Jump to content

roman_sub

Members
  • Content Count

    469
  • Joined

  • Last visited

Total Watts

35 Excellent

About roman_sub

Personal Information

  • Location
    London

Recent Profile Visitors

2,165 profile views
  1. Original PRS rotary switch - very little use since taking out of my CE24. Has been unused for a few years!. £28 PPG complete EMG bass electrics (5 string) - two DC40 humbuckers, vol-vol-switch loom, with stacked EMG BTC preamp. £SOLD
  2. Lovely reissue Swede electric guitar. Mahogany body, so closer to a Les Paul Custom than a Standard. Versatile sounds from jazz to heavy rock. It has a clean neck and fingerboard, almost no fretwear. Electrics work great. There are a few chips - shown. These are not visible when playing. From memory, the guitar is approx 10 years old but has had very little playing - my wife bought it when when she wanted to try playing guitar... finally accepted that it’s time to move it on! I only have a soft case, so meet-up or collection only please.
  3. Cheap valve pre’s Normally have tubes running at low voltages, so not really getting the best out of them. The sound may be bit harsh (and definitely more noisy than your interface preamps) but if you like the colour it gives, go for it. Don’t forget that transistor designs (eg any Neve 1073 type design - eg Golden Age Preamp Pre73 being one of the most affordable) can also give a very pleasing warmth / saturation. If you can find one at a similar price, i’d Take one over a tube preamp at the same price point. It is a rabbit hole though: the outboard preamp by itself may get you closer to the ‘polished studio sound’ - but then there’s EQ, compressor (or two), hardware reverb etc etc. Point being: decide what and how you ultimately want to record. Most interfaces these days have preamps that would be acceptable even for any level of recording project. If you want just a bit more colour, it could be nice to have something different - it won’t be the final and only piece of kit you need for the sound ‘in your head’ but if it inspires better performances it’s worth it.... if you do end up getting it, try to run it though line inputs (generally no need to run signal through two separate mic pres).
  4. Even though it’s a close-mic’ing system (looks like something you mount over the F hole?), try to find a room / space in the room that sounds best when you are playing - you are still recording an acoustic instrument, in a space. It’s nice to capture some of the fingerboard slap, so another mic may give more options if you are missing the ‘attack’ there - but then watch out for how the mics interact. even better to record in a nice sounding room with a decent omni mic at about 1m away, though that’s getting closer to studio, not home recording! otherwise general tips apply, watch out that levels don’t clip the input - you can easily leave 6db of headroom; no need to get as close as possible to 0db.
  5. It does sound like the drummer didn’t play to the standard of accuracy that the tracking engineer/ producer wanted. Moving kick, snare and time aligning fills generally sounds like your drummer was having timing issues that wouldn’t get better with more takes. If so, editing would have been a better use of time, rather than having drummer record more and more takes with the same issues. Though, It is also possible the person doing the editing wanted a perfect metronomic, grid-aligned performance (and overdid the editing) - and maybe original drum performances were actually usable in their own way, but the character of drums was fundamentally changed as a result! tough one to call without being there... if you’re happy with the result that’s what matters.
  6. Without being rude, if you want to use the buss compressor regularly, I wouldn’t really recommend any of those units - nor do I think you would be likely to find a particularly good one within stated budget. If you just want clean and boring, FMR unit may do the job well enough. for character compression or something to ‘inspire’ mixing you’d likely need to spend more on SSL clone. But, to be honest, £300 would probably be better spent somewhere else in the studio.
  7. So does this only have a 1/4” jack out, and no midi out?
  8. This unit is amazing. I mix FOH live sound and can confirm it makes even the house rig sound great.
  9. This post cannot be displayed because it is in a forum which requires at least 1 post to view.
  10. Bought strings from Andrew. Arrived very quickly in great shape. Deal with confidence!
  11. Dear musicians, here's a good way of how to wind up a sound engineer: please spontaneously inform them, preferably after the show, that they are 'also a part of the team'. 

    And I thought the stage magically sets itself up each night; the console automatically mixes the show, adjusting on the fly for poor microphone technique / crappy instrument sounds of varying volumes; and the monitors just happen to give you back something useful???

    /rant over

  12. Just wondering if anybody might like to trade USA Jazz fretless neck (2011 I think) for an identical fretted neck. the fretless neck is in great shape, it has always had flats on - so almost no fingerboard wear. Dots in between fret markers, no fingerboard inlays photos on request! will consider trades for USA fender or Graphite replacement necks only
×
×
  • Create New...