jimmarchi1's forum posts 8022

so you're not chaining multiple octaves? good, they probably won't track in series... I descibed what you'll get from chaining the delay based fx.... give it a go

I'm just stoked to have found it!

yeah, me too.... because I kinda want to buy a pair... they're so damned cool looking

phrase your first 2 questions better and I can give you concrete answers.... in line next to eachother.... does that mean in line as in series or next to eachother as in parallel? Are the octave pedals analog or digital?

On multiple choruses. In general if youre talking about stacking modualtions we've all done it. I tend to stack a phaser with chorus or flange, or I did back when I bothered to get pedals out. but you could do 2 of the same effect. you want to set different rates and you cna get some cool sounds however not all units play well together. Essentially chorus and flange are the same effect with a different delay time on the second signal. Sometimes chorus will have more than 1 delayed signal. Usually flangers allow you to add repeats, aka resonance or regen. You can look it up. I can build things but I suck at explaining them. So you go into a chorus for example, and you get your signal and a maybe 30ms or so delayed signal but the delay isn't steady, tis modulated which causes a pitch change so it comes off as dry signal and a delayed vibratoed signal, mostly its about 50/50 dry to wet on a pedal version, boss/roland liked more like 30% wet give or take depending on if it was theJC120, juno6, chorus echo, all a bit dfifferent... right? But elts say 50/50. Then you take that and run it into another chorus. So now your unaffected and delayed vibratoed tone are the dry tone and you add a further delayed and vibrato signal, so you now have a second delay of about 60ms behind your unaffected signal at the guitar's output jack... there's this thing called the haas effect, look it up. As you get out into theselarger delay times its going to become an echo, alright? If you eman in parallel, well, I think I know what you mean and it was series, right? This stuff can be experimented with but its like science, okay? This is how this gadget works, it uses scientific principles and psychoacoustic theory to make my ears happy, if I chain up a second after it its going to treat what it got the exact same way so the 2nd delay line will be twice as delayed.... anyway. Lakes are deep, summer is warm... you can't quantify that int erms of chorus or vacuum tubes, right? Its an analogy. If 2 choruses sounds deeper to you than just one? pretty subjective there. If you want deeper chorus you could also buy a new chorus with a flashy name like 'marianna trench kraken chorus' or something if that makes you feel better. Or you can misbias your amplifier to get warmer tubes, get 'em cooking til they red plate LOL mod the circuit to raise the ehater voltage above operating spec, that'll get 'em warm. But really, there are no thoughts on what will happen. The devices will perform as they were designed to. I just basically explained how chorus works and how 2 in a row would work in the way I think you were asking... that's what would happen PERIOD. How you perceive it? that's up to you.

on the delay question, assuming delay one is passing both wet and dry signal to delay two then delay two will reproduce that whole signal both dry and wet as its own dry and then the wet from delay two will be echoes of the combined dry and wet from delay one... this will be repeated into a 3rd delay line creating a comical mess. What you describe is multitap delay where multiple delay lines are fed the dry signal in parallel. There's also crossfed wet in multitap but that's anotehr story and is still not like chaining up 3 Boss DD5s at 50/50 dry/wet

again, how you perceive the delay mess you're proposing is up to your own taste and artistic goals... but that's what would happen

a search for "maroon boat speakers" might have cracked this one:

https://voidacoustics.com/airten-v2/

Do we have a match?

BOAT SPAKER?! I don't see a boat, but there it is... LOL you know I'm kidding, right?

y'know, they have to be dual concentric.... but they don't appear to have a tweeter... and they are set up dead out of phase.... hmmm

lets just say I prefer to do all the cooking... okay, fine, my wife died when we were separated. I can still make jokes though.

then again I'm a black widower... I'm 0 for 1 in spousal survival. Perhaps its my fate to leave a trail of former blondes...

you can't go wrong on a Jackson.... I found the neck on the one I had to be a bit wimpy but it was meant for shred.... I definitely bought it because it was superlatively well made. I only let go of it because I didn't use it. So I second jackson and charvel as options. Both are great. The performer and soloist are just great guitars.

I don't like music man either... meh

I have been poking around all day while I was helping my son with remote school and I have come up with ZERO. Could they be a prop?

also, if you happen to talk to Charlotte tell her to look me up on social media.... I've got a really nice home studio and an adorable little boy! Ultra-single.

the attention to detail here is impressive... have you considered a career in investigative journalism?

from a practical perspective the dx100, 21 and 27 are the same synth. The 4op engine is virtually identical on them as I recall, 12 bit mk1 FM DtoA... etc etc.... I would be looking at the keybeds as they vary most there and I think in the positioning of the wheels? I think they threw in a chorus on the 21 too. The 21 has the green buttons but they're the non-membrane ones like the TX7 which is great LOL

still its a lot like comparing an HS60 to the Juno106.... they're the same thing in a different box targeted at somewhat different markets.

just making sure, its hard to see anything past the DJ... she's definitely my type

EDIT: are those drivers concave? WTF?!

what, the things that look like small, burgundy jet engines?

Also: Were you talking just about Amp Heads or are you interisted in Cabs to?

yeah, man... do you have a cabinet? maybe you should be looking just at combos

Lol... but every account posted here is still alive and kicking... just like Zissou's shark.

Are there any plans to take actual action against these accounts? ... or is a mild public shaming before a few dozen forum loyalist the extent of the punishment?

I just say 'revenge' in answer to every question like this.... I don't really know why this thread keeps going, actually, but its funny

"I'm going to fight it.... but I'll let it live. Now give me my dynamite."

What's the ultimate goal of this thread?

https://youtu.be/uM-BE3p9TUI?t=61

...but again, just my personal take. Others will surely differ.

I dunno, that's the most sense I've heard anyone speak in a few years.... on ANY topic

if you want the extra distortion of a 900 get the single channel SLX model, it sounds btter than the split channel dual reverb ones. Or get a silver Jubileee, gainier than any 800, decent channel switching.... and not as shitty sounding as a switching 900. But once you're looking at amps with clipping diodes toincrease the distortion why not look at a friedman?

I think I am now able to extend the budget to amps under $2500

You can lay hands on pretty much anything you want for that price range, hell, you've even got a couple of Two-Rock 1x12 combos and used amp heads in that range. Like, seriously, that's basically anything you want money.

Matamp GT120MV? Done. Orange OR120 from the 1970s? Done. Vox AC30 Handwired? Done. Hel's Holiest of Bells, you could split it down the middle, and snag an AC30 for your cleans, an Orange Rocker/Tremlord 30 for your dirt, and a nice A/B switch (if you got the Rocker and the JHS Mini A/B, you'd still have another £400ish to buy gear with) to swap between the two.

That's what I'd do.

But my sound pretty much revolves around Vox/Orange anyway.

2 ams and a switch were always my prefered live setup for alt rock

so there's the high gain and low gain approach... or go cranked and get a mean 15 watt vox style like a matchless nighthawk or something for the real deal dirt, a radial ABY and then get a fender or a hiwatt for clean (not that a hiwatt can't get poweramp dirt but it'll liquefy your organs)... so you just pin the 15 watt amp, maybe use the master a little, maybe not.... then you let the big fixed bias amp do your cleans.... need less dirty? pedal into the clean amp or turn down your volume knob on the dirty amp

lots of textures.

again, I would personally buy a 2 power tube hiwatt or orange, an 800 or, pbviously an ac30.... for your kinda money you might be able to score a vintage ac30 in this economy. Although they need upkeep. Unlike the aforementioned mesa its a labor of love... well for me. Plus maintaining an ac30 is an investment... but I digress.

Well, I realize this is like right at $2500 but what about a Mesa/Boogie Dual Rectifier? It's 150 Watts, Tube-Driven, 3-Channel and has five output jacks (Two 4-Ohms, Two 8-Ohms and One 16-Ohm) so you can power multiple Cabinets with different Ohm-Ranges at the same time.

How much do you want to spend on an amp that will usually be in teh shop getting its relays replaced or the jfets in the switching circuits or an overheated non-mil-spec PCB? Or can you afford 2? Also, the preamp is literally a soldano while the poweramp is like what Soldano designs when Mike's drunk and can't make up his mind.... and all those options lead to 8 million failure points.... I think the road king is their worst offender, but the regular triple rec and even to a lesser extent the dual rec.... shop whores. I won't even work on them anymore. its always jfets or relays or someting related to footswitching all those pointless options. They really did rip off a SLO100 and ruin it....

I think I am now able to extend the budget to amps under $2500

world's your oyster, what do you like? An 800 is a good call.... want some fender tone and switching? Soldano Hot Rod 50+ maybe? Or that other one that has the Twin Channel and 2203 type channel, cannot remember the model, might be discontinued but its a great amp as far as switchers go. Very 90s alt rock tones. Everyone used a twin or a marshall then.... hell I'm from the tail end of that time and I used showmans and superleads togther. But 1 amp is easier. Personally if I wanted to spend $2500 bucks on an amp I would just buy a pre-PCB Hiwatt, Hylight /Harry Joyce era LOL

Marchione Guitars, no relation to me, just coincidence. Stephen makes a 1 piece neck and body strat that is amazing.... made 2 for knopfler... but tis REALLY high end. Like vintage car pricing.

In more traditional offerings I like King Bee

this always bothers me, from a user perspective I don't put stuff I didn't have at my house or studio for awhile on my list and I won't put a loaner on my lsit unless I made a recording with it that I put out for financial gain... I don't put microphones up that i used out of the studio mic locker because I worked there, I used those mics on everyone, but if I was working at home I didn't use them. They weren't mine, right? Nice to have them but I wouldn't spring for them. All the microphones in my personal collection have been carefully selected for price performance. So if you wanna know what I choose when its my money, its those.

But like adding an elam251 or u47 to Sinatra? On one level weird to me. The engineer chose that, those were the mics at Capitol. Frank may have had a preference as he got older but he wasn't known to bring his own in the Capitol years... on the other hand, knowing how they got that vocal sound? Its a SOUND. Maybe you should put the whole chain up in case someone is doing a crooning big band record and wants to buy the stuff to replicate that.

The whole thing's a philosophical minefield.

I can't tell you how many friends and clients (or clients of friends) have made commercial recordings with my 62 ac30 over the years but tis been mine and has been for 20 years.... not those artists' or the studios'.... so what's that about? How's that work on equipboard?

I'll send something over later.... I've been punching BBCSO core into a piece I'm already working on, I finished the wind articulations yesterday, need to do strings, no horns in this 3 minute section but I could write a few in for you to hear.

So I've been considering a big orchestral library for a while and I settled on BBCSO pro last week. Right now their black weekend deal is 40% off o I pulled the trigger yesterday and threw in thir proprietary SSD to house the 500+GB of high res samples. They threw in a kontakt library worth about what the SSD costs. Haven't tried it yet, because I decided to give the smaller Core version a whirl on the concerto I'm writing and DAMN!

Listen, I cannot recommend the BBCSO highly enough. I know Discover can be had for free, but just Core is worth it. If you want to add orchestration to your music and you KNOW A BIT ABOUT HOW ITS DONE, this is for you. If not look at Abbey Road maybe, or I also was partial to the Studio Orchestra soundwise for adding to pop productions, but Abbey road is like ready to go sections and combos with a great pop studio sound so if you can't orchestrate and just want vintage strings a la phil spector and George Martin/beatles? Bang. If you have the Waves Abbey Road chambers (also on sale) you can get a lot out of that. And like the BBC Abbey Road is a dedicated plugin. More on that anon...

However, if you want absolute control for more complex orchestral work? Or you just have the patience to work it all out? BBC sounds superlative and the proprietary plugin is a ream to work with. I learned the basics in an hour and had all my woodwinds for example responding with custom velocity curves and a shared technique trigger template that both worked well whether playing the keyboard or drawing in notes. Unlike Kontakt the interface is highly scalable both visually on the GUI and content-wise for collabs with people who have pro or discover. The Core version runs fine on my old i5 machine in multiple isntances and my current i9 machine doesn't even break a sweat. And oh those legatos and portamentos... multiple types of pizz, bow slaps, multi tongue techniques andif lucks aren't your cuppa (its brit orchestra, so pour tea) staccatisimo, super staccato wind and brass stabs. If you can't find a use for that? Well...

I cannot recommend this highly enough if you want to add some acoustic music into what you're doing. ANd not just pop/rock stuff. This orchestra could be at home in an epic club banger, particularly like future disco.... or if you want to do some techno? Make a cute little arrangement, print it, chop up the stereo mix and get all strings of life with it! I'm telling you... Buy the Core to try out. it will give you new places to go. Iw ould not pass on this deal (and didn't). I don't usually go in for this stuff, but something of this quality for these prices? I think this is my favorite plugin of all time. Grnted, I own a lot of synths, I can't fit the BBC orchestra in my house though... and I lvoe classical music, so.... YMMV

EDIT: the Core sale price is a paltry $269.... I've had bar tabs bigger than that.

and I wouldn't want anyone other than me dealing with buying a 30 year old drum machine off Reverb... so many questions one must ask about condition, service history, etc.

YES

This is our collective dynamic tonight.

that's pretty much it

FUCK THIS BITCHES. its the music business, not business now featuring 1% music... I'm sick of this way of thinking.

NO NO NO! a dead musician can't use something after her/his death.... posthumous endorsements are a matter for estate lawyers, not equipboard

I've been trying to get one to replace my poly800 sold during a bad patch.... because the poly800 is the shit. Everyone hates it so its cheap. But tis paraphonic like a stripped downmonopoly and its the sound of detroit. Its not as bad as folks say it is and I sued my poly800 a lot for string machine duty back in the day as well as stacked techno stabs. Don't sell your Juno, PK, butif you've got that, an alpha or 106 (the 60 and 60 are too classy), all your drum machines and a 4 op FM synth you can just lay hard into some old school techno without trying.

I missed this in the (relative) flurry of replies. You get me, Jim. Thank you.

I start off strong and get less logicaL EVERY HOUR

If it’s what I think it is, it is likely a simple LPF with no resonance and implemented in the DSP that is present to handle effects.

that would be my guess, but you never know since the (I think they call it) 'tone' on the FM engine as it turns out uses some sort of tuned feedback in certain places of the algorithms and on a lot of them it behaves like a 2 pole resonant filter with the resonance tied inversely to the fitler cutoff .... the sy35 manual is useless.... oh yeah, it also has some cheese ball 80s/90s drums that are fun. Suitable for Janet Jackson covers...

same deal here I THINK... not sure, documentation is scarce. It behaves fitlery ways... this synth has a lot of D series attributes.... really, reminds me alot of my 550, but with a layer of FM and the vector thing going on with up to 4 layers.... mmmm.... vectory.

I mean I'm not sure about on the AWM side, not a lot of documentation on how that works, but its not like the full filter emualtion of the bigger SY synths, n the other hand its pretty unique sounding. I ahd no idea the 'tone' on the FM side has a really itnersting sound.... I suppose calling it a filter is strong, but it has sounded like one to me? its weird, I never thought it over. I thought of it as being like the D20 filter only not bad sounding?

wear a mask

I think on the FM end its actually a feedback loop where an oscillator self modulates but on the AWM its feedback loop

non resonant.... called tone like on a lot of mid budget digital synths

done.... THANKS!

Can someone tell me about the SY-35? Someone mentioned it has a filter. Is that true? I wasn’t aware of this.

I own one,its sitting powered down in south philly right now. its basically a 16 bit sy22 (tg33 keyboard) .... but it has a digital filter tacked on and the interface and engine is a bit different but capable of the same basic sounds. Has a joystick too.

I used a cracked copy of Cakewalk for Windows and drew the notes by hand with a mouse.

I remember doing that when my dad got a copy of cakewalk from my uncle, mebbee 92ish :-) But it was frustrating... eventually went atari and creator

I think you're like 5 years older than me, damn

you were talking puppy and dated nd I realized I hada copy of my highschool yearbook around and here's my picture... I'm not the one with the boobs. We never got along even though we were at a lot of the same clubs when we shouldn't have been.

yes I went to raves like that.... even threw some parties in full rivet uniform

EDIT: this was about the time I owned a realistic concertmate, DX7 mk2, DR55 and POLY800(!) as the heart f mystudio LOL