gypsymoth

vox beatle amps had em.

I must be waaay more reluctant. I do one guitar track, one bass track, one drum track, one vocal track. muliple mics, but still a lot less to consider in the mix - and hopefully a lot less tweaking in the end. to date all I've worried about is relative volume levels, and that's been enough for my small mind.

a reference to Willie Dixon, I believe.

I almost bought a guitar in Vietnam - there are a lot of heavily inlaid versions there. start paying attention to the better imports and you'll recognise them when you see them, regardless of the brand name. one rule is the same no matter what you are buying - the farther you get from the tourist area, the lower the price. just don't plan on shipping it back, that will eat your savings.

too cool, Alun.

the one and only Rockette Morton. he gets his own list.

inhibiting movement is critical. I'd suggest tight bubble wrap, until you fill your first box - and then those peanut things filling a second box, with the whole thing duct taped. the bigger and heavier the amp, the more of each to use. I've had heads done like this arrive to me in perfect condition - and the only one where less attention was done arrived destroyed. the only thing the box was good for was keeping the loose parts from getting lost.

I do more finger picking on guitar than I do on bass.

with a three piece the choices get pretty limited. listen to fresh cream, live at leeds - or look at a stage.. if there is double tracking of the guitars the choice isn't so obvious, but I'm not doing any "extra" parts.

perhaps what was boomy on my pc was floor toms to far back - so I brought them up to be more prominent. and the bass up too. swapped a couple db on the guitar mics, giving a bit more edge to the out of tuneness. and reduced the panning while I was at it. thanks for listening, and the feedback.

hey. thanks. yeah, I do pretty hard panning - maybe too much. childhood memories of standing dead center with each ear getting blasted differently. if the guitar isn't out of tune when I start, it usually is by half way through anyway it wasn't boomy on the phones, but it is on my cheapy home pc.

new tune, "everything" added to myspace (link below) today. I made the bass a little bigger and rounder than usual - please let me know if it's too boomy out there.

I only tried a 12 briefly - unplugged. I preferred the playability of my 8, and that can be sonically overpowering anyway (especially for insecure guitar players ) so haven't considered one of these. a single octave 10, 12 or 14 string I have thought about - and keep getting back to playability issues, as aside from width, the neck needs more girth as well. a lot of tension with a lot of strings. sometimes a regular 4 is all you need, especially if you are in (or want to get in) a R&R band.

my plan was utilizng a three per side neck I have, with the otave tuners in the V. for a reasonably straight pull I was going to offset the inner portion, or maybe do a slight W with the tuners on the center. those strings would then use telecaster type ferules in the headstock.

there are a couple of us on the board with Sound City 200's we're lucky every time we play.

I was (am) going to do a regular 12 string guitar like that, V-12 with half the tuners in the v. good to see it works.

check vanilla fudge/shotgun on youtube. then buy their renaissance and near the beginning cd's. I've got two cd's that fall into the general solo bass/bass solo category.

I was going to suggest a Hiwatt 400 from the thread title, but after reading the power requirements it is out of contention. wimpy little thing that it is .

oooh, it's terrible. enough of the new "band tunes are "done" that I have had to start rotating them out already. what is a touch embarrassing is that I do the bass last - and spend almost zero time figuring something for it. it's a little tough keeping the guitar feel up and trying to progress on the drums, so the bass is taking a back seat for now. when they are all done I'll likely go back as a bass player and redo a few (?) of the bass tracks. for now the important thing is getting them down and out of my head so I can hear what they need, as well as recording/sound/mix quality - which varies with each reset up of the mics.

I missed the indulgent part(s), rather enjoy your stuff, esp Barbara.

I bought an amp off ebay - UPS, who usually requires a signature for delivery, left a rather tattered box on my doorstep. when opening it, the tinkle of broken glass was the next hint, and the entire chassis had been snapped out of the head cab, which had the sides at 45 degree angles. lucky? for me, the damage was all at joints, so it was repairable (not very easy to find another) and after gluing, replacing switches and some valves, and a long time messing with the shipping insurance, it turned into a bargain as well as a great sounding amp.

I play really loud. my primary guitar mic (also the upper tom mic) is often set to zero when recording - and it still sometimes clips a bit. I don't use close micing either, aside from leaving it in the tom location, I usually have to raise it to avoid the red. same thing with the other mics, change the input volume to accomodate how close it sits to how loud a source. it is a pain re-adjusting volumes when I want to redo a track - and initially I thought I would do all tunes on each instrument, then do the next instrument, and I may return to that approach. switching instruments makes my poor little fingers confused (let's see, light action guitar or 8 string bass touch). I don't expect you will have to make so many compromises. and to a large extent, if the music is worth listening to, none of these issues are overwhelmingly important. unless your goal is to make a name as a producer/engineer.

I'll certainly be reading it - maybe just looking for affirmation that the initial difficulties I had weren't just me. there is a lot to doing this "right", and to a certain extent I have focused on just getting it done. things like mic placement that I was pretty picky about - except after having to move em for each track, and dealing with a small recording room, decided on positions that would allow me to just rotate them - and not be tripping or banging my head in em. eq? don't touch it. compression? don't touch it. I run a nice little recording set up like it's a cassette deck, and try to concentrate on what is being recorded, rather than how. and even then there is a lot to figure out.

another new tune up.

"guitarists do it all the time" and if they don't have sufficient total wattage speakers? all I KNOW is that after 8 trips to 3 techs, a box of shot kt88's, a rewound transformer, and a new delta lite and kappa pro replaced by eminence, is that their explanation seems plausible and some caution is worthwhile to me. the deltalite was smoked, 0 resistance. the kappa pro measured OK, but when I tried two other heads through it they both blew their el34's - so it went back to eminence and they found "mild" arcing in the voicecoil, which would cause intermittent 0 resistance. and this would seem to be what smoked the transformer. mr. blackmore destroyed many a marshall major - and although most blame the early transformers, I THINK it may have been due to insufficent speakers for running a big amp flat out.