Epi & Rick

Used on “Father’s Day”

 

New shite

Lost my slide.  (In my bedio.  But I can’t still find ‘er.  )

Gotta new one: Dunlop 224 Heavy Brass, what is better than the last one I just bought, what was light. I mean, I use it on bass … (new, US$9.99).

Boss Tr-2 (used, US$ $49.00 – hadda 6 mos. old $50 credit at musicblowshounds) – gonna get my Marr on.

Thinkin’ about going back for a Dean elec. stand-up bass they had at US$300 – when it’s 30 days old they can negotiate, so …
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vlayman; THD; blog; TFP

Pre-amp attenuation

Because I run short distances (less than 4′) my pre’s and patchbay all use unbalanced TS connectors.

I’ve been wanting to use an actual attenuator on the pre’s – as opposed to the out put gain controls on them what have them – especially my transformer-based, one-knob Altec 1589b, in order to crank the gain and get what results (more iron, tube, op-amp, etc.)

I just received and got done hooking up the  Radio Design Labs STP-1 - freakin’ awesome!

Using my Altec with a dynamic mic in front and sending white noise, I can get attentuation of about 35-38 dB.

I have never been able to crank the Altec beyond 12:00 for a reasonable singing voice level 1′ off a typical dynamic, without using a compressor, etc.

That’s even more limiting, of course, with a cranked amp.

I just wired the thing right into my patch bayand so can use it with any of my pre’s.

I love painting with new colors!

Compressor stacking

I have on occasion stacked my 1176 clone into a 160XT when using the former as a bass pre, and also after an RNC for vocals.

Today I was reading up on the VLA and tried a pretty common stacking of a 163X into it – great!

Then, I stacked the left channel into the right on the VLA, also great.

I just realized that with 3 dual mono/stereo compressors (DOD 886, dbx166A, Pro VLA II, 3 stereo only compressors (Meek C2 and MC2, RNC), 4 mono’s (1176 clone, dbx160XT and 163X, Sideman Comp-1) and with an additional 3 in channel strips (Meek VC1Q and VC3Q, Eureka), I have a shite-load of comparison compressing to do; po’ me. 

Anybody have any faves?
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vlayman; THD; blog; TFP

Some stray mic commentary

, … from various posts at TOMB.

I have a RE10 is a go-to for me for BV’s.

——————-

I actually just got a MXLV96ME, which I like, because I so dislike the MXL9000 I have.

——————-

I, too love the Peavey 520i, often using it as the lead vocal mic, with the SM7b (which is darker) for the BV’s.

——————-

I will add that I really like omni dynamics in general, including the Rat Shack 33-1070d, EV635a, the Shure SM63L, and the AT802.

The latter three are “reporters’ mic’s” and serve wonderfully on BV’s (and guitars and percussion and even room), with the 635a in particular being useful on occasional lead vox. As omni’s, of course, there’s little to no proximity effect, and often no add’l EQ required.

——————-

I just bought a used 460 from a fellow TO’er. Of those two capsules, do you reco one, and why?

I’ve a MXLV69ME I recently picked up cheap, quite broken in, and I really like it as is. (I have a MXL9000 I kinda don’t.) My intent was to obtain the 460 as a complimentary but different-sounding tube mic to the 69, for use in the same tracks, and separately. And as I’m new to tube mic’s, I thought to mod it (and the 9000, also).

In keeping with the theme of this thread, I really like tube mic’s as a “winter alternative” to condensors. I live in a tract house where the heating system is forced-air and quite loud, making condensors unusable unless I remember to turn the heat off – I’ve ruined a lot of good takes by forgetting.

And I love large and small dia. dynamics, and use them regularly, but I like variation, and tube mic’s are perfect – they sound quite different, I believe more detailed than dynamics, yet aren’t so sensitive as condensors.

They shall undoubtedly become a “summer alternatve”, also, when the AC is necessary. 

——————-

([After it was noted a “tube” mic is a type of condensor:)

I knew that! I just forgot … 

That said, the tube mic’s I have are far less sensitive to ambient noise then my “regular” condensors.

For that matter, the Luna with its transformer is less sensitive in the same way than, say, the FET mic’s like my AT4040′s, KSM 27, Blue Spark, and various POS Chinese LDC’s from ADK, MXL, Bellwanger and Samson.

FWIW, I find onna kinda general dark to bright scale the following order:

Ribbon – Lrg.Dyn – Sm.Dyn. – Tube – Trnsfrmr.Cndnsr. – LDC FET Cndnsr. – SDC FET Cndnsr.

I’ve not yet used any crystal mics, nor tube/ribbon mic’s nor a SDC condensor with a transformer. And I acknowledge that the above is approximate, and doesn’t account for transformers or not in dynamics nor high vs. low impedance, etc.

Also, I find that scale also roughly corresponds with sensitivity, altho’ most women who know me would rule me unqualifried to comment … 

——————

…  altho’ I never use the roll-off. I really like the 421 II, also, on voc’s, better than the RE320. I find the 421s to be very smooth and balanced (vs. sibilant, hyped or skewed.)

——————

Re the SM7, I had read that the Peavey 520i was very similar. I finally got one for a reasonable price and actually find it like a brighter SM7b, and very complimentary for less than 1/2 the price.

I’ve never used an RE20, but do like the RE320 for vox and bass. The MD421 II is totally worthy; while I prefer my 421n that’s as much to do with mojo as sound.

I love omni’s, and invite you to look at the “sleeper vocal mic” thread for mine and other’s comments about various dynamics.

Old AKG mic’s are a trip – IMO, often over-engineered works of visual art.

EV’s almost always rock, and the various N/D mic’s are cool.

I really like the Beta 58 for live rehearsals – terrific rejection and good sound.

Finally, one of my fave amp mic’s lately is the venerable Shure 545.

Talkin’ patchbays

In answer to a question at TOMB, I posted:

PB I

Outs: / Summit/ VC3Q/ ISA1/ MP105 /Meek MC2 L/ Meek MC2 Rt/ RNC/ 163X/ 1176/ Altec/ Open/ Brick/ VTB1/ GM200 L/ GM200 Rt
Ins: ” “

PB II
Outs: / Tuner/ Eureka/ ART TPS L/ ART TPS Rt/ Microcab/ VC1Q/ Open/ Hafler T2/ UA710/ VLA L/VLA Rt/ 166A L/166A R/ 866 L/ 866/Rt/ Open/ 160XT
Ins: ” “

I use a short stage snake with a XLR box to TRS cable ends to the patchbay for the XLR ins on the pre’s. I take the out of the last piece in a given chain (say, Summit pre to 1176) from the patchbay to my M-Audio Delta breakout box.

It looked like this a while back. (PB’s top left, yellow cable to breakout box, snake lower left.)

Randumb CD reviews

That Steve Cropper record is great.

I’ve also been enjoying Soul Sessions 2, and the recent re-masters of the Sugar catalog, and the latest Don Fagen and Bob Mould, and the two Dead Weather records, and the last two Smashing Pumpkins records, and Bringing Down the Horse.

I must warn anyone attempting to follow in my footsteps, do spread these selections out over a few days, or you will get dizzy. 

Diggin’ Gary Clark, Jr.’s rather eclectic first full-length; lotsa soul, Hendrix/Vaughn, Prince influences and a hip-hop tune. What really amuses me is that I so like his playing, but hate his lead tones.  Still, “Bright Lights, Big City” (re-done from the EP or just re-mixed?) shall become a classic.  ”You’re gonna know my name …”

James McMurtry, Childish Things: a guest shot from Joe Ely, and some of the greatest, erudite lyrics of the last half-dozen yers – plays guitar, also, and has Dave Grissom and Bukka Allen.

Those Bastard Souls; 20th Century Chemicals: I love me some Grifters, and this is close.

Bob Mould, Silver Age: he’s so fucking under-rated it’s a crime.

Dr. John, Rhino Best Of: even “Iko-Iko” rocks. (I have a cuppla teens and I was just ‘splaining to ‘em that two years before the oldest was born I spent 5 daze around Mardi Gras down there, drank in Tipi’s, met some local gurrls and some imported strippers (didn’t tell the kids that part  ), drank a lot and karaoke’d a lot and drank some more and …
… anywhat, every bar we went in had sing-alongs and that year it was some Garth Brooks tune about latigo {looked it up, “Rodeo”}, and “Iko”, which was much better, altho’ I must have heard it 20 times.) I always wanted to walk on gilded splinters, not stick ‘em in my ears (like Garth made me wanna do).

Grace Potter & the Nocturnals, eponymous: I wanna do her even if/as she over-emotes, and the band is shit-hot.

Audioslave, eponymous: too bad about the smashing, because the performances are “A+”, and the songs never below a “B”.

The Essential Nina Simone ; other than the sometimes annoying vibrato it’s great stuff, especially the Dylan covers.

Psychedelic Pill, what may be Neil Young’s Physical Graffiti.

Graham Parker, with The Rumor! Three Chords Good - and it is.

Patterson Hood - Killing Oscar. As good as any all-Hood DBT – sure I miss Cooley’s and Shauna’s (who’re on here in places along with the rest of DBT) songs and singing, but this is truly excellent, written mostly in ’94 and recorded in ’05, kinda a lost DBT record.

Chris Cornell - Carry On. I still haven’t bought Soundgarden’s latest, but I do enjoy this ever so much more than Scream, altho’ my teen daughter digs both.

Silversun Pickups - Neck of the Woods. I’m not big on the drium sound -it’s so annoying I hafta mention it (latest Bush, also) but other than that, solid.

Bauhaus - Go Away White. If you are a fan, well, this is my fave, after Gotham.

Onboard Preamp Pads

My posts at TOMB about ‘em:

So I was reading where someone mentioned that using the pad on the Summit 2BA-221 while mic’ing allowed him to get a different – and he thought better – sound than without. 

So I tried engaging same on my Summit, and on a UA710. I’m not very sure of a huge difference in that I was recording acoustic guitar, what is somewhat unusual for me, but it seems I can get to the distortion point quicker, which is nice on these two pre’s. 

Anyone else utilize pre-amp pads to vary the sound? 

And to the extent a pre does not come with one, does anyone use an outboard pad after the mic?
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TFP; THD; vlayman; blog

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No, I mean “using the pad on the Summit 2BA-221″ – it and the 710 have a built-in pad. 

And I’m actually asking about using the pad to “vary the sound”. 

Sorry I was unclear.  

In my application, then, by engaging the built-in pads on those pre’s, I can get more of the tube (or S/S) “drive’ (both pre’s have separate S/S and tube gain knobs, with the UA also having a following “level” knob.) 

And so my question(s) was/were, does anyone do this for the sound of it, and does anyone use a outboard, in-line pad for the same reason, IOW, not to pad a hot signal like a drum, but rather to get more gain from the pre.
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TFP; THD; vlayman; blog

============================

Good info there, y’all. 

And I suppose, then, I am to conclude that the answer to my question, “does anyone do this for the sound of it”, is “no”. 

Interesting. 

I haven’t done it a lot yet, but when Mr. S____ says, “And if I still need to, I finally use the mic preamp pads, although I find all of them to alter the sound, so I try not to use them if possible”, I find the onboard pads do change the sound somewhat, especially in allowing me to overdrive the onboard full-voltage tube part of my Summit and UA pre’s. 

That, or my meds haven’t cut in. 

Or they have. 
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TFP; THD; vlayman; blog

Why my vox tend to suck

As part of a doiiscussion at lostoverture.com, I posted:

For me, I tend to not re-work vocals for a baker’s-dozen reasons, some better than others:

1. I’m kinda lazy;
2. My voice sucks;
3. I like spontaneity;
4. Melody is behind rhythm in precedence for me;
5. I can’t sing;
6. I bore easy;
7. I lack time;
8. I’d rather scream like Cornell than sing like Rob Thomas;
9. I don’ wanna annoy my kids more than I do;
10. I’d rather vocalize like Tom Waits than warble like Whitney;
11. I like annoying listeners;
12. I feel I usually – if just barely – get it done aiight;
13. I like annoying all y’all.

The Friday Project record release: *Mushroom Sally*

  <— click

1. Going In Hot 03:52
2. Stay Frosty 04:45
3. The Man Who (w/ Grankspoine) 04:36
4. Mushroom Sally 03:56
5. This One 03:08
6. If We’re Gonna Be 06:31
7. Stupid Inna Suit 04:18
8. Lay Down the Law 03:34
9. Electric Chair 03:34
10 Classical 03:34

vintage early 2012 modernjism
released 29 August 2012
Krister: whacks & paradiddles, crashes and burns
Vlayman: psilocybinischisms
Grankspoine: the man who
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TFP; THD; vlayman; blog