gypsymoth

your wiki pedi paddy article does a great job of explaining the ignorance of the current generation. yes, a proper shot gun breaks, and has two barrels. over under is rather nice. more efficeient designs, while effective, are somewhat vulgar. a brace of big ol' goose guns is something to hear.

I didn't see the original thread as bashing - nor do I see shooting brakes as bashing. I'd kinda like one - and an expensive Italian shotgun.

CD available now, send money to a charity, not me. see "influences" on my myspace for details of this worldwide offer.

I really don't want to get in a pissing match on the blatantly anti-American stuff here (some people don't care much about reality, the history of WWII, or the atrocities which occurred after we left S.E. Asia). so let's take a step back, laugh at cheap American shotguns, and expensive British ones with silver inlays and Rolls Royce self-propelled cases.

what is truly odd is that it is headed "only in America", on a board from the country that created the shooting brake class of usually very expensive automobiles, designed around the use of a shotgun

"an uzi would be more efficient" not if you are after birds.

different brands are different - cleaner, brighter, dirtier, more mid-focus, more fi-fi, earlier breakup, etc. www.watfordvalves.com has reviews on pre & power tubes. the "trick" is knowing what you want more or less of. it can make a pretty dramatic difference. swapping an ecc83 for an 82, or el34's for 6550's is equally significant.

what you are missing is that it is an advertisement. louder than which 15's? not all 10's are equal either. technically speaking, it's a trade off between volume, frequency response, and money. a loud ten will lose in the other two categories. a larger speaker will too, but not as much.

I took up the drums a little over a year ago, after finally accepting that even bass players don't much care for solo bass stuff. problem is, between learning them, learning guitar, and workibg pn vocals - my bass playing is setting new standards for sloppiness.maybe it all is ...

most speaker sites give the weights of the various speakers, so you should be able to get a pretty good idea of the difference between what you got and a neo. I'd guess not more than 10 pounds.

13 tunes, so I'll rotate a new one in daily. no compression, no EQ, no click, no auto-tune, no auto-pan, no reverb, no fades, no any of that stuff. just adjusting mic volume & pan. effects amount to a wah on the bass for two tracks. quality heavily degraded to meet myspace file sizes. hope you get a kick out of some of it - and that these versions work better than the initial postings.

I have a lead model. it is a good bass amp, as it has a very wide frequency response. most guitar players find them too clean. should you find the el34's too mid rangey, you can put a quad of 6550's in the center 4 sockets only (may require a bias mod). I often use it instead of my SC 200 - depending on what I want. brycecites also runs one and seems pretty happy with it.

I suggest you switch to an energy efficient and bio-degradeable acoustic instrument.

mind boggling - but common. you have a specific mic and placement you prefer. fair enough, but it seems to end with that. too bad for the client that isn't after your preferred sound. what the heck is so hard about setting up another mic - right at the start? yes, get it right, at the start. and get as many right options, right at the start. you can't use what isn't there, you can't decide that for a certain tune/style what you thought you wanted isn't as good as the extra bit. all you can say is that it sounds as you expected it would, which with immense knowledge and experience means it sounds pretty much the same no matter who or what you record. unless you are relying on sorting it later. pretty much what I ran into with the drummer who walked out before we were finished setting up. he had been mixing live sound as well, for over a decade, plus had plenty of recording experience - and the engineer was not interested in knowing how he preferred to mic his drums.

there are plenty of "right" methods - but some engineers clearly favor certain set ups and sounds over others, and UNLESS you pick an engineer specifically because of that, you might not get what YOU want.

perhaps I'm wrong, but when this fellow says he's recording in a few weeks, I'm assuming he's going into a studio with an engineer. if phase cancellation etc are issues in that situation, his selection was wrong and nothing is going to help them. if he had said "we set up a room to record", the issues/advice should be different.

and the point I made was "let the engineer do his job", and concentrate on playing, rather than nitpicking over what one mic sounds like moved 3" this way or that. that is what you are paying him for. if he is half competent, he won't randomly place mics - and if he places them aimlessly, you made your first mistake by hiring him, and should RUN out of there. as you point out he will have a pretty good idea of what HE wants. sadly, this may not be what you want - but if you have a close, mid, and far, (or DI for those who don't like the sound of their amp) all placed with his immense knowledge and taste - and you took a quick listen to make sure he isn't stone deaf, what you want will be there. and what you want may be entirely different doing your solo mic test than when mixing with the rest of the band. it seems pretty obvious to me that what you want and what I want are somewhat different - and that is why the engineer shouldn't have any problem adding another mic or two. it ain't that tough. I've been on both ends of the stick - it isn't that hard to get a very good sound, but I've had sessions end before the drums were set up because of differences between the expert drummer and the expert engineer. focusing on playing, and devote the time to that - if the playing is good, everything else is secondary. if the playing is bad, nothing else is worth anything. my home studio recordings have been done without ANY eq, compression, etc, and even now that I'm starting to look at an overall mix for thirteen tunes, polishing the turd so to speak - I don't think it's going to involve much more than adjusting the levels and panning on a couple mics. the ones I paid a pro studio for did - and I sure am glad I insisted on multiple mics instead of relying on what the engineer thought I should sound like.

one mic? let me guess, a 58, 3 inches from the speaker at an angle from the cone? highly over rated approach, effective and simple for like work, but misses SOOOO much. if you've got plenty of time for playing with mic placement, great. spend a day of your two days making sure each players single mic is in the perfect spot, or trust the engineer to put it exactly where you would have. hahaha. studios have lots of mics, take advantage of it. whether your final uses all of them is moot - the point is to go in thinking about playing instead of messing with mic placement, which is tedious and time consuming.

get all your "engineering" discussions done before you go in - so he knows what you want. maybe write it down (briefly) so he can go over it while you set up. lotsa mics - insurance for you, the sound you want will be in one or a combination of some. when you get in, concentrate on your task - playing. let him concentrate on his - recording. mixing is a different story - and that is where it's handy to have those extra mics, so you are not manipulating less sound in more ways to try and get what you wanted - and thought you had.

I rather expected you to say John French.

according to eminence, they were quite popular with nashville lap steel players. I believe it, I had the first 2515 which had quite a good top end for guitar - the current version of the 15 is much more mid focused. I'm not sure if the 12's were changed too, but we're talking guitar frequencies anyway. you aren't running a 14 string ERB, are you?

"they don't care enough" yeah, and these days a perfect tape means you care enough to have the engineer pull notes and replace them with samples - maybe not even of you

the gentleman who runs the Sound City amp site likes them. and he has tried/used most everything - right up to a hiwatt 400.

Carmine Appice. quite a few others, but he has it all - and I've seen him fill Bonhams chair for How Many More Times.

"a liberating philosophy" at some level isn't that a large part of what music is about? of course if anyone wants to pursue perfection - that is their call, but for me that would be sheer drudgery.