jimmarchi1's forum posts 8022

okay, so I just looked up 301s, 501s and 555s like mine which were more fully featured but used to trade for less.... I take my 1200 estimate back, looks like they've more than double the last few years. Get the strymon capistan, ebebebeb.

that would be cool to have a steady career again when I'm 50 because then I wouldn't care that our generation can't afford to retire because making records never feels like work... unless you need to wire up patchbays, ugh, I miss interns! I'm setting up three 48 point patchbays today and boy are my arms tired...

you should see the frickin' snow here, its like a mix of snow and sleet that's large enough to classify as hale... Philly's got 2 Halestorms now

what about buying an expensive pointy guitar like an american Jackson V?

yes, yes it is.... just kidding, no, its something one of my coworkers says all the time and I decided to use it

for sure, I'll never gig it again, it honestly functions better with line level signals anyway

Ain’t nothing like the real thing (baby)

mmhmmmm, but they're a hassle now that they're getting old. ok, they were always a hassle.... and they weigh a ton. I can't believe I used to gig mine. I just picked it up yesterday to get it into my mix position and wire it up to my console when i took the picture above and I'm pretty sure I got a hernia.

I'm telling you, just get one of these babies.... you'll have a great time keeping it running and lifting it around. They're not getting any cheaper and your money will only be worth less and less at this rate of global inflation. The magical properties of these cranky electromechanical boat anchors is truly worth it. Another otion if you just want tape echo with multi heads is the Multivox version which is a better unit for just echo. I ahd this thing up and running yesterday for a mixdown and there's really nothing like them today.

and can you do me a solid and keep the guitar posts in 'guitar & bass' please? Thanks in advance my dude.

revenge?

https://youtu.be/uM-BE3p9TUI?t=64

I've got a couple of guys I'm real tight with who look out for me in all things when needed for not a lot of money. I'm doing business at a real circle of friends level right now or I'm charging up front, too. I need some recent stuff on my reel and if someone I like makes something I really like I could be talked into doing it just for the credit. I've only mixed a few records the last decade. Its weird, i feel like not doing it professionally has me doing my best work though. Just fooling with my own music and thinking about things has really given me a lot of ew approaches that are going really well. I've honed my multi bus system and come up with some treatments for drum machines and loops that I'm really proud of. And I'm always fishing for weird pieces of gear, not just utilitarian stuff. I got these Gates solid statesman broadcast limiters that are so weird sounding. They're not tube but they have like 3 transformers each and 2 inductors for reasons I don't know even looking at the schematic. I can only figure out what the 2 balncing transformers are for, the other iron is a mystery. The things have like 2 compression stages to make limiting, its soem kinda thermistor based system I don't udnerstand that also is followed by a FET detection circuit but the FETs are wired in as diodes for some reason so maybe tis more like a Neve diode bridge, ne part is pretty ehavy handed but slow attakc and the other part is lighter and has insanely fast attack to get what the first part missed, its attack in microseconds. Its not a refined tool, but in context its both a leveler with balls and also has a huge a huge gain swing so it can be a jFET distortion box with tons of transformers making an almost guitar amp type of dirt. I would actually try putting this inf ront of an amp on stage its that cool sounding.

I digress.

Per our fanboy praise of HBO's Watchmen last week, maybe serialized prestige shows, with their thinner FX budgets and more breathable pacing, are the new playground for tying characters to earworms?

I think this is probably where its at.... big budget films are looking for atmospherics, tension and bombast and NOTHING MORE. Take it away and miss it, lsiten on tis own and meh.... but like GOT, Watchmen, Westworld have more defined themes.... or like Clint Mansel has gone over to TV prestige shows and is doing DC/HBO max Doom Patrol to great effect...its not that long ago he di Pi....

I'll make no bones about the fact that even though i like a lot of modern actioners and superhero movies the editing is just nauseating most of the time.... last fast paced movie I truly felt good about was Ronin and that was awhile ago.

Out of curiosity, does Patreon have explicit features and functions to support that kind of setup? If not, it's a killer idea for someone to tap into.

I'm not entirely sure, never used it.... I'm not a virtual busker like some folks....

I love lawyers

the dark knight opens really strong for example and slowly but surely descended into some chord changes, really 2 chords... you thik its going somewhere, that there's a joker theme coming but there's not... and its not like Zimmer doesn't know what he's doing. GLadiator is loud, actiony and loaded with memorable themes for each character and/or locale.... he even has his big action Wagner music and that segue into Rome rom the clouds...

If someone will pay upfront or has cool gear I want then its on, of course. But this back end social media thing is my way forward in the future and will solve the problem where guys won't pay me for a year and just release the roughs! Although I solved that by adding white noise to a spot in almost finsihed mixes. I ahte when stuff I wasn't done gets put out there. Its not just compensation.

...but isn't your profit then tied to their social media prowess AND their integrity in staying honest re: income made from social media? What's their incentive to be honest re: how successful they are on Patreon over the coming years?

my thought is to make it a shared patreon until the bill is paid

last really, really interesting score was Fight Club I guess...

there was a period there where everything had a sound but somehow everything but John Hughes movies was still really unique. Like Bucaroo Bonzai could not be mistaken for Blade Runner which is not the Eurythmics soundtrck for 1984, and yet....

its not cheesy compared to Maurice's score for Dreamscape, oh man I love that one

yeah well, we'll see who pays... I'm doing a back end deal with a friend from DC for electricity and 10% of stream revenue if any, patreon, shirts etc if they do anything with it but I just feel weird hitting her up even if I never see another penny, which won't because its not a popular type of thing right now.... if I feel like that methods worth ursuing with something more marketable I'm going to push for it. The trouble wis with strangers how do I assure that I know what they pulled in on music. The idea is most people I work for aren't doing this full time and you don't really sell records anymore anyway and no one has any money to begin with, its the pandemic... the idea is tog et them to have an internet presence and a patreon and get paid in installments from patreon. Or have bands put up a kick starter first maybe, but that seems like a losing proposition without gigs to promote at. There's a whole patreon/merch pool of revenue that's still rocking for some people during thepandemic that I think recording people need to tap. You can do what most do and give your tricks away on youtube and hope to get compenated with donations or you can perform triks for musicians and elt them go begging and then pay you until they make another release.

If someone will pay upfront or has cool gear I want then its on, of course. But this back end social media thing is my way forward in the future and will solve the problem where guys won't pay me for a year and just release the roughs! Although I solved that by adding white noise to a spot in almost finsihed mixes. I ahte when stuff I wasn't done gets put out there. Its not just compensation.

scored by Jean Michell Jarre's dad, Maurice who also did Hitchcock's Topaz after the fiasco where Herman got fired from Torn Curtain

when I started making music on the side again my wife up and died.... I mean, I never saw them as related, but you just said that and now its all clear. 5 years alter there's a full blown post-room in my house and paying clients.

its not really that much like witness

its not unlike that... in the 90s it was a philly afterparty thing to drive out to Zinn's Diner in lancaster and eat pork Chops for breakfast... many were the times in both the techno community and goth/indusrial scene where freaks inundated Zinn's on a saturday morning and then milked some cows... or were we just really high and we hallucinated it?

its not unlike that... in the 90s it was a philly afterparty thing to drive out to Zinn's Diner in lancaster and eat pork Chops for breakfast... many were the times in both the techno community and goth/indusrial scene where freaks inundated Zinn's on a saturday morning and then milked some cows... or were we just really high and we hallucinated it?

I'll see. It's kinda classy. Thanks man.

oh jeez, there goes my kid's college account

I thought you were setting me up... I'm not far but I venture into Pensatucky with great caution.

close in proximity or close in philosophy? because I don't think they like me

any other ideas besides a table? kinda trying to move the other direction and feel classier....

dude I'm turning into my dad

not at all

you just caught me before bed

Pat metheny used one at times if you like that stuff.... he also favors the polytone line last I checked.I could be wrong, not a huge fan. I just always found the jazz chorus to begreat for indie rock, 80s indie....great for funk too.... but its kidna toppy but also grainy in the mids for jazz.

let me say that to make a good analog mix in your house you'll spend more time setting up the gear, biasing tape decks and wiring patchbays than actually mixing LOL

It took a whole staff to keep that Japanese studio running and when tis just you, it gets exhausting.... I decided tos et up a great hybrid post room in ym house and every time I think I'm done and I can just mix there's another thing.

This pedal is not at all similar in sound to the Roland Space Echo... Isn't that right?..

it sounds very cool.... but it kinda is its own thing a lot of the time, it ahs all the features. Other emulations don't have the multi ehads or the sound on sound or the spring reverb. Does it sound right? I'll let you decide but if you need all the functionality its a better choice than a TC or Strymon. Most people don't use all the functions of their space echoes and chorus echoes though. They can be really overwhelming, really.

you can use whatever, jazz has no rules like that, but go cleaner

classics of jazz are fender blackfaces (wes montgomery used a twin), 60s ampegs (bigger ones like the reverborocket and gemini II), 70s polytone minibrutes, Gibson Lab series. Don't get a jazz chorus, its got jazz in the name but, just no.

roland chorus echo? Not a pedal but you get a space echo with the treble and bass controls, a juno-like chorus and the space echo small tank spring reverb all in a convenient 50lb unit for about $1200 US, a veritable bargain LOL.... love mine, I honestly used to gig with it 15 years ago.... then my best friend had it, now its back in my studio. You can;t beat it with a stick. Nothing actually sounds the same. I've owned many tape echoes and still have a weird little univox too, but to me the roland was the most professional piece of kit and the loose spool of tape lends a magical randomness that's hard to describe.

Otherwise the space echo setting on the TC flashbacks ain't shabby, strymon's a bit better at it, but its not head and shoulders, just a biscuit.... when I want a sound like this at a gig I use the flashback x4 and its close enough and also has a passable memory man sort of sound and DM2.... the tube echoplex is a bit lacking, or is it meant to be a copicat? Can't remember, but the majority of the sounds are good and a little tweaking via the toneprint software can make them outstanding plus they have tap tempo? YEAH

But a real moving tape it is not...

I'm more in GL3300 weight. That's a thought

Dude, I hope you feel better soon and best of luck in this terrifying economy. Are you sure you don't want to start your own little business? Might be easir and safer.

I think you have the brains but its a rabbit hole. You may wanna start dead small and also invest in something like a korg minilogue XD too that is somewhat poly, has VCOs, digital hooptajoop, is cheap and really is killer all day every day at all these 80s type things from analog to FM to wavetable. Then you can add to the eurorack as you really wrap your head around it a bit at a time. I always go small with everything and I get comfortable and then go nuts assuming I like it and its useful and shit.

Do you have 16+ inputs? What are you doing for a stand? I've got my Soundcraft on a heavy duty keybaord stand right now but the arms just ain't that long its making me nervous. Its not trying to jump off and the stand can hold over 4x the weight of the console.... but shit happens! and its kinda lame looking. My red velvet command chair says 'making vibey records' but my stand says 'Jim is cheapskate.'

I can't seem to find a lot of mid format console furniture, this thing is the size of a desk so what do i do with it? I can't just put it on a computer desk, its that big or bigger. I'm going to heavy steel stand route already. Is there any other off the shelf option that could maybe get me some real estate for a pair of nearfields or is everything else bespoke and expensive?

Someone must know about this stuff. I've never bought furniture like this before, I just worked places that were furnished! Now I'm trying to put a real post room in my house for the pandemic and its a rabbit hole.

HELP!

-one stressed out mix engineer

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