jimmarchi1's forum posts 8022

its a totally different take on the moog sound, its like you patched the headphone jack into the external input permanenty but otherwise its like a moog prodigy, which is what the subsequent sounds like. The prodigy is like thicker odyssey... it can't chime though, no moogs chime out like an odyssey, I make hihats on my arps all the time man, they're great at it. You ceate a pattern on an analog sequencer and its cooler than a drum machine, the variation is phenomenal. I digress... yeah, I have key moog sounds, just no polymoog or memorymoog, I would get either in a heartbeat if I found a deal and had the cash. That crazy divide down polymoog sound, just whoa, Vox humana baby! Nothing else sounds like it. And the memorymoog is truly unique. Finnicky, but unique! THe moog one seems pretty cool, I didn't get to spend much time with it when it was in a local shop, but it was powerful. More precise than a memory.

Anyway, I might also wind up with my oldest friend's voyager while he's recovering from brain cancer. His wife wants to liquidte the studio to his friends and then buy the stuff back if and when he recovers enough to play again. I don't really wnt it, but if I don't scoop it up she could sell it to a stranger. At least its the rack. So that also made me think "why do I need a voyager and an SE1 since they're interchangeable apart froma few different added features? maybe get an SE V30?" On the other hand I need a new car and I don't want to lease again... and I need to resole my cowboy boots. Synths and processing gear really distract me from worn out footwear.

EDIT: I sold the sub-phatty and forgot about it, not in the walk in anymore LOL checked my review of it and I sold it years ago and forgot completely. WOW! I think I funded something else with that money. I also found my sy35, old casio, cz101 and kawai k5 in there, so more keyboards I don't use a lot due to space... the 101 and the k5 are seriously unique... I really want a k5000, kawai's last synth, I never seem to scoop one up

What about just getting a minimoog or a reissued minimoog? Outta space?

YES

I have TOO MANY keyboards, they're everywhere. Which is weird for a bad keyboardist. Also I don't enjoy PLAYING the minimoog that much, I like the odyssey/solus better to play. All my other monos are rackmount or grooveboxes, or that one semi-modular tabletop, I sequence them.

EDIT:

I gave the BS2 novation comped me to my cousin and kept my 90s BSrack and the circuit monostation. I think my uncle plays the BS2 more than my cousin thoush. Wasn't meant for him, he can afford his own synths. I also got rid of my DX7 1 and 2 and went TX7 and EX5R, and I had the 2 for decades and 1s kept showing up at my house with easy to repair issues, usually dead batteries. Which is a shame because they both had great keybeds versus a lot of my analog stuff, but you can'tget some of this stuff in a module. I've got like 8 poly keyboards and a string machine setup or leaning on a wall in case I need it right now, its out of hand. Let me look around, Juno6, poly6, proph600, dw6000, poly61, mopho x4, prologue, summit, yami sk20 and digital piano. Kawai hammer action digital piano downstairs, I share it with my son. In cases or on closet shelves there's the odyssey, solus, esq1, XK6, electrocomp and a transwave... all keyboards, way out of control. The XK6 is just a module in a keyboard but the keyboard is nice and it has a little more hands on control, than my emu racks and it was free, I should dump it though, its like keeping a dx7. but it barely puts a dent to dump one freebie

oh wait, I have a sub-phatty I never play anymore... I loved it so much, I liked the lil phatty but wanted more knobs and moog delivered,, then got very bored with the limited 2 osc architecture and very growly mixer/filter section, its like a very agressive prodigy. Its in my closet waiting to be loved again. We've been through so many more iterations of the sub series since I bought that, everyone liked the subsequents better and now there's another 25 key one now that the sub37 and subsequent37 are gone, mine is before either of those knob er function ones, its getting vintage lol

I've become a total moog contrarian lately because everyone uses them again, and that drives me up the wall, its not special anymore if everybody's got them.

Just tried it out. FWIW, it's a bit strange to require a decent-sized sentence of notes when you're tagging the original hardware.

GREAT point! I had the same thought but needed to hear it from someone else, so thanks :) We should relax that requirement. Also, this particular form is still on the old Equipboard layout and somewhat convoluted, let us see if we can't sexify it a bit... 🤔

for an alternate item like soundcraft ghost and soundtracs topaz or ghost and A&H gs3000 I needed a long explanation to say the same peeps designed them and the schematics are really similar in a lot of places, they use all the same parts the same way outside mic preamps, you know, it needed an explanation. SPL transient designer hardware and software requires no explanation, they do the same thing the same basic way, but one is analog and the other is 1s and 0s. Manufacturer authorized plugin versions of hardware should be completely exempt from explanations. An acme audio opticom plugin is the official plugin version of the awesome but costly hardware unit and its pretty darn good I must say as are most of the official plugins you find out there these days.

honestly nothing, the SE1 is just an SE redesigned and manufactured midimini, the bragging rights on an OG midimini is that its a rack mounted and midified minimoog, literally all the moog internals in a rack. It became the SE1 when they had to start building from scratch, they did a redesign and built up their own PCBs, the SE1 is more tuning stabkle though its not quite as commanding in the low as an original minimoog, it sunds much like a voyager though. As far as this new one goes, I was taken with the FM part of the demo and those patchpoints are tempting. They say the 1x has an even more commanding low end than an old model D so I imagine that's true of the the SE V30, there's another selling point. I love me some low end. I've been kinda tired of moog basses and leads so my SE1 isn't used as much as it once was. Oddly I've been using the prologue for a lot of bass, the mono mode can stack a second voice an octave down for up to 4 VCOs and 2 Digital oscillators, which sounds theunderously huge and complex and must be dialed in conservatively to avoid loosening bowels LOL... I also like the circuit monostation lately because its so NOT a moog bass sound.

Stank face reaction

Quoi?

none of us will buy one? I have an SE1 and might sell the old one and get the new one if it sounds like an upgrade... I would want to be able to try it in person womewhere, I skipped the 1X and se3 and I always thought I would trade backwards to a midimini just for bragging rights. Or I'll get one if it feels like I'll use both enough at work that its going to pay for itself (unlikely) or if I'm sick of soemthing else I own in the same price range that can offset. The dmeo certainly sounds more versatile than the SE1, but not a ton more versatile. The eurorack patchpoints are a nice addition :)

I love studio electronics and would own more of their stuff if money was no object.

I'm impressed, that was fast, I've only managed to record like 2 racks on a jingle since you brought this up because of relentless tweaking and other ADHD behaviors!

Thank you!! I definitely want to do a FET47/MD421 pairing on the bass cab, and I am quite intrigued with the U87 in Figure-8, I'll have to give that a go as weel.

the figure 8 neumann is a beatles technique, its thin without DI for modern styles (though I like it for busy parts), you'll have to compensate for the delay, but you always do with a DI... if you use protools or cubase you can setup your amp/cab/microphone as an insert effect off a mult of the DI track and use the delay compensation by pinging the amp, it'll get it in time in those 2 DAWs, the you print another track off the output of the track with the amp as an insert... hope that makes sense.... or you can do a reamp if you don't need the feel of your amp to give a good performance... anyway, lots of figure 8 mics work in that meter-out position, the U47 or 67 were the beatles choices, but a c414 or AT4050, even a lowly warm wa47jr can work. I've also used ribbons for this. Shure's (formerly naked eye) is pretty good at it as is a royer 121 or 10... an AEA works but is a really warm midrangey sound, depends what you're trying to emphasize in the mix and the preamps available.

I'm also in the process of building a Sub-Kick, have you paired one of those with a FET47?

I usualy do one or the other, not both, on kick... if I use both its because I can't comit to one or the other, but I usually just decide on soemthing, soemtimes arbitrarily, often based on the rest of the arrangement, at leastn on luxurious sessions, those don't come up as often these days.

I don't like recording a bass cab with a subkick. A reversed woofer on what's essentially a woofer seemed like a cool idea to me but in practice it was all the wrong frequencies, you have to EQ it so much its not worth it. If you have a subkick on your kick its definitely a bad idea unless you like an undefined bottom end.

EDIT: Another point in favor of the 47fet is the headroom, I like loud amps even in the studio so I need to be able to soak up SPL...and isn't the m149 transformerless? the 49 is the OG, I could swear the 149 has no transformer so you can hypothetically capture below 20hz, but do you really need that? the fet47 doesn't extend all the way down but the transformer gives a nice bump before the rolloff. it would depend on the song and the bass' roll in it and what's going on with the kick

Thanks for asking, I never get to talk about this stuff on here. Cheers.

also check the JBL E series

I;m getting old, they were the sleeper JBL way back, sorry, the Ks are a great woody sound though, very allman brothers

I expanded my last post with other sleepers so re-read

try a JBL K120

Might be a little out my budget, I was also thinking some EV models might be good if I can find one. Was talking to an older friend about JBLs today, he lamented they used to be known as cork sniffer speakers and now they're just for "booty shakers"

the K series are sleepers versus the D series everyone loves but the Ks are also huge alnico magnets, darker in a good way... in EV you want an SRO but that's a cork sniffer large alnico speaker of high cost... and I'm a speakers corksniffer, all my amps are equipped with cork snifer speaker and I have a closet full of alternate cork sniffer speakers I've been aquiring since the early 90s when no one gave a shit... but I could hear it... also look at the altec 417, total sleeper... or modern look at the early aughts tone tubbies, great sound, keep a pair around,,,if you want a marshally sound look at 60s celestion g12S drivers, the special design OEM speakers, hell I have a pair in one of my ac30s I'll sell you because I have spares, but its a tight midrangey zep tone, very specific, cleans are okay, overdrive rips... fane speakers totally kill, cast-frames are the hiwatt sound, the high wattage medusa is the pink floyd sound and the 80s ones are like fuller G12Hs, I have 2 in the closet, totally kickin, popular in laney cabs

To the best of my knowledge, all products sold on the PA marketplace utilize PA's copy protection scheme, so anyone who buys a plugin "protected" by the Alliance is going to have to go through PA to register and activate, even if they purchased on another marketplace like Plugin Boutique...

I belive you're correct, but their licensing is awesome... I've dome location gigs and licensed for 5 seconds over a networkand the dropped off the network and as long as I don't close the DAW it runs fine, which is nice in adverse environments

Can't find anything about them being used in this particular Rivera, but I see a lot of people recommending E34Ls. I also want to try 6L6s and see how Fender-y I can get.

bias up a some GT 6L6GEs if you wanna go new, those 6L6es are @$$kickers. Aspen Pittman did a bang up job restarting GE style production off the old tooling he bought up. I used them OFF the road mostly studio in my blackfaces when I still played blackfaces.

The Vintage 30 isn't bad until you try the amp's gain channel, the low end looses all definiton and it stops taking any pedals well once you use either of the boost circuits.

generally agreed; the old ones are fine though, the new ones (90s on) are mushy

look for some american speakers if you go 6L6, try a JBL K120 hopefully not a reconed one but they handle a lot of wattage and were meant for PA use so there are many available

18ma? holy sh!zn!t! Something's up

Yeah, it's been running EL34's I didn't end up changing, even though I'm using it for the Fender thing. This amp can run pretty much any power tubes that fit, except for KT88's I think.

what about the small but mighty 7591? like the 6v6 is to the 6l6 in beam tetrodes the 7591 is to the el34 in true pentodes! the 7591 is usually used conservatively by late 60s ampeg but its a great output tube... for fender bias for 6L6es I guess

Stock Celestion 70/80 (yikes) was changed to a G12 Vintage 30, not my favorite but it works for now.

there are V30s and V30s, the original marshall branded 'vintage' speakers are amazing and then they forked something up around 91 and they suck now

okay, the fet47 is the classic front of kick mic, but YMMV, I don't always use one or if I do I don't always mix with it because its room and kit dependent

the m149 is an excellent choice for bass amp but a 47fet is too, but the 47fet benefits from a dynamic combined if you an get the phase perfect... the sm59, sm7, md421, re20, d12/d20 and even a d112 are good dynamic choices for a fet47 pairing on a bass amp... another good way to go is a u87 or another multi-pattern neumann 3 or more feet out in figure 8 to capture the estension of the low wave and a cloud of room... in all instances be sure to run a DI to grab deep low if needed. I usually mix the DI with an opto or varimu and a low pass filter after and then hit the amp track with a dbx 160x or valley dynamite or similar and scrunch it then hipass and maybe hit the spx90 symphonic if an alan moulder 90s width is needed. Tweak it til its sudtle stereo motion without sounding chorused.

The michael beinhorn aproach involves a dbx subsynth into a solid state power amp and an extra cab or sub and a distant mic fot the soundgarden superknown and marilyn manson sub bass in the room as it was captures for those LPs.

On it as far as checking the catbode bias resistor, I've been so afraid some small surface mount part is busted I haven't looked at it entirely yet.

I hate PCB amps, but if its a good double sided through hole I can deal, surface mount? ARGH!!!! You're in a tight spot, man.

I went through the Rivera when I got it and rebiased it cause it was running at 18ma per tube instead of 35 and sounded choked, threw a 5751 in V1 which helped the Fender channel but isn't my favorite on its Marshall voiced side. Also ripped out the reverb tank cause I wasn't a fan and threw a Vox grill cloth on.

18ma? holy sh!zn!t! Something's up

Is this Hot Cake derivative taking any influence from the Tech 21 XXl you told me about?

yup, but lower gain, still working it out, I alwys design stuff for me and my sound and it has to be perfect for me, I rarely build a lot ofmoptions in because its made to do my thing, from pedals to amps... people try my stuff and say it doesn't have a lot of range but its designed to get me from gibson to fender and that's it, I just want my general balance with a limited range to F it up, just enoughto dial in all my favorte axes to sit in the mix, which is something I love about the JCM800, those tone controls and the presence provide such minor tweaks until you go to full up or full down, just subtle shaping, like it or lump it

ernie kills d'addario for feel on 6 string

oh, the vox pressure cooker! check the cathode bias resistor on the power tubes, motherfuggers burn up and when they do the choke burns out, the modern iron is way less tolerant too.... if the cathode resistor drifts the wrong way you'll overheat and that overheating puts too much voltage across the choke in the PSU as the tubes try to overdraw and it toasts... my 62 ac30 is a griddle you can make breakfast on when its running right, and it isn't always running that cool if I'm between maintenance cycles. Its the fiat of amps, gotta keep her tuned up.

I've been breadboarding a hotcake derivative. Its a little more compliated with a different opamp and a fet out front. I'm using a dual opamp, experimenting with different flavors, the first stage is setup like a hotcake but then I threw in a baxandall tone stack and a clean makeup opamp on the output in the feedback loop of the output buffer so that tone controls at noon are stock first gen 2 knob hotcake, not there yet... I might try that weird lofi IC that tech21 uses

I just like the nobels, man... they're readily available! And its a sweet sound and that spectrum control is hella useful versus a normal low pass or big muff tone knob

I'm so boring, I still think the ODR1 and the TS9/SD1 are the best overdrives... TS9 for fender amps, SD1 for marshalls, ODR1 for everything else or another flavor

some, but not all, are available elsewhere... the big thing is the subscription service, if you're on other distributors for sales only you can go on PA and get in on their bundle subscriptions to distribute your plugins further

the plugins are the same generally, there may be some exclusive PA versions but I'm unaware of their existence

on a side note, I love the unfiltered audio G8 gate plugin and SPL deverb and moverb which are pre-configured derivatives of the transient designer that instantly give you more room or less, great for unprofessionally home recorded tracks or pumping the tail on room mics in a smaller space

Old bandmate had one that was awesome with an Origin 50, I know there's an ODR derived circuit in the one newer one but it's supposedly different from the VS-XO which they claim is the same as the truly perfect Open Road. Speaking of ODRs, I just picked up an original for $200, might flip it, but very settled on that kinda circuit and the Hot Cake as my drive section.

I like the open road, is that an ODR1? It sounded different to me than my nobels... I know we're both nobels fans, great stuff, I have an original I bought before the hype, should I sell it and buy an RI for a profit??? but I'm confused by VS stuff, I can never figure out what's what

Apart from Radiohead I mostly know the Phantom Thread soundtrack he did, him and Nels Cline both have that thing where they can make crazy guitar sounds with a band and then make the most beautiful compositions solo.

Phantom Thread was good too, but There Will be Blood was the first time I heard him do soundtrack work and those strings caught me off guard in the theater... I think I saw that flick with my mom and my wife LOL, they didn't dig it like I did.... the sound design was killer too

same, total dupes. plugin alliance is a distributor, I own those plugins, you have to buy them through plugin alliance but plugin alliance doesn't develop them, its a storefront established by a group of small but excellent developers like Lindell, Unfiltered etc... the bettermaker stuff is done by aother company but aproved by bettermaker, which is a hardware company, analog all the way, don't own any of their rack gear... yet, they specialize in digitally controlled analog like WesAudio, but geared more towards mastering than mixing, though the bettermaker stuff would be good for stereo bus work, I digress

Tyla, you already have really nice gear, if you like your gear just experiment more and be yourself, find YOUR tones... its not going to do soundgarden ever, wrong amp and definitel the wrong guitars... maybe you could do radiohead, but you should do YOU instead, innovate

excellent suggestion my friend, better late than never! the jekyll and Hyde sounds very good in my opinion. I never owned one but tried a v1 and almost bought it before I came to my senses and decided not to dump yet another distortion in a drawer that I would use once a year. I was defintiely taken with the hyde section and it had that raunchy shredmaster proco rat with rabies tone... I wound up doing a TC nova drive later because it had a TS/Rat thing happening but with midi for my short lived midi rig

Greenwood's not afraid to make ugly sounds that are cool in contect, which I always respect because I struggle with that sometimes. So much easier to do as a keyboardist than a guitarist. The guy is a huge talent, the soundtrack to "There Will be Blood" was striking!

For now though, we wanted to present the next phase. Check out this gear geekery:

I added renowned producer Peter Katis to the site. I went to one of my fav albums, Interpol's Turn On the Bright Lights and associated Katis to the album as a producer, mixer, and engineer. Then, I was able to submit his Telefunken V76 microphone preamps (found an awesome source of him chiming in a forum) and tagged Turn On the Bright Lights since he's now credited on the album.

I mean, how fun is this gonna get 😎

IT IS! this is a really interesting development because we can start associating, say, certain microphones to the drums on a specific album... mix magazine annd sound on sound have a lot of great info about those nitty gritty details but it's all dispersed through wandering articles and interviews, we could really get all these details centralized for the geekiest geeks

This looks great Giulio! I'm really impressed. Are you thinking we'll eventually get down to the song level when there's specific documentation?

Sorry for the slow reply. I was under the weather and am just getting back to things.

It's been a really tough season for germs this winter, hasn't it?

I believe the plug out is hosted by a piece of hardware whereas the cloud is a native vst plugin version. If you remember there was that big roland aira with the green backlit knobs that ran the plug outs awhile back, probably zero latency on that hardware vs the cloud version, same modelling.

EDIT: it's all quite confusing. Did you geta roland rep's card at namm?

yeah, when someone tags gear to an album it should become searchable

Moo-g like a cow or Moog that rhymes with Rogue?

Rhymes with rogue, but I've never known anyone to be d*ck about it if you botch it.

In the 90s we said moo-g, hardly anyone knew better until the internet really got going... occassionally in the modern era I would slip and it used to irritate one of my friends to no end so I started saying moo-g all the time around him even though I know better. So funny.

Some dudes love the idea of being with someone that's into all the same nerdy gear stuff they are, but once they realize the synths/gear/career-dreams come first, and they come second (if lucky)... they sometimes reconsider.

I've been married to a non-musician, and we were both writers, but UGH! not this one Klausy!

...you seem like a well-adjusted and evolved dude, Jim. I'm sure your ego could handle playing second-fiddle to a Moog One.

Who would expect to be more loved than a moog one or prophet ten? only a megalomaniac!

look, not to sound sexist or slimy, but I have a weird thing for her (any woman with a dbx 163 in her rack is hot) and moreso her protege , Kaitlyn Aurelia Smith... Kaitlyn is like Jesse's girl to me:

like sorry, but why can't I find me a woman like that? That's perfection. You're so much more beautiful when you're vocoding. An obscure piece of gear is better than the hottest lingerie and makeup!

No matter what or how I try to upload an image to this item, the entry just shows up with a missing/broken image. I tried url, jpeg upload, nothing seems to stick.

https://equipboard.com/items/bode-model-7702-vocoder

PRETTY

I find it interesting that you guys know of Fela. I didn't realize his music had that kind of reach.

America is a really mixed bag, man. Its huge and populous. What hits your country from our mainstream media is not reflective of our actual culture because that mass culture is a myth, it's really state by state, city by city and in the arts there's lots of little communities linked by a variety of subcultures. It's really weird here. So Fela doesn't have that kind of reach into America in general, but he has influence with a certain muso sub-culture which Spruce and I both belong to even though we've never even met.

Fela rules! discovered him through his association with ginger baker. Dude was so popular he ran for office... shame how it ended. He was kinda Sun Ra too in a way.

I really like Garth Hudson too, he's a real sophisticate! But he's jumping around from organ to accordion all the ay to early sythesizers, but always adding this almost baroque element!

Always loved the drum sound on that danko/manuel cut

he's the singer om this one too, I love rick danko, he just goes for it

Sometimes its similar, we often do covers of the gospel songs played over there but we do it in our own style.

I don't have a video of me playing sadly .. But here is one from a church nearby : https://youtu.be/YCTL8Xy--Zk?t=284

It's very groovy music, Let me know what you think 😅

It's like church talking heads! WOW! are you the bassist?

Ahhh, the good old days of BetacamSP...

yeah, you remember!

here's a good one, the bass is full root, but when it bits that maj7 its half step flat from root, and on the sus2 its way up playing the 2, plus lots of refrain walk, so a mix of approaches https://youtu.be/k5Pk0-xF8WE?si=toEvdaJIgKT-3mlX

and for melodic use of mainly roots this the greatest: https://youtu.be/NZMfZe7OFFk?si=pdxphasKvENZzTDv