jimmarchi1's forum posts 8022

So this is the guy who played on Coltrane's rendition of "My Favorite Things", one of my favorite songs?

yup

welcome! saskatchawan.... I just like to say saskatchawan..... saaaaaasssss--KATCHAWAN!

it happens almost daily, man, I see it multiple times a week with lots of users (mainly teens) creating and following their own pro pages... we're acutely aware of the situation

He's in, and lookin' good y'all!!!

https://imgur.com/dZBJ7bO

Thank you!!!

since you spotted the problem I'm giving this link to you https://youtu.be/x4s-jd35Q6c

do the honors and add these 3 drum kits to Elvin!

I think I was able to fix it. WEIRD bug, good catch. Try adding Elvin Jones again. I promise Equipboard loves jazz! Miles Davis radio is a go-to station on whatever streaming app I happen to have handy at the time 😁

BROTHER MILES!!!

I love the Wendy Carlos-ness of this. I envy your scoring chops.

I'm guessing 9 of every 10 entries in this contest stitched together thundering Hans Zimmer BRAAAMs and called it a day.

I got trounced thoroughly.... the runners up were all Hans Zimmer, yes.... the winner sounded like donkey kong. Shit you not...

on the other hand I can read complex chart and write a score

https://youtu.be/jfTShWk6emI

I don't hate jazz, I played guitar in jazz band in highschool and college

Too bad you wasted so many years on an invalid genre...

I KNOW!!!!!!!!!!!!!!!!!!!!

I don't hate jazz, I played guitar in jazz band in highschool and college

drinkin' helps... cheers

the utter conceit of people anymore... seriously, sickening

Beatport sent out an email about the code to me & others this morning. Sale's going on till November 11th. Six days. Thinking Plugin Boutique fixed their site (basing this on feedback I'm getting from offline producer friends).

Go go go!!! XD

I'ma try again later.... think beatport can get me a free kawai k5000s? I need a code for that... I keep losing auctions for them! j/k

iris sounds pretty cool from the dmeos.... in a sort of wavestation meets roland jd/jx way...

I looked through all the MIJ tele customs I could find before my original post, and nothing was an exact match... but nonetheless I agree, I'd be shocked if it wasn't ultimately an MIJ model that just didn't have a high volume run with that color + fretboard config.

they sued to make one that was an exact match, I knew someone with an early serial MIJ reissue, maybe an A serial? somethinglike that.... exactly that tele custom. 90s or maybe late 80s

Things get weird when your only follower is... you...

https://imgur.com/a/knBpfDZ

this, exactly

this happens all the time and there's an ongoing thread about it amongst admins and mods.... I hate when people do this. It chaps my musical ass.

its probably a fender japan version versus an AVRI or mexican classic series... for whatever that's worth. The difference between off the shelf mexican and japanese fenders has really narrowed from when I was a kid and the japan models were head and shoulders above a lot of mexicans.

okay, so when I search these sennheisers I get a big image but if I find your review on my feed the image is small even when I go directly to the item, its an internal problem.... @gchiaren

its full size for me, did you clear your temp files? it could also be a database glitch... before we delete it again we need an admin to look at it. gchiaren michael !!!!

CORONAVIRUS IS RAGING IN CORONA CALIFORNIA.... WILDFIREES... maybe just maybe that has something to do with it?

thanks, couldn't manage to DL it, but I probably wouldn't use it anyway! cheers!!!

looks normal to me... just checked it on my phone and a desktop

that's the resolution you gave me

done

eh, you might want to take the neck off to shim it when you do your setup anyway, see if they'll send you another plate...

exactly... just lease again. Own the proph10, lease the car... yeah

Dream that dream Jim! It's a good one.

I don't really need a car these days....

it shouldn't have binding on the back, that's a custom... brass parts would not be stock. Even when gibson used brass saddles they were nickel plated. That heel you're referring to is called a volute and was gibson's attempt to prevent their headstocks from breaking off.... it didn't really help. There's soemthing about their joint that's more prone to that then the way a lot of japanese clones of the period did it and the volute adds extra wood that just makes the headstock a little heavier... you still see just as many norlin era gibsons with headstock repairs, they just break a little differently :-(

your serial indicates a '79, probably made january 9th in kalamazoo and was (interestingly) the 9th guitar they finished that day. That's the end of the deluxe' run so who knows what they were doing at that point? the beginning and end of a model were always crazy at gibson. They would change up specs to try to use up parts they had laying around etc... in fact the minibuckers on the deluxe were allabout using up extra minibuckers after gibson brass shut down the USA made Epi line they ahd maintained throughout the 60s as direct equivalents to certain gibson models with different pickups and ehadstocks... sometimes not even different pickups LOL, look at the casino es330, Same exact guitar.

You ,now... if the +/- 3.5v on the M4 actually does work great with the 2 extra line outs... I'll just wish it had 14 more outs. lol.

that's why I got the big one, its not mobile but screw it. I wish I had gone bigger...

I keep thinking about adding a 16A on via AVB

For the last few years, I just rough everything out with soft synths before I get to the analog domain, so for the latency perf alone, I need to go MOTU. I won't expect the converters to be on par with Apogee, AU, Prism, Antelope or RME, but the fact that you, with your years of studio experience, are happy with what MOTU is offering right now carries a lot of weight with me.

I was doing the rough out with softsynths thing for ages myself and lately I've been doing this freeform kinda live synth mess that's not working as well for completing work... probably going back to my old method of arranging, which is what you're doing

and okay, actually, they are the same converters apogee uses currently... I mean, it ain't prism, antelope, burl... but that's next level and I'm not sure I can hear that anyway

The only reason I held off getting the SSL2+ was the pandemic... it pretty much eliminated my need to use a DAW offsite in 2020.

you're probably going to be happier with the motu, although the SSL preamps are really great, way above their pricetag sonically, if you're not putting a bunch of microphones up and you're recording DI synths and drum machines mostof the time you really don't need them. You can get that saturation sound in the mix rather than while tracking. Itsnice to have the coloration available and if its between the SSL and a scarlet range focusrite I would go SSL, but the motu M series stuff will definitely outperform either in conversion and latency. The Sabre DACs really are superior. And the output circuitry is higher voltage, higher headroom, higher bandwidth and really takes advantage of them... motu has superior hedphone amps too. I was actually thinking of buying and M2 and selling my SSL.

there's always the newer, better thing, but I don't expect you will run into better conversion at this price point for some time...

the only place I would draw a line with FL studio is the jump from fruity loops the 9pattern sample sequencer into FL studio the full fledged DAW. There was a point at which it added the little monosynth and a play list sequencer so you didn't have to manually change patterns and I think that was when it was still fruity loops and I was using it in conjunction with other software and hardware... and then enxt thing you know? full vst support, recording to disc, real time automation for every control, lots of new controls, a legit mixer...etc and then it was FL studio. Prior to that you could NOT make a whole song with it beyond doing something like you would do in rebirth, and I think it was really designed to be a rebirth slayer... so there's a point at which it went from being a virtual sampling drum machine that was really a tool to use with your more serious DAW or tape machine/ADAT. Early onit didn't even MIDI sync, it was just a wy to make loops to import into soething like acid where you had that first stab at time stretch (acid was totally the father of ableton, legit)

so yeah, fruityoops should be separate from flstudio.... those of us who used it back then remember

I like that he admitted he lost all his top end hearing in the 60s... gld I didn't decide to splash out for a revIV right awaythough... I have dreams of buying the proph10

that's a thought.... a few years ago I had this idea for a post-hamilton techno musical...

ha! who/what would be the subject?

I kinda petered out on the idea when I realized 2 hours of vocoded or robotically autotuned dialogue sounds like a funny idea but it might get annoying

I can't recommend MOTU's current lineup highly enough. The expandability is a big selling point too. And 7v +/- is more than you can really use for most CV jobs unless you have an ms20. A word on MOTU latency. Yes it can go hella low. Inaudibly low. I can get my latency down to 2ms roundtrip... but, at higher sample rates with high track counts you might need to compromise a little. I have an incredibly fast machine but I've run into some issues here and there. It can be frustrating. Now the fix for it is to turn the buffer up a bit. I have yet to make my buffer large enough that I can hear any latency playing live overdubs monitoring through my DAW's mixbus... I still haven't needed to monitor through the direct mixer. But the wall for me is between 16 and 24 stereo tracks at 192k, and I finally got some glitchy playback when running about 60 tracks (mixed stereo and mono) at 48k a few weeks ago and had to make my buffer bigger. I probably don't need to tell you this stuff, but just a heads up that those ultra low figures aren't real world scenarios and they really require a lot of CPU and, RAM horsepower and having a modern SSD helps too.

But yeah, I have yet to monitor overdubs directly through the interfaces virtual mixer, which is insane. I just listen right from the track I'm recording on, something I've wanted to do at home for years. Its great to actually be tracking a midi part and tucking it into the mix while you're still recording. My workflow is so fast now that if I have an idea I just power up and hit it... although I find myself mostly recording bad ideas because everything's so easy.

now that you're syaing you might buy a 303 are you talking about spending the big bucks for a real one? I don't imagine they've gotten any less scarce and I doubt the 2020 shit show has dented their prices like more common vintage items.

Thank you, had no idea I thought it was just MiniBuckers. So what is the difference between your deluxe and any other LP?

just in general the other big difference between the deluxes and everything before or since is the 'pancake' body construction... most, but not all LP deluxes have 4 layers of body wood. The mahogany slab is a 'pancake stack' with a layer of what I believe to be maple sandwiched between 2 layers of mahogany... then there's the maple carve top of course. I would be interested to hear if Clifford Bao's is a pancake or not becuase in my experience the guitars with stock full size buckers are never pancake construction, but they made a lot of deluxes... I would also like to know what year clifford's is. All the traditionally appointed deluxes I've encountered were early ones... mostly 69s, some 70s and I THINK a 71... but it coulda been misdated. The guy who owned it was one of those loudmouthed guys who didn't actually know much.

as far as I know only the very early ones, 69 to 70 or 71... I believe Tom Schultz has a 69 goldtop deluxe thatwas stock with full size buckers.

upgrading the studio has REALLY solved my clocking issues... previously the start stop timing could be a bit off via midi over din or usb but the timing was rock solid while sending it analog clock was pretty much impossible since all my gear uses the korg standard. Now with the new interface and the insanely fast computer the start stop timing is really tight, especially over DIN from the interface and the only issue it has is the common problem analog sequencers and arpeggiators have with clock sync over midi where it takes a bar to really sync perfectly. But the new interface is my analog clocking solution and this is how I use the td3 anymore. Right now I have 6 spare outputs set up as clock sources in my DAW. They're all DC coupled :-) I have a sampled clock pulse from an sq1 and I just sequence that at whatever time division I need. I have presets for my sends with optimized gain to hit that 2 to 5v sweetspot. So I just set up the sequence f pulses against my other music to send the td3 24 ppq with it set to analog clocksource at the factory 24ppq setting and it syncs perfectly. Want to stop the sequence? Mute the clock in that section. Need to stop the sequence mid-bar and then retrigger at the top of a new bar? During your rest just hit the stop button and then hit the start button, when the clock comes back the sequence is on the 1st note. This DAW hack also kills it for the Juno6 which advances 1 note per pulse. You can create complex rhythms with your pulses and have at it. You can be paying a 3 note up/down arp in quarters and in anther section go double or half time just by sending more or double or half the pulses.

before I worked out this hack I was actually usingthe td3 as an alternative to the sq1 to clock things, sending 24ppq to devices looking for another standard yields itnersting and unexpected patterns.

http://www.vintagesynth.com/articles/synthesizer-evolution-analogue-digital-and-back-releasing-january-2021

if you want authentic vintage tone for a decent price (and customizability too) try angeltone pickups....

for modern? or hum free? I hear good things about the dimarzio stuff and while I generally dislike lace sensors I think the chromedomes have a unique sound in a strat. Duncan hot rails and stacked pickups are great if you want to destrat your strat.... I'm also quite partial to the lowly GFS brighton rock. Its not really a trisonic in construction but it makes a great bridge pickup, especially with a baseplate added so its almost entirely enclosed in metal for a broad magnetic field.

Fralin pickups are also very good for a hotter than vintage strat tone.... I sued to use them. Imagine a texas special that actually sounds good all the time.

and on a good day I've seem Soldano Hot Rod 50s and ocassionally 50+ sell for about $1200 to $13000 and you really can't go wrong there for what you wanna do.