jimmarchi1's forum posts 8022

I don't have time to diagnose Nikhil's mixes lately. I've taught him enough through private conversations that he should be able to solve his own problems if he would just dedicate more time to each element of the song. He's young and impatient. He also wants attention as much as he wants advice. I just don't have time to answer 10 emails a day right now. He should figure it out for himself, he has the general knowledge now. Slowing down and actually listening would do him more good than asking for our advice

thanks for asking first... bands doing less don't bother asking, they just submit themselves as a professional act even if they've never played a gig

keep it a hobby, its a field crowded with wannabes and short on financial opportunities

I'll take that in a nice way

with that you could use your current line mixers....

just embrace a piece of kit designed for this sort of late night jamming... I actually tried soemthing very cool at the philadelhia effects meetup last month. Guys were using this neuenbauer impulse response player and DI/headphone amp to demo their pedals and it sounded great. It was hard to admit how good it sounded. found it!

https://equipboard.com/items/neunaber-iconoclast-speaker-emulator neutral sounding, elt the effect do the alking, but kept everything in guitar range.

there's some idiotic switching setup on this amp with switching jacks.... also, when you get your signal to the mixer you're going to lose the tone of the speaker which is 50% of the tone, you're going to hear unpleasant frequencies you're not used which is why people don't plug their amps right into the mixing desk unless its for a weird gimmick sound. I'm not sure what you're up to, whycan't you just play the amp really low. Its solid state and won't sound better cranked up. Why do you need this elaborate mixer setup? If you have to use headphone why not get a cheap used POD or something? What you're doing is kinda goofy, Giulio!

EDIT: I would probably take the speaker out to a DI with a speaker input like a countryman type 2 if I were in your shoes, then run the xlr to the mixer at proper line level and impedance, nut I don't know of the amp needs a speaker load where you cant pull the speaker jack and let it run like a big preamp... well, no, I wouldn't be screwing around with this bullshit, I would just buy a piece of gear designed for headphones or play my amp in the room with my studio monitors blastin' whatever backing track.

yeah, if the headphone is a switching jack just insert a cable to initiate the switching.. there may be more to it than that. PCB designers get 'clever.'

https://www.kitronik.co.uk/blog/potential-divider-voltage-divider/

are you taking a true line out signal from the amp? Do you know the actual impedance. It must be lower than the input impedance of the mixer but if tis really low and the signal is hot you're going to get distortion for sure, especially in the high end... I think you said the headphone out though? well, that's got an amp in it to drive your headphones. It also has a low output impedance to drive a 20-120ohm load so you are likely sending a hot signal at a very low impedance and therefore NO treble damping into the mixer which is likely a 10kohm load. You probably just need to pad it down 20 dB.… or install a true, passive line out that will not be too hot for the mixer and will give it the impedance its looking for to perform as designed.

Simple job, google search installing a line out in an amp.

If you don't want to mod your amp and you don't have a pad laying around your home studio you can take a little pedal enclosure and build a ghetto pad by taking 2 jacks and 2 resistors and putting them together as a simple voltage divider. If they are the same value you will be attenuating your signal by 50%

yeah, those are my favorite headphones for listening enjoyment... not great for overdubbing with open microphones, but they just sound antural and speaker-like. I can actually mix on them

lol, I'll be sure to buy those instead of a novation summit!

dude, you guys got no love for my favorites, AKG open backs but that's okay. Otherwise, good roundup.... although Michael's pick, the studio standard sony cans? they are not terribly durable. We used to destroy a pair every session at work in the early 2000s. I swear a drummer or bassist would break a pair every time. It was a monthly thing at every studio I ever engineered for. He did mention the poor durability, but still... I don't think the sound quality makes up for it. Musicians need durable gear. Soemthing that I can't break will always trump something flimsy that sounds better.

I'm not sure where the guitar was made... if st japanese (like all the 6 barrel teles were when i was a kid, so Iw as assuming fender japan) then I wouldn't worry, most decent MIJ guitars use decent steel... I mean, my expensive suggestion was to replace the entire bridge assmbly. Personally I like the rutters compensation system and their whole bridge assembly is so well machined it definite improves tone through perfectly flush body contact. But my rutters bridges cost a pretty penny and may not be worth it if the guitar's not worth a lot. Others will tout other bridges like maybe callaham, but I think rutters is the creme de la creme for a vintage style tele. Its both the best made and most aestehetically pleasing. Simply setting the string spacing up correctly by eye should be sufficient and will cost nothing.

meh, boughta mopho x4, I don't really need more than 4 voices

about time!

its a 6 saddle bridge, they don't need compensation, they're individually adjustable

that's a great idea, although difficulty of operation would make more sense for say a sequencer than it would for like a kazoo or tambourine! Perhaps each category needs its own distinct checklist.

that's the dtronic, can't find one in stock ANYWHERE.... thanks though. Maybe I'll just buy the thing anyway though, its such a cool toy! like an alpha Jupiter or something. Either that or I'll bite the bullet and buy a super jx mks70 for a grand.... those have more programmer options without a midi overhaul/retrofit

apparently dtronics does one but they're not ins tock anywhere, just their giant dx7 controller LOL anyone know of another option? got a bead on a cheap mks30 to add to the arsenal but I want the controller! The MIDI implementation's not as good as my mks50 :-(

done

these individual barrel saddles tend to do this, strats and modern teles do it a little too, 3 saddles teles less so.... make sure the strings are where you want them on the saddle, then slack the tension a step or so and slide the saddled around on the bridge until the 2 Es are where you want on the fretboard. Then tighten back up to E or Eflat, whatever it is you tune to. G&L actually made a bridge that fixes this problem, look at the ASAT special bridge. Its a major design flaw to be aware of when setting your fender up. Or go online and get a vintage 3 saddle bridge and some compensated saddles. This will be less of a problem and you'll get the cool coupling that marks out real tele tone.

the auction house has a really cool 3d itneractive exhibit.... on the other hand I find it rather ironic that he's selling something made from trees to combat climate change! and half of them use electricity to be audible... which, odds are, comes from old style coal or oil plants that emit carbon... c'mon, its kinda funny

de nada

you have to make sure to fill ut the bottom of the form with the reason you're updating or it won't take. I just fixed it for you

come to think of it, on this tune (high heeled shoes) I had to replace a lot of sketchy shit, we went back and I re-engineered a drum recorcing with my drum sound on sean mcgunnn (and my enthusiasm) and I redid the rhythm electric with mike playing one of my teles (maybe the reissue esquire?) in keef tuning with my phaser into mike's modded rip edge twin biase for 6V6es at 9 or 10.... I also played and engineered the acoustic guitars too.... and the lead is my '62 ac30 on loan, certainly fimed maybe with a treble booster but I didn't record that one... I hate this song because it reminds me of weeks of tedious retracking but on second listen it rocks

that donut is the key to it all...

I'll try further downgrading the video next round... you should get a link anytime now

when you do get it and its DLed, let me know, I'll delete it to make room for more videos... I might do some real basic shit off camera and just go over whatw as done so we can get to the more interesting steps. Right now its just rudiments.

I ahd to dump so much kid junk out of my google drive to make room... I have all that shit backed up, I dunno what i was thinking. Fucking MP4s are huge. Let me know when you download the little video sessions so I can delete the zip, I really need the drive space on google right now. Every gig is precious.

its going to take me a minute (more like the weekend), I'm going in like 7 to 15 minute chunks of video for a couple reasons.

downloading, going to rebuild the channels and bussing setup and try to start filming in a sec

that works

FL doesn't like mono, no.... FPC is a pain.... I want everything on tis own trakc or here's what you can do; reprint the drums as a stereo wave file with all the panning built in and see if you can just export me kick and snare on their own mono track. You can leave the kick and snare in the stereo track, just turn them down 3dB within FPC and I'll treat the whole thing like a pair of drum voerheads. Might be cool.

I would generally have isolated drums like this on separate tracks so i can balance them sicne there isn't a live drummer balancing himself into some overheads and room microphones, but I'll do my best with this

are any of these split stereo tracks actually IN stereo? they seem to be the same on each side when I pan them out so why have stereo? 2 identical mono tracks ins tereo stay mono when panned out

you seriously have your kick and snare on 1 track. I guess I have to tediously edit them apart.

EDIT:

fixed it with a gate, just treated it like live drum bleed, I'll probably just print that to save CPU

530MB, that's why i said CD quality 44.1... at 96k or higher it woudla been a nightmare for us! its downlaoding, then I'll see if it flies into Mixbus okay and I'll set up my tmeplate and get my tablet to video some shit.

stems, so print from protools (or whatever you use) as .wav filesfrom beginning to end of the song whether there's sound or not so they all line up at the beginning in my DAW. Just do 24bit 44.1, this is enducational we don't need mad sound quality. I'll import them and set up some of my regular bussing and then make some quick videos

so you want to print a package of stems, 24bit, 44.1 or 48k sample rate because I don't want it to take me forever to download... zero everythign and disable ALL plugins. Make sure the track names make sense so i ca import and set up quick. If you can print a MIDI file for the drums it'll speed up the process of adding any additional samples which I may need to do since this is a modern production and the recorded soudns may not have what we need frequency-wise (soudns like 808 kick or soemthing, very limited). I rpefer to use google drive but I cna do whatever. If you do google drive share it with [email protected]. I have a father's day thing at my kid's school and then I'm just puttering around the house today.

y'know, I'm not doing anything important this weekend until father's day on sunday where I'lla ccept the homage of my ungrateful son, if you want to bounce your song down to like a manageable package of 24bit 48k stems (with all the effects off and the faders etc zeroed) and then FTP it somewhere or put it on google drive I could point a camera at the screen and take you through an in the box mix a couple ways with your music and send you the video and the finished mix. I'm kinda bored. Bassist in the new band is on vacation with the wife and kids, need to do some music.

if this is your performance and not someone else's, try to divorce yourself from it as music as you start the mix.... loop a smallsection and just listen to the sonics, not the song, and dial them in, get a rough balance, then back off, lsiten to the song for eprspective and think about how it all works as a song. Listeners don't care about how much midrange your snare has, but they do care that the mix matches theitnent of the song, so as the whole thing comes together and you start moving faders you'll want to make those decisions absed on the section of the song you're in and how well you're putting it over to the lsitener. Having the individual elements sounding good divorced from the context of the tune will make this easier. I suually start with kick and bass, then add snare, then vocal, ge tit half way, mute vocal, bring up other elements one at a time and brng the vocal back in to see if there's a pocket for it, then fine tune it. All the while I'm working with some sensible busses either a drums/percussion, instruments and vocals setup, a High, low, mid, dry Brauer setup (which protools doesn't do so well, try harrisom mixbus) or a rhythm section, ambience, everything else 3 to 4 bus arrangement... there's gentle comrpessionon eahc bus apart from the dry in the Brauer setup (look it up)... anyway, good luck, it takes awhile to grok this