, and cab, is worth the extra coin, imo.
My next amp will be a Swart. Unless it's a Satellite.
Cheers, Geoff
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Post by geoff738 on Jul 27, 2016 13:02:01 GMT -6
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Post by geoff738 on Jul 23, 2016 22:26:18 GMT -6
Listening exactly once through iPad speakers, I actually preferred B. Thought it was the amp. Then C then A, which just didn't sound quite right in the top or bottom. But, iPad speakers, so basically meaningless.
But, proving once again, that I can take up bandwidth like nobodies bidness. I did read the comments that most disliked B before I posted, but after I listened.
Off to see what was actually what.
Cheers, Geoff
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Post by geoff738 on Jul 23, 2016 11:36:00 GMT -6
Interesting question.
For me, I'd definitely want a blackface Fender type. Probably a Deluxe (or maybe Princeton ) Reverb. I prefer the reverb versions because they have reverb, (duh), but that also means there's another tube to go through and that gives more dirt options. A Twin or Super would also be possibilities. Depends on whether a 6v6 or 6l6 floats your boat more, if you want more volume on tap etc.
Id want a more tweedy, nasty, dirty option. Anything from a tweed Delux, to an 18 watt Marshall/ Watkins dominator, to the Valco made stuff to 50s Gibson. Any of those would work. Some options for trem in there too. I really like the Swarts for a modern version of this kind of thing. Or you could look at something like a Tone King Imperial to do both the tweedy and blackface thing. Might be the way to go if limiting to only three amps.
Because I'd also want something in the Marshall voiced camp. JCM 800. Or if you want more modern, higher gain, maybe a Bogner, Wizard?
And and then something in the Vox camp. Ac30, Z, Matchless, Bad Cat, etc. Good clean, but different from Fender clean, and different mid-forward dirt than a Marshall.
That would cover a lot of ground. Still some holes (Hiwatt), cascaded gain preamp designs, modern scooped metal monsters, etc.
If I could only have one amp though, I'd go with a THD Bivalve, a stock of Nos tubes and a variety of cabs and speakers. Is that cheating?
Cheers, Geoff
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Post by geoff738 on Jul 19, 2016 20:24:57 GMT -6
Yeah, OOO/OMs are probably the best all rounders. Plenty of good modern ones too. Collings, Bourgeois, Huss and Dalton, and, uh, Martin, to name but a few.
Then again a J45 or SJ can cover a lot of ground too.
Cheers, Geoff
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Post by geoff738 on Jul 18, 2016 11:08:18 GMT -6
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Post by geoff738 on Jul 15, 2016 22:42:05 GMT -6
Well....actually they WERE....both very Vox like and VERY VERY "one trick pony". I actually used to joke that that's why he made so many amps. Every time he wanted a new tone, he just built a new box. And why people kept moving form one Z to another....they got tired of the range they could get from the 3 knobs on each amp....anyway--I really love the tonal range I'm hearing here. Love to play one. I don't think Rock Block has one....I didn't call--just looked online, but....I want to plug one in and jam. Yeah! Bet you'd have fun. To my ear they aren't all Voxy, but many of them are. Can't remember what I played, but one of the Maz's, I think a Stangray, a couple or three more. This is all music store stuff, but I was in Ottawa and bored (fellow Canucks, is that an oxymoron?) and the Z dealer there has a nice relaxed place and I spent a good hour or more playing a bunch of them and came to the conclusion that he wasn't just doing variations on Vox. Z is doing good stuff. Cheers, Geoff Oh, not to derail, but the Reinhardt stuff looked stoooopid good. Bummed that he couldn't or didn't want to keep it going.
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Post by geoff738 on Jul 15, 2016 21:17:33 GMT -6
Yeah, I thought the Zs were all about the Vox thing. Then I played a bunch of them. And he is not a one trick pony.
Soooooooo, yeah, if you like it, go for it.
Don't have one myself, but he makes nice stuff, and imo, quite fairly priced for what you get.
Cheers, Geoff
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Post by geoff738 on Jul 11, 2016 11:37:58 GMT -6
Wishing you the best.
Dogs become part of the family really fast.
Geoff
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Post by geoff738 on Jul 7, 2016 21:34:46 GMT -6
Have to say I'm not a fan of almost everything about the piano track. I don't mind that it's an upright or even that it's a bit phasey (or maybe I do ); that's part of the demoish vibe I guess, but it's too hot and edgy and totally gets in the way of the vocal EQ wise. That, and the part/playing is not strong enough to be the predominant driving musical feature. The entire mix is harsh. Am I hearing excessive pumping on the vocals in places? My monitors aren't giving me any of these impressions. The voices are much more edgy than the piano, which seems fairly soft. In fact the only thing softer than the piano is the bass and kick. The acoustic, vocals, snare, and electric guitar are edgier/brighter. I can think of a ton of things with more vocal pumping, which I also don't really detect. Great song. Yeah, to me the piano is more hazy than edgy. I won't Argue that it is perhaps doing too much of the heavy lifting melodically and sonically and the repeated part might not be interesting enough. But really, I'm just listening to the harmony. Without that, I think the whole thing might collapse. But I love the looseness of it. I really believe this was a demo. There's a more produced, slick version on the net - no idea what is on the cd - and to me it has nowhere near the charm of this version. Then again, I love the Faces and the Replacements, so loose works for me. When it works. And I think this does. But, as always, ymmv. Cheers, Geoff
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Post by geoff738 on Jul 7, 2016 16:14:45 GMT -6
I havent listened to the song.. arghh I just wrote and recorded a song called Magdonlina.... he he.. I think they are safe 8) cheers Wiz Heh, what can ya do? Give it a listen. Nez's vocal reminds me a bit of you. Cheers, Geoff
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Post by geoff738 on Jun 23, 2016 18:27:13 GMT -6
Is this a step up from the Scufham Sgear plug?
Cheers, Geoff
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