I love waffles; pancakes give me a headache. Figure that one out.
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The Combo Club
- Thread starter ChefKen
- Start date
"Roses are red, violets are purple, sugar's sweet, and so's maple syrple"-Jimmy Dean, "Dang Me" Addendum: Oops!(see below)French toast, Belgian waffles, muffins, strictly Off Limits on my plate. No syrup, no jam, no sweets, no hot or cold cereal.
Fruit, yogurt, toast, coffee works, with regional allowances. Swiss and Scandinavian breakfasts get top marks in my book. Full Irish breakfast ahahahahaha Well there's that. A real Denver omelette. Fried eggs and Italian sausage at The Copper Penny (where the wallet scene in Pulp Fiction was filmed). A fresh, hot soft pretzel at 30th Street Station in Philadelphia. Scrapple and fried eggs in a coffee cup before we make sail from Annapolis (NOT my naval base!). Croissant and cappuccino in Milan. Hard boiled egg, a bit of cheese, a bit of butter and a roll in Munich.
See? Lots of great ̶c̶o̶m̶b̶o̶ ̶a̶m̶p̶s̶ breakfasts out there without waffles on my plate
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adjectives, you got it, my friend. I’ll ring ya up tomorrow after I once again find the key card to get into Command Central.
I see you’re sporting the BA-210 v2, very nice. And I’m assuming you’ve matched it with the PF-210 HE. Correct? Enjoy your nearly 500 watts of Ampeg power. I thought the combo alone was loud. Enjoy!
Talk to ya in the daylight with your new membership number. Tell your friends.
Correct on all counts! The combo is loud enough from most of my smaller gigs. It DIs out for larger stages. The pf210he is to 1) move more air. 2) raise the combo to a taller profile. 3) face the 210 he toward my drummer at rehearsal. He appreciates that.
Thank you! My first act will be to out myself as a GAS inflicted hoarder.
Don’t worry, you are in the best of company in this forum. With me, there are not enough TUMS in the world to stave off my daily GAS!
Oh?
I really appreciate @JakobT's Blackstar review. Saved me from ordering one.
adjectives, meet Gone Plaid. The only thing more famous than his fine collection of combo amps is his garage door. You'll always know when he's displaying one of the family. I must admit, that Peavey sure looks intimidating.
Me 2. That's why I love it when peoples review their amps on our forum. It sometimes gets me to wanna buy something (M with her PJB stuff), but more often it keeps me from making a mistake (JakobT's review). Sure, I might hear it differently, but the more we communicate the wiser I become.
Thanks to all and have a great week ahead!
Thanks. I could "hear" it but couldn't put a face to it.
- Oct 22, 2015
- 21,155
- 256,567
- Disclosures
- I am an affiliate for Ari Cap.
Any week that begins with garage door combo pron is a good week 
We saw the Gatlin Brothers perform last month and Larry was a close friend of Roger Miller. He told about being at Miller’s house and waiting in the car so they could go somewhere. After waiting a long time he went back inside to see about the delay. Miller was staring at the thermostat on the wall and said, “Look, Lorenzo, I lost a hundred pounds!”
The loud exhaust from that Peavey has left a nasty stain on ya door there GP
Cleaning that offa there is # 437 on my to-do list. It's caused by the well-water fed sprinklers. It's been there a looong time. It'll be there a lot looooonger.
Yep the Yanks were “Over Sexed, Over Paid and Over Here”
Their role was to protect south of the “Brisbane Line”.
Is that somewhere near women's waistbands?
Studio report
Here, as promised, is my report from my weekend in the recording studio. The five of us were bound for a largish studio in a nearby town with its own living quarters, and 24-hour access to all studio facilities. We would only have a recording engineer for about 6-8 hours a day, so we had to plan for the best possible use of that time.
We all drove down on Friday evening with all our gear. I had given a good deal of thought as to what to bring, starting with a perusal of the studio's equipment list. I noticed that there were lots of guitars, guitar amps, pianos and drum kits, but no mention of basses or bass amps. This led me to believe that they usually DI'd the bass directly to the recording desk, which is convenient for the engineer, but wouldn't necessarily give me the sound I wanted. One of my first decisions, therefore, was to bring my Rumble 500. I'd bought my new Rumble Studio 40 only days earlier, but as I hadn't really got to know it yet, I went with the 500 in spite of the extra heft. I also brought my American Standard P with half-rounds as my main bass, and my MIM Special Noir P with rounds as backup, together with all the usual bits and bobs.
On arrival at the studio, we spent about an hour and a half setting up our gear with the assistance of the engineer. Both of our guitarists and myself had amps set up in separate rooms, DI'ed and mic'ed to the desk. We also mic'ed the drum set and vocals, and set up headsets and a talkback mic to the booth. We spent the better part of Friday evening laying down drum tracks for use the next day, as the drummer had just become a grandfather, and had to visit his new grandson on Saturday.
We spent most of Saturday laying down bass, guitars and vocals. Guitar and bass were usually recorded together, but most of the vocals were recorded separately. One of the main challenges for me was playing to a click track - it's something I'm not really used to, and it was a bit of a shock to see how unevenly we sometimes played, but by the end of the day we were starting to get the hang of it. Sunday morning consisted mostly of going through the vocal takes, and picking the best parts. In the afternoon our drummer returned, and redid a few tracks, and we also put some more vocals and extra instruments down.
I was really happy with my bass sound, the Rumble came through with flying colours, and the engineer was very complimentary about my tone.
There's still the mixing to be done, but I'm fairly happy with the work we did. I'll try to post links when everything's done, though that won't be until 2020.
Here, as promised, is my report from my weekend in the recording studio. The five of us were bound for a largish studio in a nearby town with its own living quarters, and 24-hour access to all studio facilities. We would only have a recording engineer for about 6-8 hours a day, so we had to plan for the best possible use of that time.
We all drove down on Friday evening with all our gear. I had given a good deal of thought as to what to bring, starting with a perusal of the studio's equipment list. I noticed that there were lots of guitars, guitar amps, pianos and drum kits, but no mention of basses or bass amps. This led me to believe that they usually DI'd the bass directly to the recording desk, which is convenient for the engineer, but wouldn't necessarily give me the sound I wanted. One of my first decisions, therefore, was to bring my Rumble 500. I'd bought my new Rumble Studio 40 only days earlier, but as I hadn't really got to know it yet, I went with the 500 in spite of the extra heft. I also brought my American Standard P with half-rounds as my main bass, and my MIM Special Noir P with rounds as backup, together with all the usual bits and bobs.
On arrival at the studio, we spent about an hour and a half setting up our gear with the assistance of the engineer. Both of our guitarists and myself had amps set up in separate rooms, DI'ed and mic'ed to the desk. We also mic'ed the drum set and vocals, and set up headsets and a talkback mic to the booth. We spent the better part of Friday evening laying down drum tracks for use the next day, as the drummer had just become a grandfather, and had to visit his new grandson on Saturday.
We spent most of Saturday laying down bass, guitars and vocals. Guitar and bass were usually recorded together, but most of the vocals were recorded separately. One of the main challenges for me was playing to a click track - it's something I'm not really used to, and it was a bit of a shock to see how unevenly we sometimes played, but by the end of the day we were starting to get the hang of it. Sunday morning consisted mostly of going through the vocal takes, and picking the best parts. In the afternoon our drummer returned, and redid a few tracks, and we also put some more vocals and extra instruments down.
I was really happy with my bass sound, the Rumble came through with flying colours, and the engineer was very complimentary about my tone.
There's still the mixing to be done, but I'm fairly happy with the work we did. I'll try to post links when everything's done, though that won't be until 2020.
Attachments
Last edited:
- Oct 22, 2015
- 21,155
- 256,567
- Disclosures
- I am an affiliate for Ari Cap.
Studio report
Here, as promised, is my report from my weekend in the recording studio. The five of us were bound for a largish studio in a nearby town with its own living quarters, and 24-hour access to all studio facilities. We would only have a recording engineer for about 6-8 hours a day, so we had to plan for the best possible use of that time.
We all drove down on Friday evening with all our gear. I had given a good deal of thought as to what to bring, starting with a perusal of the studio's equipment list. I noticed that there were lots of guitars, guitar amps, pianos and drum kits, but no mention of basses or bass amps. This led me to believe that they usually DI'd the bass directly to the recording desk, which is convenient for the engineer, but wouldn't necessarily give me the sound I wanted. One of my first decisions, therefore, was to bring my Rumble 500. I'd bought my new Rumble Studio 40 only days earlier, but as I hadn't really got to know it yet, I went with the 500 in spite of the extra heft. I also brought my American Standard P with half-rounds as my main bass, and my MIM Special Noir P with rounds as backup, together with all the usual bits and bobs.
On arrival at the studio, we spent about an hour and a half setting up our gear with the assistance of the engineer. Both of our guitarists and myself had amps set up in separate rooms, DI'ed and mic'ed to the desk. We also mic'ed the drum set and vocals, and set up headsets and a talkback mic to the booth. We spent the better part of Friday evening laying down drum tracks for use the next day, as the drummer had just become a grandfather, and had to visit his new grandson on Saturday.
We spent most of Saturday laying down bass, guitars and vocals. Guitar and bass were usually recorded together, but most of the vocals were recorded separately. One of the main challenges for me was playing to a click track - it's something I'm not really used to, and it was a bit of a shock to see how unevenly we sometimes played, but by the end of the day we were starting to get the hang of it. Sunday morning consisted mostly of going through the vocal takes, and picking the best parts. In the afternoon our drummer returned, and redid a few tracks, and we also put some more vocals and extra instruments down.
I was really happy with my bass sound, the Rumble came through with flying colours, and the engineer was very complimentary about my tone.
There's still the mixing to be done, but I'm fairly happy with the work we did. I'll try to post links when everything's done, though that won't be until 2020.
Fantastic, JakobT! Great attention to detail that kept me reading. I think it’d be so cool to experience something like that, even for a weekend.
We know you have to keep the music under wraps, but as soon as you can please let us know when we can take a listen. I’m sure it’ll be terrific. Thanks again for allowing us to join you on your adventure!
Hear, hear! which is what we wanna do.
