jimmarchi1's forum posts 8022

I wanna say that one of the guys from fu Manchu makes vintage fuzz clones

for reverse reverb I usually just go tape-sleep-over-style even in protools or FL and print a reverb send, reverse the track and then adjust the 'lead' time by ear from a tempo-based starting point, usually about a quarter note or dotted eight ahead of the dry track... I thnk one of my waves reverbs has a reverse mode but why bother? One thing I tried to make reverse reverb even snakier was using a reverse delay patch on a TC or Line 6 unit ahead of the reverb on a send so that what the reverb is hearing has a really mutated volume envelope that gets diffused by the reverb... then, obviously same thing, print the track and reverse... you get a really weird swell and decay ahead of the dry source with the reverse delay trick. If you reverse the dry signal for real its too overt, the simulated reverse mode from a modern digital delay unit is really the way to get a weird undulating reverse reverb effect. I've never heard of anyone else doing a reverse delay patch before actually reversing a reverb track, but I am sure I cannot be the originator of this method.

anyway

yeah, well I know YOU heard it! hahaha, I sent it to you when it was all empty and minimal. The last week I went to town with the guitars, 'ooh' sample, dub delay, minimoog mod wheel and this cool time based filter plugin right on the mix bus at the end.... I've been ramping the noise up for days.

you may like an older style Neumann based around the M49 capsule like a 47 or a 67 or maybe a C12 type of mic, my favorite is the tele elam251. Look up ADK for budget clones.

you would be surprised but for what you're doing you might really like an RE20.... great mic for this type of vocal. TheHeil large diaphragm dynamic mic is good for this sort of thing. Big and open sounding but not hyped up like a lot of condensers.

If you can find one second hand the discontinued Rode NTV would really suit you. I had owned a used one about 10 years ago that ran me around $700 US at the time. I sued it extensively on male hip hop and RnB vocals where it regularly beat out the studio's U87, TLM103, AKG 414, a U67 clone, Blue Bottle... I could go on. Great top, very open mids. a little compression when hitting it ahrd thanks to the tube. but being modern I has a very low nosiefloor. The NTK just doesn't sound as good, I don't know why.

I would say that there's more going on there than the microphones. I would work with my mic positioning for a more even tone going on and then be really conscious of compression settings as well as the Esses and also the low end going into the recorder and also while mixing.... there's also a preponderance of certain midrange frequencies in both vocals that would be best addressed with mic placement and distance too... you could try EQing, but if in future you pay really close attention to those critical mid frequencies when placing that microphone you will find the vocal will sound more antural even with a junk mic

but hey, for what you're doing the Rode NT1 will likely make an audible improvement in vocal 'air' --- given the toen of youtr voice I would stay away from a modern Neumann with those ultra hyped upper mids. You'll find yourself EQing out the Neumann-ness

at this price point you're in diminishing returns.... the apogee converters are better, the clock's more stable, but the preamps aren't any better (in fact the Focusrite scarlet pres sound pretty good for the money and the apogee's connectors are a real pain, don't get me started).... I'm not familiar with that mic you're talking about but I would suggest that at the 600 dollar mark there are lots of other options besides the NT1... I like Rode, but the NT1 is not my favorite Rode. The TLM 102 and 103 ae not my favorite Neumanns for any purpose either. What's your signing style? I gotta tell you for a lot of male vocalists in the rock genre (and almost every female in like ANY genre) I recommend the Shure SM7B or EV RE20 broadcast dynamics. You can probably score the Shure for 300 and bank the remaining money to put towards the Duet at a later date when you're able to budget in some more for it. You know, if having apogee converters makes you feel like you're making better quality music. The real truth is that none of this matters though. Quality these days is great on all sorts of mics, preamps and converters, really. Its fun to amass gear and all, but don't expect it to make your enxt recording more special than the last. Maybe you'll ehar a difference, but Joe Listener won't.... if it makes you fel better go for it, but I would probably look at a very DIFFERENT SOUNDING microphone (or two) rather than just a fancier large diaphragm condenser or an interface with better covnerters and word clocking. Or I would invest in more isntruments to inspire me. To me striving for a quality song and quality performance is more important than quibbling sound quality. Everything sounds fucking nice these days. If you can't afford a channel or 2 of Neve and an old U47 or something modern and great like a Bock mic why sweat the smalls tuff.

Took me 7 or 8 years to finish writing and actually record it though. But once I got past a piano part I just had some fucking fun with it. Hope some people on EB like it:

for 20 bucks you can get a used mini, mxr gtod or greenriver no problem... fit he circuit were more educational to build I would say its worth the cash and hassle for the learning experience but its an IC pedal, you won't learn a ton about how semiconductors work

aww thanks, kinda my cure/pumpkins homage, the poppy side like 1979 and kiss me kiss me kiss me... great records worth emulating and expanding on

got a new one almost done might be able to finish it today. I was polishing the mix and got distracted last night, fucking with more synths

so stock, no intentional mods unless forced to it by component availability or box real estate? then it probably doesn't need its own entry untilw e figure out how to do like a separate homebrew category

about as much as buying one fo the cheaper versions like the Mini or EHX Green River Drive... actually I think the green river drive is a cost-cutting 808 variant.... the MXR GTOD is also a cheap TS9 or TS808 copy. Lots of options, kind've a waste to build such a ubiquitous circuit yourself unless you plan on modding it heavily

but the circuit is stock?

still not working, I am so close to deleting everything and starting over

http://cdn.bloody-disgusting.com/wp-content/uploads/2016/09/ernest-scared-stupid.jpg

Oh no, Verne!

they aren't doing much, its a sucker play

I don't even know what you mean by that, its the rare pedal that ahs a vacuum tube in it and few of them run the vacuum tube at proper voltage where it acts like its supposed to.

truly the importance of your power supply is based on the quantity and diversity of your effects. These fancy supplies are for pedal fanatics, the kinda guys with the largest board you can carry without breaking your back. A guy like me doesn't worry about this stuff.... I am still trying to simplify further and wonder if I went thre wrong route with individual MIDI comonents and a few analog pieces mixed in and if I should just score one of those fractal floor units that does effects with no amp modelling and just call it a day on individual pedals. Unless you want insane effects like EQD and dwarfcraft type of designs that are totally unique and un-guitar like I am beginning to questions the efficacy of individual pedals when these all in one systems are getting so good and so easy to use.

Boom said 'powerful power supplies'.

58 ES335, natural finish, very early, no binding on the neck, huge profile, thin top and back, weak buckers and an amazing tone that was full and yet chimey tied with a friend's ARP 2600 which was set up to make tie fighter noises... yes, the 2600 synth was used n starwars a new hope for tie fighters and R2D2

there are a ton of great options, I use none of them and daisy chain 3 pedals off my tuner and then run my 18 volt MIDI drive off its own supply all into one of my furmans with isolated plugs along with the head switcher. No issues, but I run so few effects and let my amps do the work.... it about avoiding ground loops on 3+tube amps for me. Voodoo lab treated me well back in the day though. I also have toured with a crate of 9 volts too. I just changed them every 2 weeks.

oh that's weird

regardless, you and your girlfriend have a real Midwest look about you... I was imagining you as having a Mohawk or at least a dyed faux-hawk

Anytime you wanna test that theory come couch surf with us.

meanwhile my 3 year old will cook his own meals and pay the bills

side note but am I the only person who still gets the "updating our equipment ...check our Twitter" page when I try to check notifications?

dude, I get that when I try to use the new 'organize your gar' feature. Every browser, every computer or tablet I try

my fucking board still will not categorize.... just freezes up

I feel less precious about basic mods or straight up clones that are part for part copies of commercial devices, but unique stuff? repurposed stuff that is electronic but not designed for music creation that's been modded to make music? well, that's entry worthy

maybe I'll bid you one of my boosters if I can find more of the right jFets, texas isntruments stopped making them and a friend of mine bought the last of them from Mouser electronics to build mic pres. I guess I could change fets, but the one I used in the circuit had really get compression charater because of tis distinct slew rate when pushed into overdrive at 9 volts... maybe I could lower the supply voltage internally on a more efficient jFet though or just throw a 'brown out' knob on one to make the headroom fully variable. Hmmm, charge pump to 18 volts like a Klon and then give it a brown knob to take the jFet's supply anywhere between 18 and 1 volt? Its already got 3 ranges, bass, full and the one I use, treble....

I'm way off ona tangent but I'm going to have to putter something together... if I go with a more modern fet I can probably get the high frequency hiss to go away and then I can remove the snubber caps that suppress the noise in full and treble modes. Hmmm. I wonder what kidna semi conductors I have laying around in a drawer.

sounds like a personal problem to me, Evil

seriously, I am getting old as fuck, I have a kid... I'm a widower. Some days I would trade my material comfort and possessions in to be 22 or 23 again even if it meant eating cold KFC with a whiskeyed up musician passed out on my sofa (although back then I was typically the guy passed out on my friend's sofa and it was a good day if all I had was jack daniels)

I actually have quite a lot of homemade gear myself as you know, Xaq... I still haven't added it all, but the stuff I have added I just kinda threw in like it was a real product. Who is to say I wouldn't build another Jim-treble-boost pedal for someone else?

that's an idea

yes, lingers for almost a minute

still getting the same error page at the same stage, I dunno dude, maybe its me....

Ive been living a lie i always thought di meant direct input not direct injection

well the DI jack on a modeler or really modern amplifier is an output so wouldn't the output from the device be a DO then? and any input channel on a board or recorder woud be a direc tinput the minute you plug in any electronic or electromechanical instrument. The DI is the device converting to balanced low Z line level or the part of the processor that does that job so you don't need a dedicated box.

electronic projects for musicians by craig anderton is a classic from the 70s as is his 'home recording for musicians' which would get you grounded in the pre-digital fundamentals of turning soundwaves into electricity and storing those electrical impulses on a medium for playback... there's antiquated info in it, but knowing how we had to do it before the DAW revolution will probably make you a better engineer and will certainly make you sound less young and unitiated

everyone should own and read through the handbook of acoustics too. All 3 of these books are likely available as translations in your native language so you can get more out of them right away rather than relying on your English.

a guide to hip vintage tube amps by Gerald weber is a winner and though it has some screwy info in it aspen pittman's tube amp book is a must have.... analogman wrote the world's most comprehensive guide to classic effects though I wish it had more of his electronic knowhow in it.... I also think everyone should read all you need is ears by George martin and here there and everywhere by Geoff emmerick

if you're truly interested in music, physics and electronics and how it all fits together to make something artistic then you should get every book you encounter... I gotta tell you that I stills coop up books and magazines all the time if I flip through them and they seem interesting and informative. I get tape op in the mail, I often will pick up sound on sound or Mix or future music or whatever.... I sometimes buy popular mechanics when its got audio related stuff in it. I dunno. you need to be submerged in it to get it. So dive in. If you don't understand something, well, you have the internet to look up definitions. When iw as a kid we didn't really have that.

you can get it to sound like a fuzzface if you spend time with it, I mean, it basically IS a fuzz face with extra controls on the bias of the transistors and stuff, things that would be fixed values or internal trimmers normally. the whole fuzz factory thing ahs been done to death now though. All the coolest settings have been mined by guys like Wilco.

my call is always to invent some new way to do things instead of trying to simulate a fancy gear technique with simulations or cheap sound-alike knockoff gear. Its always more interesting to just be inventive with what you have.

I try to share the wisdom, I ahd to elarn by trial and error and it took me until I was like 25 to even eb passable at this stuff and know how everything works.... even with all the resources online these days there's not going to be a youtube channel that just answers specific questions ind etail and certainly not with anything but pat textbook answers. I am always trying to answer questions with low to no money solutions that are also creative and might help someone's home recordings stand out against stuff that had all the latest and greatest toys. Lack of resources can spur you on to make something unique. I'm always trying to LIMIT my options every song and force myself to be creative even though I have all the stuff in the universe to toy with. You can get lsot in that and make something generic or not even finish making it!

oh umm, yeah uses.... guitar centric plugins are so handy when mixing if you are creative and tasteful. I am always using them allover the place to add color to synths, echo, reverb.... sometimes I will make use of them in a sidechain of a compressor or send a track to a harmonizerand/or vocoder and distort it through an amp to make like a midrange exciter? lots of thigns you can do with guitar plugins in the mids of your mix. Back in the day I sued to use actual effect pedals like that wired up to the hardware mixer with a passive DI feeding the input if they sounded off with a low impedance signal going in. even for live sound I sued to have some distortions available to patch in, usually parallel dirting up the vocal or snare drum or on the echo send or return for rock bands. This is easier though. Oh yeah, I am notorious for running at elast some of my snare into distortion stomps. I started doing it with drum machines like a lot of techno guys but wound up doing it on any snare in any type of music even ballads... try it with plugins, works the same.Distorques orange squeezer and distortion+ are my new favorite snare enhancers. I'll have a couple snare layeres and the one that's going to give the most crack at 6k gets the stompbox and then they all sum into a channels trip plugin that has a nice overload simulation and good midrange EQ that's ahrd to fuck up like a 1073

I didn't really recommend anything, LOL

in freebies, try the following:

simulanalog.org pack (oldies but goodies, I actually like the 900 simulation's spring reverb a lot and use it to mix, usually to distort and spring up digital echoes on a return buss where I feel too lazy to hook up my tube PA head and tapco spring reverb and mic the speakers). I find myself using the DS1 a lot on synths. Slapping it on a 303 insert sounds just like a 303 into DS1 and a DI. No joke. Why spring for a pedal I would only use on synths? The univibe isn't too bad either. These pedals aren't pretty though, they just use your DAW's native GUI

the poullin plugins are good for overdrive, mostly heavy amps like bogner and a 5150 but there's an 800.... not bad overall, really excel at dirt, less so at clean and that just breakin' up tone. But that's a tall roder. Nothing quite like real tubes.

excite amps does a bunch of tolerable stuff for free, I haven't sued much of it but I have all their stuff

there's this thing called amplion that's supposed to be a mesa rectifier.... I've used real rectos and I think the plugin sounds better for guitar LOL the spring reverb on it isn't bad and its a pretty cool plugin for adding grit and vibe to DI or software synths but its high on CPU for how little it does

look for acme bar gig's 'shred', the amps don't sound right but they sound interesting and the room simulation engine seems to be based on impulse responses. The sound of the cab sim and room sim together is surprisingly cool. Its kidna nice to disable the guy's amp simualtions and just use his cab and ambiance engine. It can help DI clean guitar sit in a mix. Its a low CPU hit for how good it sounds too but like I said, most of the amps sound a bit weird to me and the effects built in are junk.

if you can find them Distorque makes KILLER vintage stompbox plugins and a cool rack chorus that has a tri-chorus vibe. I was really shocked at how cool their fuzzface/tonebender sounds. Youc an go under the hood of all their plugins and adjust virtual component types and values too. I still own a fuzzface and have owned tons of them as well as tons of tonebenders, a buzzaround etc. These guys got the magic of those old fuzzes. Its insane. But all their stuff is good.

for more quality stomps look up TSE, they do a rat, a tubescreamer etc. The rat is their best one.

that's all I can think of off the top of my head.

VI models forward and V models back, You gotta.... you gotta Fiyah Bird!

actually one of the guitarists had a sweet firebird

while your friend is technically a DJ that's not what I meant by DJ.... this is not something I can explain to you, or rather its not something I'm going to try to explain.