seaneldon

here's a video of my studio. I'M THE STAR!!!!!!!!!!!!!

it was mentioned before, and i'll say it again. get your amp off of your floor. a chair will work. a roadcase. couple cases of beer. whatever. anything is better than nothing. next, don't set your amp to "flat. stage volume", but instead set it to how you want it to sound before you even put a microphone up. what happens when you get it sounding almost decent with the flat setting and then say "okay, time to get MY TONE"? i'll tell you...as soon as you touch a single equalizer knob on your amp your time spent placing that microphone was a waste. a lot can be said about "recording volume" and how loud you actually "should" have the amplifier and how hard you should hit the tape. if we're talking about "rock guitar", then we're opening a whole can of worms. all i'll say (and i'm gonna be REALLY basic) is that i typically like to get some speaker movement. this happens sooner (quieter volumes) with small speakers. your cabinet has TWO DIFFERENT MODEL speakers. sit in front of the thing and figure out which one actually sounds better for the song you're doing. put the mic in front of that one. spend some time sweeping the speaker, angling the mic to enhance or diminish high-freq fizz. i don't know. i can go on for a long time but another guy already did that.

i like it for light to light-medium overdrive with the HP switched in for the extra "oomph" in the midrange. records really nicely with a wide variety of guitars and amps.

i spit out a pretty excellent review when i first got mine more than a year ago, but it was on the old forum and i don't think the post exists anymore. the only pedal i'll use for recording guitar. replaced like 2-3 former favorites that i don't even bring in a carry-on bag "just in case".

the dude that started this thread is the smartest man to ever live.

Epiphone Valve Junior 5W tube head. Used for 3-4 hours in the studio for guitar solo overdubs in like, October 2006. Haven't turned it on since. Perfect condition. Sounds excellent. $70 coldhardcash for HC folk. NY pickup only. Will not ship. I'm on Long Island in Nassau County. Hit me up.

talk about REALLY missing the mark there. the question was how much i work in a MONTH. my answer was 100+. before that, i stated that thursday was the only day i was off that week. doesn't mean i worked 100 hours in a week. not that i haven't done that in the past.

Originally posted by Ronan Murphy I hate doing business by the hour so I never do it, but I usually try and take one or two days off a month. i'm with you. i book by the day, but they average out to be 8-12 hours so i still end up counting hourly. i really shoot for getting mondays off. i hate mondays.

today's the only day this week that i'm not at the studio. 100+

also selling: BLUE Kiwi with BLUE shockmount and pop filter. 9 patterns. excellent condition. I've been using it a lot for kick drum heads, mono drum overhead, room mic, distant mic for horns, backup vocals in figure 8, bass amps in omni. Comes with handsome cherrywood box lined with crushed velvet. Need money for Tonelux. $1500 for everything. This mic sells for $2000. The shockmount is $200+ at stores, the pop filter is about $200 as well. Save some money. This can be shipped if you split the shipping with me, or alternatively it can be tested and picked up at our studio. $1500!

don't play more than three notes in a chord? stay out of the bass register? dude, i'm sorry, but what the {censored} are you listening to? if guitars weren't meant to be played all the way across, why even put 6 strings and 21-24 frets? why not just make it 12 frets with 3 strings? if you heard a recording where an open E chord on a guitar "clashed" with the bass guitar and "didn't belong", whoever recorded that album REALLY {censored}ed up.

selling a presonus digimax 96k. 8ch mic pre with analog and digital outs (optical, s/pdif). digital outs capable of up to 24/96khz. limiters, -20dB pad, eq "enhance" function on every channel. first two channels have di inputs and polarity reversal. excellent condition, works perfectly. outboard power supply also in great working/looking condition. we were using it for spare mic pres if we ever ran out of great ones (nope, doesn't happen), but mainly as a converter for our headphone/cue system. we've decided to go totally digital with the hearback system, so i'm selling this. would be great for any studio/home recordist who needs plenty of mic pres and converters on a serious budget. retails for $1699, sells at stores/dealers for $1329. Buy this one for $850. can be picked up at the studio in NYC (tested too, if you're paranoid) which is close to E/V/G/N/W/7 subways, or can be shipped to anyone who wants it (split shipping with me).

Hey. Moving to Hollywood to do audio for a TV show which I will reveal at a later date. Selling one of my guitar rigs. Rickenbacker 360/6. Mapleglo. Early 90s. Trussrod cover is black. Pickguard replaced with a really awesome looking shiny one. Plays great. Sounds great. OHSC with polish cloth and key to lock case. Also, vintage Fender Bassman 70 head. Master volume. Great for guitar, bass, synths, and harmonica. Upgraded, grounded power cord. ORIGINAL tubes still have plenty of life in them. Comes with ATA approved flight case with storage compartment. Great condition. I want $1050 for the Rick, $400 for the Bassman and the case. I have to charge shipping and handling. Sorry. Local pickup at the studio is fine! PM me.

Someone who isn't using a tape machine for the business of a studio will absolutely not spend thousands of dollars a year on the actual media. sorry. it won't happen. dude's not gonna record an album every week. THAT would mean thousands of dollars a year. The only tape that's STUPID expensive is 2". he can get a good 1" 16 track like a tascam. 1" is still not that expensive, and you'd have to have a LOT of songs to fill up a thousand dollars worth. you can buy preowned reels also. A lot of them have never been used. Also...caring for a tape machine isn't as difficult as people make it out to be. He'd spend just as much time mastering "the art" of software that will not be in studios 10 years from now, whereas analog machines will probably ALWAYS be in studios. It's not like taking apart a car, which is something plenty of "not so smart" people manage to do. And why do you "still" need a computer? dude's already got one for forums and other internet kaka, obviously. Editing? Edit the freakin' tape, or just record over what sucks. It's not that hard. I've done enough records that are 100% analog to where I couldn't count them on the hands of 5 people. They all sound great and I didn't have a heart attack trying to finish them. And the bands certainly didn't mind there was no computer in the room. At least there were none turned on.

this is a really awkward point for computers and software, as i'm sure you know. you'd spend $2500 on a good machine which is hardly setup for recording (you'd spend thousands more on software). why not spend your $3000 on a analog recorder and some reels of tape? not exactly portable, but easy to maintain if you buy a quality machine that hasn't been abused. much easier than keeping a computer "up-to-date".