jimmarchi1's forum posts 8022

before I go any further on haggling this finnicky little console, where are you located? I would eb nervous shipping it too far with its pile of design flaws. If you have a working one it'll need to be babied to stay that way, even the ones from the end of the run with the deep pan and handwired pot leads... definitely don't want it travelling far

no, but their preamps aren't too shabby

so reckon the sm7 would be a good upgrade?, another thing im looking to record male rap vocals, like uk drill vocals ect, would i still be good with the sm7?

I would actually align the diaphragm on the 4040 and sm7 and sue both for male rap vocals and ride the faders in mix down between themdepending on how ahrdcore te vocalist is going. (I've done a lot of hip hop sessions). when he goes soft, more 4040, you get it.

don't get rid of the 4040

how much?

I don't think there's an upgrade from an at4040, its an excellent mic.... there's just other flavors.I own a 4040 and a 4047... for non vocal applications a multipatttern 40 series is an upgrade.

okay, the sm7 musically is good for male hip hop vocals that are LOUD, not snoop but like DMX or from my generation Chuck D. Its good at screaming rock vocals. Its good at an even, vintage kick drum or part of a multi mic kick setup. Its not too shabby at snare. Its great at guitar cabinets with multiple speakers. It loves baritone sax players with huge dynamics....

BLUE mics. I've owned many. My favorites were the bottle and baby bottle, I also liked the dragnonfly a lot. All of them are excellent. They have very wide range capules and the electronics handle really low transients well in general. They have a thick FET sound on the lows that saturates pelasantly if your preamp has the headrooom. Through somthing colored like an API premp you get weird low end bumps on material with rich low frequency content. For most of what i do I prefer audio technica in condensers as they sit back ebtter and have more'air' but the BLUE mics are like a german capsule on crack and pull whatever you record with them forward without getting bright. midrange and low end presence, like a U67 but not tubey and no body resonances....not like a 47, ,49, c12, 251 87 etc, most like a 67, but with none of the midrange body resonance and a solid state crisp athority? I dunno, its ahrd to describe microphones, but the blue mics have a lot in common. I don't love them for sot vocalists, but for bass, celloe, softer horns, clarinet.... whew. when I sued to record a lot of jazz I used a number of BLUE mics all the time. Also, the bottle, which istube, has a different vibe and is a vocal mic, like a more open U67. Not for everyone. but the solid state ones, all similar. EXCELLENT

by the way, the body is a 'pancake' of different woods, not just the top, but the flat slab aprt too.

what, I'm pretty dumb?okay, man.... I usually try tog et everything spit cheap but an sm7 was not happening for less than retail unelss there was something wrong with it so many years I bit the bullet. To Shure's credit the sm7 has been about 299 retail for like 20+ years. And the at4040 is a great mic. The 40 series is highly udnerrated. But serisously, what are you looking to do with the sm7 that you need a cloud lifter? One of the thigns I love about the big broadcasts dynamics like the sm7, re20 and that giant Heil is how they take HUGE SPL and smooth spikey percussion and guitar transients aor team screamed vocals. I've enver eneded mroe than the console/interface gain assuming there's not some screwy input impedance. But I only use large dynamic mics for what they're good at, namely lud sources with hard transients. Is that dumb?

would you steal one?! I hear looting is all the rage this summer

but for real, I had a close friend when I was younger who had his dad's bolt on lawsuit ibanez and treasured it but couldn'tplay AT ALL. Eventually Ipicked the thing up and was appalled that this somewhat collectible instrument was pretty unpleasant to play (and I'd played higher end ibanez gibson type guitars at this point and was expecting THAT feel with a bolt on -- which is the rgecco, burny feel as it turns out)... I treid setting the thing up for him but there was something inherently unplayable about it. Maybe it was a bad egg, but I've turned my nose up at the lower end ibanez 70s stuff ever since. Although my uncle still owns a roadstar from the very late 70s that's not entirely unplayable. Its not so hot though

is it a bolt on? if so I don't know what its worth as collectible but as a guitar? meh

I think I paid a full $300 for mine new.... its just what they cost. Consider an RE20, very similar EV mic, also awesome at vocals, kick, etc. Sometimes can be had cheaper than an sm7b

good idea

if pennsylvania would just pay out my approved unemployment claim I would be as happy as you, Terry... as it stands I'm burning savings like crazy. My plan is to isolate until we get a handle on thisnudner what I expect will be a new administration in november that's not so batshit crazy, ut with work closed indefinitely I'll need to get paid eventually or beforced to liquidate gear on ebay or go go to work in an essential branch of ehalthcare while my parents look after my son 24/7 to avoid him having contact with me, much like you were doing.

you're only getting the sound of the preamp, not the whole amp,there's a lot of tone shaping afte the preamp, even in a channel switching gain banger..... I really don't think its designed to be used this way either.... a buffered effects loop is at low studio impedance out and back in whereas your guitar is a high impedance with less than 1 volt peak to peak output, the input to the looper is probably 1mohm designed to take a low voltage signal, definitely not line level... you can do anything you want, but putting it in the loop is probably a big source of noise here as you have an impedance mismatch and gain staging issues. THe buffered FX loop is designed to feed in and out of a studio processor, line level, so lowimpedance in and out with a very hot +4dBu nominal output peak to peak. its also probably in parallel so you will have to have your dry blend on the looper all the way down to get sound on sound. Just, in short, your idea about 'capturing the preamp; isb't all that crazy in theory, but in theory communism works. The boss looper is designed to capture a raw guitar and give it to the front end of the amp. All stomp boxes are set up this way and while maybe you can get away with soemthing like a smart gate or decimator in the loop, the loop is really for interfacing studio modualtion and ambience processors with an amp, processing the high voltage preamp tone and blending and effected signal back in from something like an spx90 before hitting the power amp. If its a non buffered loop, just poweramp in and out at hi Z, then you can pad down the output into the looper and return nurmally, hope for the ebst, although it will change your tone, particularly the treble because it'll be like a dding a solid state buffer stage to the preamp...

everyoneshould really look at schematics and understand this stuff, tube amps are no joke voltage wise and dicking around with them in ways probably not intended by the designers when you don't know what you're doing might just get you shocked. Know your amp

ksm32 I think? maybe a 44

looks like a shure KSM of some sort

waste of time, the winner was an 8 bit videogame soundtrack thatw as like a mike tyson's punchout with some orchestration. Funny and interesting at fist but in the end pretty lame. There wereso many entries, 11 thousand? I doubt they listened to more than a few and they just copped out and picked soemthing comedic.

when I think about you I bump myself

is it present when you plug striaght in?

myuncle has a higher end edenhead and 410 and swears by it, but hes a church player

mine does that 'delay feedback set to infinite' utospacing repetition soemtimes too!

desktop

you're indestructible.... damage prone but we can't kill you, can't parlyze you, can't blow you up!

its been awhile, how is it going now? Are you making your own patches and getting better at sound design? this is a lifelong chore. Every time I get a new piece of gear there's a elarning curve, even a straight ahead vintage subtractive like the prophet600. There are thigns it excels at and things it doesn't, there are hidden features and sweet spots... just knowing sound and synthesis isn't enough. Know your tools intimately. That sounded dirtier than I meant it too.

has anyone used the arturia free plate? I've worked in studios with real EMT plates and this gets pretty close to what comes up through the console returns, but with extra modes. Its hella great.

just... whoa

welcome... to you and anyone I missed

son of a... wait, I' seeing the new one. did you try clearing equipboard from your temp internet files?

okay working now

okay working now

and go give my westworld score a chance! quick before I lose the contest and take it down in a fit of self pity

https://youtu.be/jfTShWk6emI

#threadhijack!

#Michael #Gchiaren

I just tried to replace it but for somereason the new image isn't showing up yet, sorry... Michael?

I'm sick of this go bigor go home attitude everywhere... I like quietly plugging along doing my thing my way

hulk smash monopolistic google conglomerate! ever notice that MUSIC sites instantly update when someone listens past a certain point n the tune? For once the music business is more honest.

and the counter suddenly jumpd gain even though no one played it for me over night.... weird

I NEED A FAVOR. For days my westworld score's YouTube stats have been frozen at a paltry 74. Since getting those hits lots of friends have contacted me with feedback and I know I should easily have 25 more hits. [It eventually moved to 114 and froze again despite getting hit more than 40 times in a matter of hours] This is a bit academic because it's not a popularity contest but I want to see if when everyone who reads this slams this video with a couple of plays each if the thing updates or if I'm being chastised for not being a habitual youtuber. I don't even ask that you listen to the piece, feel free to mute your phone. Just please click the link and play it once or twice. I need your help for this experiment. It's an informal inquiry into fairness practices at Google. If I'm wrong and my plays move so be it. If not we have the makings if a fun little article! Thank you all.

in the time since I posted this to social media I've had a little motio but not amtching the number of friends who rolled the clip. Its weird.

https://youtu.be/jfTShWk6emI

let me know if you play it and if the coutner moved... its erratic

I hope you achieve your other goal of getting the ear of Mr. Abrams. Don't forget the EB gang when you go up to collect your first Emmy, haha!

I'll let you know when I'm living the dream through my acceptance speech where I thank Nik from DIVVISIONS... still pining for that Oscar, I remember Elliott Smith getting best song and thinking "hmmm" and then Trent won for Social Network and I said "why couldn't I be standing there? I'm a sardonic music nerd from Pennsylvania too..."

Late to see this, but wow Jim! You did a hell of a job on that. I've never seen the show so I can't say if your work fits in that context, but in terms of images to audio, I think this goes together like PB 'n' J. Tonally, it feels right for the visual textures. The sequence you bring at 2:09 is so creative, I don't know if I could think of anything like that in a thousand years.

My compliments to the chef!

immense thanks, I worked really hard on this and I only had about 10 days.... I found the contest late... I will admit that some of the underpinnings are drawn from the theme song at the beginning of the show but they were heavily elaborated upon. The sequence you mention is loosely based on teh theme song though, I kinda wagnerised it and then played it on analog synths. And added oddball sound-effecty arrngement elements, mainly with my prophet and an odyssey because , well, I love them.

Do you know when the contest is up, and what you get if you win?

I believe the results come in on the 15th or thereabouts. THe main prize is the full spitfire orchestral collection. It'll be neat to have, sure. But I'm mroe itnerested in being ehard by JJ Abrams and the creators of this show. There's no PROMISE you'll get a call to work on a future project but it couldn't hurt. Its a tough biz to get into.