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Post by jeremygillespie on Mar 11, 2020 16:12:12 GMT -6
For the original clip, cut a piece of a q-tip off (the shaft), dab some super glue on it, and jam it up where the connector pushes in when it’s on the mic. It’ll never come off again.
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Post by jeremygillespie on Mar 8, 2020 21:13:12 GMT -6
Doing it wrong is the only way to figure out what you don’t like. Which will lead you to what you do like, and to what works on different instruments and different styles of music with those instruments. Get an eq, twist the knobs, mess around with it, have fun and learn.
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Post by jeremygillespie on Mar 8, 2020 0:11:00 GMT -6
That's for one pick. Depending on size/thickness, some of the Blue Chips go for as much as $75. (That's still for one pick, John.) Blue Chips are really big among serious Bluegrass players. The cost is mainly wrapped up in the material and the difficulty in shaping and finishing it. $35 for ONE PICK?  They can shove it where the sun don't shine.
At $35 for a dozen I'd risk it to see it their products are that much better, but $35 for ONE GODDAM PICK, made of AT BEST, of 35 cents worth of plastic, they're ripping you off.
The only picks I can think of that might be REMOTELY worth than would be genuine tortoise shell, and only because they're illegal.
$35, the price of their cheapest advertised product, could buy me enough of the typical, bog standard, picks that do PERFECTLY WELL for me to last AT LEAST five years, if not 10 or more.
What, i should spend $35 to $75 EVERY TIME I LOSE A PICK? Are the OUT OF THEIR MINDS?
Are people REALLY that gullible?
I'd lose (a lot of) money doing that.
Maybe if you're the sort who thinks nothing of snorting a $100 line of coke up their nose - but didn't that idiocy go out with the last century?
Personal responsibility would keep you from losing these picks. If you read the literature about them, they are incredibly difficult to drop, even with sweaty hands/fingers because of the material. They also at the same time glide off of strings incredibly easy making for a quick stroke. These things actually change the way you use your right hand. I stopped using my real tortoise picks when I got these things and haven’t turned back (don’t get all crazy on me I had a family member gift me a handful of them many many years ago). They will seriously last you forever. I’ve only personally seen 2 peope wear them down, and they are both serious bluegrass rippers that never seem to put down their instrument. |
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Post by jeremygillespie on Mar 7, 2020 20:36:37 GMT -6
I went to greyfox bluegrass festival about 10 years or so ago. I had seen the blue chip pick threads on the mando and guitar forums for a few years and allways thought....bullshit.
The guy that makes them was there as a vendor and had a bunch of his picks, a few guitars and mandos, and picks from every major manufacturer there for comparison. I was sold after playing about 4 bars of a tune.
I own one for mando, 3 for guitar, and a few of the thumb picks for pedal steel / dobro, and their nice little wooden carrying case. I should make a commission on the damn things cause every single person that use mine at the studio has purchased at least 2.
Just buy one. Hell, buy two. If you don’t like them you can sell them for just about your purchase price.
I don’t use any other picks and I’ve had these
For 10 years. I cherish them and wouldn’t ever possibly lose one.
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Post by jeremygillespie on Mar 5, 2020 8:14:30 GMT -6
Wife got me a 14” radioking floor Tom for my birthday. This married life thing is pretty pretty pretty pretty good!
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Post by jeremygillespie on Mar 4, 2020 11:31:02 GMT -6
An example of one of many businesses not on that list, Woodland Studio: View AttachmentIsn’t that Gill and Dave’s place? Man what a frigin bummer. I’m feelin for you guys down there... |
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Post by jeremygillespie on Mar 4, 2020 9:30:49 GMT -6
Like 5 points proper is destroyed? Three crow and that stuff? Or further towards town? List of East Nashville businesses destroyed (I'd post a link to the Tennessean but that website is an ad filled disaster/embarrassment) But, there are many more houses destroyed and other businesses that suffered damage but are still standing: Edley's Bar-B-Que Lee Nails Smith & Lentz Brewing Molly Green Koi Sushi & Thai Elite Bonding Co. Main Street Liquor store Crazy Gnome Brewery GYM 5 Salon Mogulz East End Chiropractic STAR Physical Therapy Main Street Tires & Services Noble's Kitchen & Beer Hall Marché Boston Commons Burger Up The Basement East Beyond The Edge Music City Vintage Family Dollar (vacant) Gold Club Electric Hunt Supply Co. YMCA building Boombozz Craft Pizza & Taphouse Phillips Printing Company High Garden Woodland Tea & Sipping Apothecary Asphalt Beach Skate Shop Clean Juice In Germantown from 2nd to Rosa Parks got hit incredibly hard. Lots of new apartments and condos heavily damaged. Woah... |
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Post by jeremygillespie on Mar 3, 2020 16:39:13 GMT -6
You get 3 revisions so make them count cause after that you're getting charged xxx an hour.
Unless you are sitting in on the mix. In that case I charge more from the get go and if you sign off on the mix that’s it. Hourly fee after that. I got dragged into having people sit in on mixes and “instruct” me on how to do my job, then they take their mix home and hate it. No thanks! Not dealing with that anymore.
Also - I only deal with 1 member of a group via email. The band “leader” is in charge of compiling the mix notes and revisions and sending them in 1 concise email. I don’t need to be involved in any in-fighting over who thinks what guitar needs to be louder.
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Post by jeremygillespie on Mar 2, 2020 11:19:22 GMT -6
Honkey sure. Still serve their purpose for me though. And honestly they’ve never hurt my ears, but I’m not going around blasting them.
Listening at a moderate level paired with a McIntosh 2105 they are perfect for setting vocal and snare drum levels for me. To each their own.
I also really dig the NS-4’s I have too.
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Post by jeremygillespie on Mar 2, 2020 10:02:30 GMT -6
These should be a lot better than the Amphion amps. The 100 W one is underpowered junk. Amphion tweeters blow all the time due to the crappy underpowered amps they sell them with that people use them with. All the bundles are hilarious. You need about 1000w of class d or a beefy 300-500 class ab amp to get them to open up and make sure that only user error, not faulty or inadequate equipment, can blow the drivers. Class D modules can’t hit their advertised wattages without horrifically distorting if you look at the spec sheets. They only get halfway to 2/3rds there. The later NS10m models with the fixed tweeter were always listenable boundary loaded or on a huge console or desk. People just used underpowered amps or awful, etched amps like Brystons. Ran off a Yamaha Natural Sound amp or Adcom, they were okay when not pushed. Avoid the Avantone CLA-endorsed Chinese clone though. That thing sucks. The tweeter is beyond awful. The QSC MX and RMX class ab output stage amps are tanks for small speakers too. I've not used the 100W Amphion brand amps myself but I've heard them on occasion. Never did any kind of side-by-side comparison though, but I never really got along with the Amphion speaker sound to begin with, so there was never a reason to try the amps alone. I will say that these 180W amps make my NS10s sound better than the gainclones (70W A/B) or an older 100W pioneer receiver, which isn't likely from overall better performance, just better transient response from higher instantaneous wattage. I do have a high-end Yamaha receiver with the pure-path tech. It's pretty outstanding. Maybe I'll drag the amps into my listening area and see how they compare. I don't know what era my NS10 tweets are from, but they are ear-wrecking for the most part. I rarely listen beyond about 75-80dB, but for NS10's that's a few dB away from bleeding eardrums anyway! Do your tweets have the foam surround on the inside of the cage or are they just domed with nothing behind them? I like the ones with the foam but I’ve occasionally swapped them for the originals for some engineers who were used to the old ones. |
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Post by jeremygillespie on Mar 2, 2020 9:59:53 GMT -6
I’m with Ward. If I’m engineering, producing, playing and mixing, then I’ve got to have another set of ears on it. I leave that to the people who make a living doing it. Sometimes that means handing off the project to an outside mixer as well.
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Post by jeremygillespie on Feb 27, 2020 17:33:18 GMT -6
One of the things I hate the most about freelancing is that it seems like zero engineers (around here anyway) know they are supposed to zero everything out before they leave at the end of their session. Infuriates me. It's recording 101. I've patched in ribbons with 48v on the preamp a few times. Luckily I haven't blown one yet. Now it's the first thing I do when I go in. I Deal with that allllll the time and it’s infuriating. I just check everything before I use it at this point. Assume everybody is a moron and didn’t do what they were supposed to do. I usually give myself an extra hour of setup time to go through all the bs and make sure it’s right. |
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Post by jeremygillespie on Feb 26, 2020 21:23:19 GMT -6
In general, our tube gear never got turned off. Gates SA-39b, Ba-6a, Pultecs, la-2a’s, V series preamps. Always on. Granted I wasn’t paying the bills but I was told by the tech to not turn it off. 🤷🏻♂️
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Post by jeremygillespie on Feb 23, 2020 9:59:43 GMT -6
I’m more than happy to not have backlit meters as apposed to Uber bright Ones on certain gear. It can get really distracting especially if you work in a dimly lit room (which I personally like). I want to murder the blinking master light on my Convert 2 That’s how I feel about the threshold blinking light on the dbx160. I slap a piece of black gaff on top of it. |
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Post by jeremygillespie on Feb 22, 2020 20:22:56 GMT -6
I’m more than happy to not have backlit meters as apposed to Uber bright Ones on certain gear. It can get really distracting especially if you work in a dimly lit room (which I personally like).
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Post by jeremygillespie on Feb 21, 2020 17:22:59 GMT -6
Whatever the outputs on top will feed into your bottom row on the patchbay when you don’t have any cables inserted. You can test it by dead patching one end of your patch cables into your top row. That should break the normal and stop the signal from going to the gear.
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Post by jeremygillespie on Feb 20, 2020 19:58:31 GMT -6
If you’re close mic’inf the guitar I’m not so sure it would make all that much of a difference. How do you normally place your mic (s)?
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Post by jeremygillespie on Feb 19, 2020 23:04:07 GMT -6
What company do you purchase your Canare or Mogami bulk cable from? Redco |
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Post by jeremygillespie on Feb 19, 2020 20:50:31 GMT -6
Man, Ya'll are crazy. Switchcraft are horrid. Cannot stand them. Seen a few of them get pulled apart because the crimp/clamp fingers can't hold tight enough. With Neutrik and their Amphenol copies, at least when you tug on the cable, it pulls the tri-grip into cone and grips even tighter. Crimp - clamp fingers?
Switchcraft doesn't use fingers - the use two semicircular metal half clamps that compress the rubber end cap. Reliable as hell unless you use really skinny cable - which is what heat shrink is for.
With Neutrik they hold OK until a lead singer with the fidgets gets hold of the mic and starts playing with the plastic end cap, which releases the clamp.
I don't like connectors that do not require tools to disassemble.
You may be a great studio gear builder but I suspect you don't do much in the way of live sound. And that's where the rubber hits the road concerning cable reliability.
I get that - I don’t work in live situations other than plunking on a guitar or bass every now and again. Neutrik works great in the studio. The ts and trs switchcraft connectors are the biggest pain in the ass to deal with if you’re ever going to use them more than on the cable they are on. You’ve got to pry the 2 grip clamps off the cable, and half the time they snap off after more than 2 changes. Just not worth the pain in the arse to me. |
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Post by jeremygillespie on Feb 19, 2020 17:06:51 GMT -6
I ALWAYS at least give artists a starting point with their headphone mixes. Takes 10 mins to go around the room and check all of their headphone mixes.
Honestly, you can’t really expect them to know what they should be listening to. Not really their job.
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Post by jeremygillespie on Feb 18, 2020 18:59:32 GMT -6
What are you using?
In PT just group the channels and you can edit them as one. Same way as you’d edit drums.
I wouldn’t want to have 3 channels of bass on 1 track as you’d want to eq / compress them differently, No?
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Post by jeremygillespie on Feb 18, 2020 6:12:23 GMT -6
Neutrik cable ends and panel mounts for me. Not a fan of working with switchcraft and I’ve never had a problem with the strain relief. I actually think it works better than the switchcraft without putting an unnessecary pinch in the cable end. Canare quad cable.
I’ve dealt with some of the cheaper knockoff Neutrik types and they can be pretty awful. Sometimes you can’t even get the connectors to seat properly or get them apart after they are seated. Sometimes you just need to buck up and pay the price for something that’s going to work correctly.
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Post by jeremygillespie on Feb 17, 2020 18:47:46 GMT -6
I’ve always liked the Private-Q systems. Seems like a lot of the studios around here are moving to the Aviom system that runs off cat5 and has a built in limiter and reverb. Our friends at Behringer have of course ripped that off so you can get in cheaper.
None of them sound as good as Private Cue though IMO
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Post by jeremygillespie on Feb 15, 2020 22:15:45 GMT -6
Here’s a question - these are all digital, right? It’s not like we’re talking about old transformers with alloys you can’t get today...what is it? I think a part of it could be the converters used back the units. Revolutionary at the time, probably pretty awful by today’s standards. Hence, they have a sound that some people want. |
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Post by jeremygillespie on Feb 15, 2020 20:41:31 GMT -6
hiring jazz players seems like a brilliant idea to me There are a lot of “white” jazz musicians out there. Buyer beware. |
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They can shove it where the sun don't shine.
