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About PapillonIrl

  • Birthday 09/01/1978

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  1. Meant to do this sooner but got distracted: Bought a GB Streamliner 900 from Rich. Really excellent communication and lots or care and attention into sorting the best shipping method (and the packaging). Can recommend.
  2. Pedal arrived today, great condition and excellently packed. Mark was super quick to answer questions and get the pedal to me, buy with confidence. Thanks Mark!
  3. [quote name='Silent Fly' timestamp='1326979657' post='1504601'] Just a quick note to let you know that the review of the [sfx] X&M has nothing to do with the performance or functionality of the pedal. The main reasons are production and some custom parts. [/quote] Thanks Max, I was wondering about that. Pedal is still here folks.
  4. [quote name='mark_ir' timestamp='1326874493' post='1502947'] have you had any issues with this pedal? sfx have taken it off the market and are 'redesigning' it according to the website [/quote] Yes I had heard that. My guess would be that he is tinkering with the crossover slope, or perhaps adding a parametric EQ to the 'high' signal (I sometimes put one in here to boost the midrange in some fuzz pedals), or perhaps he is putting values and indentations on the crossover freq knob which would be handy. All design features though, rather than issues. I was always able to make the pedal do what I wanted. I would wager the new design will cost more if any of the suggestions other than the first one are implemented. Shipping to Leeds would be £10 standard post, £15 registered post, but at the moment the pedal is on hold pending payment.
  5. Thanks for the interest in this pedal, I should have mentioned in original post that the price quoted does not include postage, which must be covered by buyer. I will post an exact postage price asap, but shouldn't be too much (located in Ireland). Here is a link to a description of the unit: [url="http://www.sfxsound.co.uk/mainpage.asp?page=xm"]http://www.sfxsound.co.uk/mainpage.asp?page=xm[/url]
  6. Won't be using this pedal for the forseeable future so on the block it goes. I had been using it to leave the low end clean when using fuzz pedals, but it has many creative applications. Looking for £90, PayPal preferred.
  7. [quote name='lanark' post='1275162' date='Jun 19 2011, 07:54 PM']So - to keep the budget down as much as possible, and massively increase the range of options we can choose from as far as recording studios go, would it be possible to: i) record the rhythm section and vocals first (assuming that we're extremely well rehearsed and the length of any horn solo are known in advance) - to avoid bleeding into the percussion mics, we have the bass and keys DI'd straight to the desk and the band wearing headphones to hear the rough mix live as we play. We then take this away and the horns practice with this rhythm section recording and later .... ii) the horns come into the studio at a later date, to record their sections to the pre-recorded rhythm section recording, which they'll be listening to through headphones to avoid the earlier recording being heard on the horns' mics. Have I got that anything like straight? The two sections would then be taken away and mastered (what on earth goes on in the matering process by the way - and does it come before or after the "mix"?) and mixed or whatever black art gets practised on them before you get the shiny silved disc? Would that sort of thing be practicable, as we've ascertained that for an unsigned band of our size, it would take a friendly millionaire to bankroll the ideal recording setup.[/quote] I think you are on the right track here, although I think it would benefit you to have a facility with a few headphone mixes rather than one mix for everyone. Mastering is the final step in the process, and involves processing the final stereo mix for maximum translation across as many audio systems, and maximum coherence between tracks as possible using (if necessary) various techniques involving mainly EQ, compression/limiting and gain adjustment. It is often recommended that this process takes place in a different acoustic space, preferably with a different engineer, so that any problems in the mix environment can be picked up and not masked by the issues in the mix room. Of course the tech stuff like PQ codes, CD-text, and production of a glass master for the duplication company are usually done by the mastering engineer also. Good mastering houses often spend as much on the acoustic design/treatment of the room, and their set of monitor speakers as a mid-level studio will spend on all of their equipment put together. It is a buyers market out there for mastering though, loads of reputable places with good rates for unsigned acts.
  8. [quote name='51m0n' post='1272708' date='Jun 17 2011, 01:30 PM']Err I didn't dismiss headphones at all (have another read of the first bit of my post)...[/quote] Sorry mate, long day yesterday, seems I managed to somehow read the exact opposite of what you wrote. @ OP : Do you have a short list of facilities at this point ?
  9. [quote name='51m0n' post='1271162' date='Jun 16 2011, 10:52 AM']This will need to be tracked with headp[hones, bleed from a bass amp would need to be prtetty heavily isoalted IMO unless you are in a really great space, with an amp that sounds perfect. "Fixing it in the mix" will not be possible to any great extent without compromising something else. I would expoect to need to put down at the very least the following:- Rhythm Section: Bass (most important, obviously) Timbales Congas Keys Guide Vocal In one go. Ideally I'd want the horns down as well, but you are looking for a huge live room to do that, and this is almost certainly outside your budget. Could the horns overdub their parts??? Their being able to do that is really going to make or break the result.[/quote] While I would agree with your approach regarding instruments being tracked first, I would not not be so quick to dismiss headphones entirely. If the bass amp is heavily isolated as you say, one or more of the musicians may find they need to hear more of it while tracking. Sometimes headphones are a vibe killer, sometimes multiple headphone mixes are what is needed to make a band comfortable. DI'd bass may be an option, re-amped later if necessary, will give more separation again, if required, but requires headphones. Vocalist and keyboardist will require headphones unless you plan on using floor wedges or speakers in the room. Not having guide horn tracks go down as well, also audible to the musicians, could also be a vibe-killer. Sometimes a solution for this for this is horns in another room, with headphones. Depends on how many rooms are available in the facility, how big they are, what they sound like, what kind of mix you need, what foldback is available, and what the musicians need to hear to get a good live feel going IMO. It is nice to have options in case one approach isn't working for some reason though. I would look for a space with a decent sized live room, good mic selection, one or two separate booths or small rooms in addition, and at least the capability to provide a few cue mixes if you hopefully won't need them.
  10. Can you list the line-up of the band, and how you normally play and rehearse ? All acoustic or some amplified instruments ? What are you willing to overdub, what must be played live to get the vibe right ? More than likely a click track is not appropriate, as stated above, but what if (assuming live tracking)there is an electric bass which everyone wants to hear while tracking, but there is to much bleed from the bass amp into the instrument/drum mics, and the bass player wants to be beside the drummer, who has a 6 piece kit ? All of a sudden you may need to track with headphones and isolate the amps in another room, which potentially means a studio with 10 headphone mixes and 32 channels of input. That should narrow down the selection somewhat.
  11. Another vote for [sfx], I have the x-over pedal and it's great. Also check this guy out: [url="http://www.jimmybehanfx.net/"]http://www.jimmybehanfx.net/[/url]
  12. [quote name='machinehead' post='1137816' date='Feb 22 2011, 10:05 PM']Sorry to be so long getting back to you. He has decided against it. I hope you get a sale soon. If I didn't have a Fender lite ash strat, I'd have had this one off you. Good luck selling. Frank.[/quote] No hassle, thanks for getting back to me. Just sold it locally the other day, forgot to update thread.
  13. Tried it through my live rig in a rehearsal today. Tried it through the Shuttle 9.0 and 2xHS10 rig, and also through an old Marshall head and 4X12 setup that we record bass through sometimes. The crossover frequency knob is great for making the setup play nice with the cabinet voicing, I had to tweak slightly when I moved between them. I may add an EQ pedal with a sweepable mid in the high channel, as I notice I did lose some of the precisions ability to pop through the mix when the pedal engaged the overdrive in this channel. Thinking out loud, a footswitch to disengage the amp EQ on the Genz-Benz would work just as well, I tend to have a chunk of around 750hz taken out on the amp normally.
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