jimmarchi1's forum posts 8022

Maybe there's a shot of their first studio in that Showtime documentary from a few years ago?

they look exactly the same unless you really zoom in

I think I was coming over from crayola red that year I washed out a bit and it got really interesting with more bleach over it and a bit of impatience.... that was one of the periods of my life where my hair just broke off

on the spirit series.... there are soundcrafts and soundcrafts

I still can't guess what these guys used for comrpessors

from back then, haven't touched one since 2001 I would guess... its no 8bus and no onyx.... but the parts in a mixer are unlikely to degrade apart from the pots..... power supply caps maybe, but it usually takes longer than 20 to 25 years, we're just getting into failure turf on a piece that's been used irregularly now, but it could only be an improvement..... the CR series sure isn't a mix wizard or crest X rack... I would even take an alesis multimix over a CR, I feel like me and a buddy pounded one of these mackies with a bat once when it acted up but it mighta been a diamond studiomaster or something.... these mixers were directly responsible for my interest in 80s soundcrafts, after the ramsa something like a CR sounded so painfully bad even though it had a lot of headroom comparatively and rackability is convenient.... A&H and Crest rack mixers were even more money than the soundcraft 200b back then and the 200b sounds a distinct cut above in a relatively small form factor.

I honestly was bleaching my hair back then and got bored waiting and washed it out at streaky van gough orange and that was my trademark for like 5 years because once you do that you need to press forward with it until you're ready for a pink mohawk

it is known

consider a duncan that splits the difference between P90 tone and hot rod humbucker, the 59/custom hybrid :-)

wow, they actually made that music with a mackie CR series, beats a VLZ, but wow guys, hats off, those are some brittle mixers, headroom for days but brittle shrill top end.

whoa, the atari shirt and the leather jacket, I looked just like that circa 99 but with orange hair instead of a frog mask, I ahd no diea I looked like daftpunk

I can't figure out where I even put mine to see which one it is, it definitely asserts on the panel that its an optical compressor which other ones don't and aren't.... I wish i had the manual it might have a date, I save manuals but when you get soemthing secondhand its fair not to get that manual

its hard to figure out... all of these compressors were big in late 90s dance music because they were dead cheap and the guy I got mine from did in fact have minor dance hits

I don't think their cheapie compressors are doing what you're thinking.... I'm fairly certain they're being used as duckers via the sidechain inputs

If they're only handling the sidechain ducking, and actual great/classic dynamics processors were used to fatten the final product... well, that would make a lot of sense ;)

I'm pretty sure they're being used to duck the and shape sampled vinyl primarily although I;m sure the kick had to have been treated too... the sausage waveform is probably mastering gear out of the box (it wasn't a viable format yet really) at that time... they probably really overloaded a mastertape that may have been a cassette like orbital's first track! Its hard to know but I don't think you would be happy with overt limiting from any of the compressors they were using, I've been there, its not pleasant even when you WANT artifacts. These untis are also pretty noisy at extreme settings

I don't think their cheapie compressors are doing what you're thinking.... I'm fairly certain they're being used as duckers via the sidechain inputs and the final sausage form is cumulative processing plus that mastering engineer you mentioned, this was PEAK of the loudness wars and that record was winning until Death Magnetic..... I find its lack of dynamics a bit difficult to handle at times personally but if you're blasting it at club levels anyway it makes sense at least

It’s the XL.

really? the 'good one' that Ithink doesn't sound good? well none of them sound good

If I'm allowed... I'm not even aproved as the mixer for this... its a tale... I'm halfway printed tonight

lyrics: every day gets worse, every bat to the face is vampire's curse

yeah they punned that

I'm totally feeling it too

so I unplugged it

PS: this drawmer 1974 mastering EQ is a fairly new piece and its just so great, fab filter pales... we're still getting to know eachother

I wish you booth a joyous honeymoon! :D

I haven't printed it once on the band I'm doing right now I just really like it LOL.... its not a problem solver on this joint but I keep patching it in places to enjoy it in pre fader listen on overheads where its not needed, it giveth as it taketh away butnot very punk rock at all

Ha! I was in the middle of editing my edit when you sent this. Didn't mean to imply that nobody has a need for a good hardware compressor, just not me... I have enough gear I'm not using at the moment. Carry on with your gorgeous hardware dynamics processing collection, please!

OH! I intend to... I was really happy when I dusted some of the old girls off this year and the new sisters I added are just fantastic.... not always glamorous but good, helpful ladies

PS: this drawmer 1974 mastering EQ is a fairly new piece and its just so great, fab filter pales... we're still getting to know eachother

I've no need for a hardware compressor, let alone a cheap one that's 25 years old.

AH! NO NO NO, AH!

one of my 1176es just saved the snare day earlier in a way software can't so... NO NO NO

these words mean nothing! your words mean nothing in this order!

I have two 3630s and a 3632, they're okay at some stuff, are they on the record I'm mixing tonight? no, definitely not

I'm stuck on the 2k to 2.1k either is possible but I lean towards the 2000 I think, I may have ahd one of those too but if I did it was indistguishable sonically from the one I have now.... mediocre to tepid is hard to hear... its certainly one of the 2 just given the date

I have that one, the 2100, the pro version the XL or whatever was later... they both suck as optos but if you can handle a little noisewith minial makeup gain settigns they're adequate tools... I've owned both

the one i have is ina closet, I doubt it did as much for daft punk as the 3630 which is snappier and uieter and can sound downright good if you clip the tone sucking gate out

EDIT: given the era its most likely the 2100 was available for around the world etc, but the other one I doubt was out based on my recollections. The 2100 is the better sounding unit to my ear.

I have both of those LOL, I'm still not daft punk, maybe you have to be french

I got my composer opto compressor from Shok in the early 2000s I would have to talk to him about when he got it... I'm sure he bought it the day it came out, eh was like that with cheapies

emperor makes a great cabinet for doom and dirge music, hiwatt cabs with the slot style port on the back really kick but are pricey and not all fanes and clones are created equal, particularly for your application which is highly specific. The ampeg V4 cab is excellent, the old one....a marshall tall 4x12 is a good option as well with a speaker change, even an H30 with 55hz cone won't get what you want but the cabinet itself is boomy, even the slant 'reissue' version.

Ok. I would like to know before i buy tbh

tell the seller to open it and look at the layout, it'll be very bassman derived.... or not as bassman derived.... not is good here.... it might be a good idea to stay away from vintage stuff in this camp if you don't know about electronics, these are pretty complicated amps that need a lot of love now that they're in their twilight years

Thanks dude.... I really like the general tone of the Diezel VH4 but I need the depth and presence to be cranked. It's a good amp on any setting but for my personal preference it's basically best on max bass, max presence and max depth. i just wish the tone stack on those knobs could go a bit farther than they already do.

sure.... if you like the VH4 you probably won't get what you want from something vintage, its in that soldano-derived modern gain staging camp, the psot-800 school of design with lots of added triode stages with voltage dividers to ground between and a cold clipping triode taken to extremes ala the SLO (and the rectifier that copied it)

making a high gain amp deep or especially truly scooped is tricky to pull off well especially without it possibly getting lost in a mix for a very specific reason, ltos of RC network high and low pass filters are needed in high gain designs to suppress squeals, harshness and weird low oscillations so you're actually EQing your tone every stage of gain you add

take it apart

the 5E3 and all tis relatives are anything but those things

the ampeg V series is a bitch to maintain and the vt40 has to be modded for a different PI tube as russian 7199s suck and NOS are non existent now.... they are excelent amplifiers, partiularly the pre-master versions

consider a traynor too, any 50 watt+ model, old ones, new ones are built like shit and aren't what you want really

hiwatt, matamp era orange, also good ideas.... pricey

sound city, not as cheap as it used to be and earlier is better, the trouble with later oranges and sound cities? those parmeko transformers, not really reliable, they just LOOK like a partridge

the sunn model T had 2 incarnations and one is badass and one is an amrican plexi more or less, also cool but not what you're looking for stock.... oh and there's a reissue, don't do that

all other large sunns kick ass and bring that huge powerful dynaco transformer thunder

in fender a solid choice is a dual showman head turned up in anger with a 12AX7 in the PI slot over the stock AT7

you've heard of the black keys? well he's the black KEY singular

maybe rather than teach his cats to play music it would be more lucrative for Ebebebeb to teach them stock market speculation and set them loose with has savings....

every time I read that user name I'm like E flat E flat E flat E flat..... waiting for B flat!

My eyes.

https://youtu.be/PWFF7ecArBk

I was trying to be generous.... you will be one day, right? It beats trying to make a living in music.

Yeah, this is exactly what worried me, it's that "Similar Sounding Item" option + the lack of any direct way to just label something as the clone or emulation that it is.

its especially emulation chaps my ass... like, Eyesee, god bless his little neurologist heart, put the boutique JU06 as a newer version of the juno6, 60, 106.... and its not, its an emulation of something awesome that hasn't been made in years.... I think I deleted that, sorry to Tom, lvoe ya guy, but that's not a juno, its a little DSP engine, its its own thing and its valid as a tiny portable subtractive synth. I'll bet it makes a lot of people happy but I played one and NAWWWWWWW

when they nail it, hats off but its rare. There are some pretty tasty plugin emulations of instruments and gear, but most do not hit the mark. Close enough for live can be 'similar sound and cheaper alternative' but 'newer version' ???? REALLY???

EDIT: I actually wanna add that I think a lot of emulations become their own thing. Like the JP8000, virus etc? I never thought they modelled analog that well but they sort of became their own joint, right? Line 6 is its own sound now. Plugin compressors and EQs are becoming like that.... I think.

I'm not worried about any of your recommendations, Jim. If there were a way to calculate a user's credibility within the community, you'd top the charts.

But in theory someone could run around and link the plugin emulations to every piece of gear out there whether they all get close to the mark or not, you know? Just for the points. And that's a shame to me... I'm just going to leave this here, talk amongst yourselves

that's really nice of you, I've not been particularly successful so I generally suffer froma form of imposter syndrome, or that's what my wife would tell me when I would drone on at length to prove I had knowledge on a topic beyond a level the friend who brought it up was interested in

but it takes very little effort to have the opinion that XYZ modern budget priced DSP box is an alternative (and a loosely implied good alternative) to some $10k piece of hardware you've never actually had hands-on with, and incentivizing that opinion with the same # of points as adding one of the first 5 pieces of gear to an artist, something that is entirely fact-based and requires time-consuming links to evidence, felt imbalanced to me.

I need to explain some of my linkings now that you bring this up.... we have the explanation section and my comment should have been "uses same VCA" or " exact same bassman w/EL34 circuit as plexi" etc etc.... I've been doing compression linkings by detection/reduction type, VCA chip, peak vs RMS or both.... assuming people know this stuff. Like a dbx VCA versus a valley and THAT corp dbx VCAs versus in house 70s and 80s ones which actually sound better, I'm still gob smacked. At least in 160s.

But in theory someone could run around and link the plugin emulations to every piece of gear out there whether they all get close to the mark or not, you know? Just for the points. And that's a shame to me... I'm just going to leave this here, talk amongst yourselves

they are in fact optical phasers when there's dry signal present but all electronic vibrato is achieved by phase shift even the true tube vibrato on an original ac30, so they're also kind've a vibrato but not a chorus because there's no continuous delay element to precisely....

its really its own thing, we're revamping the categories generally so please be patient

I can't find anything what is Electric Catar?

Unfortunately, this does not exist. gchiaren is just making a pun.

this thread is a CATastrophy!

wow, I can't even...

normal sound? I usually only normal my patch points to and from my console inserts in the studio, the patchbays that have outboard gear are set to open so there's no connection between in and out, but if you don't normal your insert patchbays you'll need to hav a cable going from send to receive when there's nothing in the chain or the connection will be broken from the line amp to the EQ....

so there's what normal means in the studio and this remains true even when your wife is there, like Ohm's law, certain facts are facts regardless of spousal proxmity

I'm not sure I follow you David, do you need a recording or mixing engineer? musicians? are you offering to record other bands?

just nevermind, pun intended

• merge option (voting system like discogs) for deleting or merging double items

THIS! I gave up trying to keep up with all the dupes, I did a ton of fender amps by circuit and people came and kept messing them up more and I was like "KILL!!!!" there is no difference between a 64 and 65 in a lot of theese amps other than maybe speaker supplier....

yes to 1, yes to 2, no to 3 because I can't put zep on a pedalboard, i can tell you to get a little supro though, they all sound like zep1 and you could get a vox solid state amp from way back which will get you near a vox UL hybrid head like on zep2 or I can make you an amp that sounds like the royal albert hall hiwatt but not as blisteringly loud but also you're not jimmy page and there's stuff he does with his hands and his controls that's a lot of his sound. He seldom ahs his guitar volume pinned. Anyway...

catalinbread makes a normal sized percolator called the karma suture which I at on time owned and did not like which meant is was PERFECT because I don't like the percolator when I use it.... its a unique, vicious device and I love when other people like steve albini use it... I think I gave it to a friend who then amde it sound wicked

there's so many tonebenders, the jumbo has clipping diodes and is closer to a muff.... then there's the mk3 aka burns buzzaround which was my favorite stage fuzz it has versatility but a traditional, garulous fuzz sound, not so squared off and 'even' sounding.... then there's the professional mk2 which is pretty much a 3 but with no tone control and therefore it just does what it does, very similar to the 3 but a like it or lump it sound.... forget the 1, they're unfindable even in clones.. Then there's my favorite alla rounder, the mk 1.5 aka vox tonebender that's the inspiration for the fuzz face but is a much better and cooler fuzz that will have absolutely NOTHING to do with the sound of the fuzz war so don't get that.

I found the mjm brit bender to an excellent mk3, if you want a umbo/supa you can just cut d1 and d2 out of your big muff and you have it, its really not worth cloning because its just muff with those 2 diodes out using british silicon transisters. Yup.... I would put it on a switch if you sometiems want a stock muff sound, but I'm not sure why you would.

also, if you want another take on over the top that predates the war try a interfax harmonic percolator or a reputable clone

because the peaks aren't being shunted to ground, reamplified and then shunted to ground again.... try clipping 1 leg on a pair of diodes in your muff, say D1 and D2?