I wish. Parted with (and parting with) more than the Beta to fund the 4003.
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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
I wish. Parted with (and parting with) more than the Beta to fund the 4003.
The point at which tracking info updates to "Out For Delivery", time slows exponentially.
After shipping (103.9 pounds!!) I barely cleared a profit based on the value of the Ibanez J Bass I bought and traded straight up to T-Pillz for the Beta.
In other newz: Anyone here interested in a really nice mid-70s MIJ Aria P bass or an early-80s BC Rich Warlock?
Holy Hell he just stopped at my corner and drove off. Common man it's only 56.5 LB. Get over here!
I'm surprised they even wanted the full combo. Usually people just pull the heads out and sell them. They're completely self contained, the head model is the exact same amp in a shell. You see a lot of loose heads with no shell floating around on CL, ebay, Reverb and forums. I don't think I would even want to sell a combo that big if I had to ship it. I've sold 10" Princeton Reverb RI combo once, that was about my limit.
This was a bit of a personal challenge with the size. I knew if I flipped just the head I'd never get rid of the cab. And, honestly, I didn't want the bad juju of being the one to split up the set.
This was a bit of a personal challenge with the size. I knew if I flipped just the head I'd never get rid of the cab. And, honestly, I didn't want the bad juju of being the one to split up the set.
Oh yeah, I know what you mean about separating the head and cab. I still have an empty Leslie extension cab (bottom spinning drum only, no speaker or motor) that I got for free with a Hammond organ that I sold like 5 years ago.
I always thought a good use for it would be if a band was playing like an auditorium/theatre setting and the binaural mic was set in about the middle of the crowd, to help flesh out the sound of a live recording by giving some feeling of being in the audience. Also to bring in like crowd noise in between songs. Often with live recordings to me it sounds like the perspective is sitting onstage, or that the audience and the band are equidistance away, which has this odd effect of making it seem like you're somehow floating high above it all instead of really being immersed in it.
Yeah, like that, where you actually hear the crowd settling in. Maybe it's not for everyone, but I think that adds a really neat quality to it. Maybe not wanting to hear coughs and snorts through the entire performance, but to mix in during the beginning and ends of songs is cool.
You know, I hear a lot of bands and musicians going on about how they record using analog equipment to make their songs sound more like how older records do, recording to tape and what not, but I have yet to hear a record that actually sounds, production wise, like it was convincingly recorded in the 60s or 70s. Now, certainly degradation of the masters could account for ome of the sonic difference, but I think it'd be interesting to do an experiment to try to get as close to XY (chose some example recording) as possible. It seems modern recordings, even ones that tout using analog gear and the like, sound far more present and bright. And I think micing might have a LOT to do with it. I think you're right about the close micing. When I took my production class, pretty much all of the techniques focused on close micing amps and drums. I watched some additional material for the course that went into more distance micing to get a better sense of the room, and when we recorded some sample songs to practice mixing I went for a more distant approach on the micing. We put a mic up on the amps and then ones further back, and then used a simplified Glyn Johns technique for the drums, and even with a really rough mix I thought the balance and quality of the sound far outpaced most other recordings I've done where everything was close mic'd. I used very little of the close mics in my mixes, and other people in the group went with mostly close micing and it made a huge difference in the sound. The only change I would make would be to do closer micing on the drums than we did just so they don't sound so live in the room.
So, in short, less close micing.
Picked up my textbooks for the upcoming semester, starts on Monday. Actually sort of looking forward to it, which is a first.
Two classes, Intro to Ethics and Race and Class in the United States. Could be worse.
Two classes, Intro to Ethics and Race and Class in the United States. Could be worse.
Speaking of that, I've got a number of expensive projects in the works that I've been trying to stay off talkbass just so I'm not tempted to look in the classifieds. Soooo cant afford it now.
What everyone's preferred power supply. My voodoo labs PP2+ tanked yesterday and I have a show before the warranty repair turn around. I'm considering an MXR Isobrick. I like two 18v outputs as I want to run my Octron and ODB at 18v.
