jimmarchi1's forum posts 8022

I was in very rural eastern CO and western KS. I was the news director first at a tiny classic rock station, then a country station covering a six county area. I started in 2000, and the equipment was older than I was. The main console was 70s, wood paneled, and to play soundbites, I still had to use carts! (Which was basically like an 8 track).

something like this old girl that I've been using for summing?

about my age :-) eqipment doesn't get old like people, it just needs maintenance.

@jim & others, what do you guys feel is the current threshold of diminishing returns for new guitars?

Meaning, the value for your $$$ drops off dramatically after that threshold.

$900? $1500? $2000?

$750 used, $1500 new these days

***AKA the high-income, modest-talent middle age and older collector/hobbyists whom the guitar industry seems to have been catering to and entirely dependent upon for decades.

the podiatrist and dentist market.... the custom shop at gibson is really great but a used one tends to cost twice the diminishig returns figure I listed. For a 335 or something its worth it, for anything else forget it. Its a better instrument and if you play it you'll notice but how much better? A les paul? maybe.... the VOS is pretty sweet the last 10 years... an SG? the 61 reissue has nothing on the standard and the VOS ones are still not a vintage one. I've had 60s SGs, new (at the time) standards, older 90s standards and custom shop SGs all lined up and I got a standard and later a silver humbucker equipped special. There you go.

I have a number of gibsons, I like them.... but they're relatively hand made and vary a lot.... I played SGs for over a year before finding my #1.... big neck but not too big, head stock doesn't dive on a trap when I stand up.... I wanted a great unplugged sound with sustain, not a plunky banjo sound.... I played a lot and almost gave up when I found this SG standard used in Maryland. My other SG isn't as good but its silver, so....

again they vary a lot, the QC is more stringent the more you spend.... and one man's junk gibson is another man's treasure...only in the cheapest lines do you find outright dogs. Spend too little and you'd be better with a high end epiphone

then the college student's good, you just need to worry about the other one! LOL... that's if there's a civilization when he graduates.... I mean, look around lately

I had to do an almost daily ritual of twisting the copper wires back together to get it to work (Parts were covered in foil!😂). But the mixer itself probably had a lot more quality anyway.

I don't know where your from or what sort of station we're talking about, but my experience with radio control rooms is the boards, however poorly maintained, are pretty high end although I am NOT a radio person, recording engineer.... but I've been interviewed live on the radio and I knew what iw as looking at and we were talking 10s to 100s of thousands in equipment just for one studio.

kids, you can't provide for them anymore and you 're not supposed to eat them... mine's 7, god help me

I think the songs can sit on the shelf, spend time with your kids. Unless they're budding engineers, then have them record your songs and set them to work mixing them while you're watching netflix in the other room....

I hope your health miraculously turns around.

Multiple System Atrophy. The average life expectancy is 7 years from diagnosis. Next month I enter year 8. It is starting to get very difficult to make the songs sound the way I hear them in my mind. And even though the quality will never be great now, I just really wanted to make those songs while I can.😔

Just buy the most expensive stuff you can afford. I can't tell you how much easier your life will be making these songs.... and if there's a question mark on tomorrow why be frugal? What you bought has little to do with what you worked extensively with. he price point on a good broadcast console would be exponentially higher. These days you don't even need a mixer to record some songs.... go treat yourself to a UA, focusrite clarett, or MOTU AVB interface.... buy a nice microphone, a really fucking nice one like a Telefunken or Neumann... make sure you have a piece of software you like, get some shnifty plugins and have at it. If time is potentially short, spare no expense.

Best of luck.

do you have the scratch?

I've never owned a bassbot, but I recall the sequencer section being pretty generous on those. there's even a generative component that goes beyond just a pseudorandom grab bag, if memory serves?

yeah, you can degrade a saved pattern like when you had a 303 with a bad battery and the patterns you saved would slowly turn screwy

look, sometimes the best thing to do is to save up for what you actually need, or even something you genuinely want.... patience! Unless you have a looming publishing deadline or something that you just need a little mixer to fulfill? I think you should return it and wait, save your money, figure out precisely what your needs are and how to fulfill them with maximum fidelity. Then do that.

basically for every modular 'voice' you need 1 of everything and its good to have utility modules like merge/mult panels etc

I’ve bought most of my guitars past and present without ever playing them. Only guitar I regretted buying was a Gibson Les Paul as it’s just didn’t compare to my Epiphone Les Paul. I felt robbed 🤣

I guess they send the bad gibsons to the UK these days....

I've been saying this forever but some people disagree with our current notoriety criteria and a lot of people don't want to drive off prospective users.... but these guys aren't adding anything useful most of the time, just self agrandizement and they're gone

all set

dude, he's got a cowboy hat, he must be legit

that is all

This made me chuckle.

THE digital

that sounds rightto me.... lots of guys added super distortions or the dimarzio PAFs to their deluxes. Did a little routing and popped them in. If they did a good job you won't know without opening it. Gibson never uses anyone else's humbucker unless its a signature model. At the time it was all their own stuff. If they did a hot pickup it was the dirty fingers, their copy of a super distortion.

I use the same Shun Kajis as Alton Brown... they kick ass and remove fingers...

I like writing out lead sheets

there was a korg synth in the 70s, I think the micropreset, that had a preset called chirpy frog.... but for a bass? I'm not really sure wah is the way to make a ribbit, its just an inductor based bandpass filterwhere the resitor in the filter is varaible, the pot, changing the center frequency.... when i think frog I'm thinking something a little more complex. Remeber crispy frog? It should in bold letters 'contains lark's vomit!!!'

you might want to look into more of a filter type pedal, maybe not an autowah/envelop filter but something in the moogerfooger of minifooger line maybe. Its going to take a whole chain of fx in a weird order to make a bass ribbit like the jumping frog of calaveras county.

what sort of frog, African or European?

sometimes the fx become the patch.... with old gear I tend to be a purist, but eurorack? nah

ah, my twin responds! I find myself just firing up my juno and polysix all the time when I ened to recharge too.... get some long verb and noodle around on one over an arp from the other!

there's a real world of difference in how I would go about creating the sounds in your first and second examples.... the first one is more my style and I wouldn't bother with my semimodular stuff. I would use a mix of vintage gear and my prologue and peak probably.... and really lean on the 2 modern polysynths' effects sections and then run all the synths I sued into some modulation or pitch shifting and reverb on a bus, probably lexicon and/or an spx90. The 2nd one I would approach with modular stuff, sure. In all analog you can't go wrong with a neutron or two, maybe a minibrute2 for east coast; and for westcoast I like pittsburgh modular, microvolt or the voltage lab maybe,. Others like the 0coast, I prefer the microvolt having used both. Then You will want your weird stuff in a small case with pwoer supply. Go small to start, it gets expensive. I highly recommend the mutable instruments digital oscillator designs like plumes etc..... and you'll want some utility modules and maybe a weird filter like dave rossum's z plane for eurorack? And don't forget a wicked reverb for those sounds like the eurorack format EQD stuff :-)

my .02, I'm by no means mr modular.... I dabble, but in mono I'm way happier with my beloved ARPs... I tend to be a poly guy, but I play keys.

I do have a question that I have already made a thread for but nobody has answered and its about 2 or more submissions of the same item. I have seen in multiple artist's gear pages that many submissions are of the same item. For example, Tyler Joseph's squier vm jaguar bass short scale has been submitted 4 times. Billie Joe Armstrong also has multiple submissions of the les Paul junior (this might be right because he has approximately 20 les Paul juniors in his collection). What should I do about this?

if you feel its a full duplicate there's a 'submit duplicate' form (accessed from beneath the item name when you search for it on the top bar search ie https://equipboard.com/search?search_term=les%20paul%20jr) and if we agree we'll merge them.... there's some debate raging about vintage instruments as they "don't make 'em like they used to" supposedly LOL

I had a poly800 for year, much maligned successor to the monopoly, but yeah, chintzy... I'll have to try the softwae, usually fullbucket nails it as well as any programmer can.

I currently have a Polysix, Poly61 and DW6000, all built like tanks, but particularly the mighty poly6, heaviest synth I own.

On prophets, was it the mythical prophet5 or a 600 like mine? The 600 is a helluva lot lighter, but by no means chintzy. It also is no slouch in the sound department. Just a biscuit less amazing than the 5, and pretty darn close to the alter 5s even though they use somewhat different curtis chips. The rev1 with SSM chips is the one that's noticeably better to my ear.... same chips are in a polysix. If you ever have a chance to snag a polysix don't hesitate.

That squire is linked in my earlier post, so I agree to a degree, but those all those 2-pickup Squier Strats documented online are straight-plug, not a slant-jack to be seen...

I'm from that era, all the 2 pickup strats had flat SG type pickguard mounted jacks.... you really saw an abundance of them

That squire is linked in my earlier post, so I agree to a degree, but those all those 2-pickup Squier Strats documented online are straight-plug, not a slant-jack to be seen...

I'm from that era, all the 2 pickup strats had flat SG type pickguard mounted jacks.... you really saw an abundance of them

and so my work here is done.... I just didn't notice until now.... 2 months later

I already flagged the dude yesterday while I was devouring wine and cheese...

clifford, you have a marshall major? where the hell can you turn that thing up these days?

somehow I didn't see the word 'white' lol, yeah, everyone had a VL1 in the 80s. Christmas present of choice. Also a a calculator.

I remember working on a record where we were using Drexel's studio A and B right when protools HD came out and the wholeplace had been upgraded to 192k and this student was like "so what do you guys think of 'THE digital'?"

that is all

why didn't you say that? then you're good... this is tedious

I'm a 40 year old nerd, need I say more?

perhaps you were immune to the tenor of my response :-) Tuning below C2 on guitar can be done, but it will be stepping on the bassist. Below drop C you should consider a baritone guitar or fender bassVI just because an intermediate neck scale will intonate better at those lower frequencies. Some metal bands will have a guitar, a baritone and a 5 string bass it always seemed silly to me.... I always liked Peter Hook's use of the Bass VI the best and when Robert Smith breaks out the baritone its usually pretty cool.

you didn't mention you played the bass too, cheers!

then this is very straight forward... you can either drop all strings incrementally (down a half step is very popular to this day and Iommi went a whole step down to lower the tension making i easier on his factory-accident injured fingers) or you can drop one string (drop D making a 1 finger D power chord with octave on the bottom 3 strings) or I'm sure what you're referring to is tuning to drop D and then taking everything down a step orso., what they call drop C, which unlike the name implies is actually a mixture of tuning down and drop D... At this pint, yes your strings will feel flappy, especially your bottom string. This is the point where a normal person would ask "why am I doing this?" in fact you may start to question why you play the guitar at all or even make music in the first place. As your limp strings flop impotently you may be tempted to apply to law school and make some real money..... but fear not, there is an answer. Heavier gauge strings will tune up to a normal feeling tension in drop C. The gauge needed is a matter ofpersonal taste and will require experimentation but a google search will provide some good starting points. The meatheaded djent lords got here long ago and unlocked the secrets. You will of course need to re-intonate this guitar for drop C and heavier strings or higher frets will sound 'out of tune' causing unintentionally unmelodious soloing that will likely awake cthulu from his slumber.

What is the small white vintage keyboard of this picture guys? https://ibb.co/JkJF6sm

its not vintage its a Roli Seabord

are we talking full alternate or just dropped? I mean, basic drop D has its routes in spanish classical and flamenco, man

DADGAD is an ALTERNATE tuning, Robert Fripp's tuning is really alternate... dropping a string a step and/or dropping the whole guitar incrementally? hardly revolutionary