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Everything posted by Fender&EHX4ever

  1. .... for example [video=youtube;99fRdfVIOr4] [video=youtube;hBf7J6BBvxw] [video=youtube;8NF6Qa84mno]
  2. No clue how I forgot about this one... one of the most revolutionary recordings of at least my generation. Pre-dates just about everything electronic ever since... New Wave, Cocteau Twins, Techno, Trance.... [video=youtube;B2qI6UDD2uQ] I always loved the phaser on the synth pads in this song. They also foreshadowed the stuff that the New Romantics would capitalize on another 5 years later. [video=youtube;xZKuzwPOefs]
  3. [video=youtube;4Zz8mbqtgO8]https://www.youtube.com/watch?v=4Zz8mbqtgO8
  4. [video=youtube;ssXFJ1ZKsQg]https://www.youtube.com/watch?v=ssXFJ1ZKsQg
  5. Easily one of my favorite songs of ALL TIME... if only for the amazing pre-sampler use of vocal loops and reverb... soooooo delicious: [video=youtube;tdCY0CgMoq8]
  6. [video=youtube;bj8lRssjN48] [video=youtube;B-2MenrnR2U]
  7. Update for all the crickets paying attention .png' alt='16x16_man-very-happy.png.58f4fc7892e8041ddc6575c8d5db3ad6.png' alt='very-happy'>.png'> The NY-2A arrived this week, and I finally had an opportunity yesterday to give it a go. Probably a bit early to commit to any statements (honeymoon period still in session), but here are my initial impressions: - Compressors have always been a bit of a technical conundrum for me. I'm not an audio engineer, so I don't really have a solid understanding yet of the math involved in ratios, thresholds, attack, release, etc. The NY-2A, however, simplifies all of this for me by designing a compressor that only has knobs for Pre-Gain, Compression, and Post-Gain, then giving me only a few options for attack. That much I can mostly grasp. - The optical photocell design really makes me smile. I have no context or experience with classic compressors to compare to, so I won't pretend to know how that design compares sonically or functionally to other tried and true designs. I just know that the idea of having 3 different light sources being used to determine the compression and attack variables is just downright delicious to think about. And the magic eye meter just accentuates that whole relationship between sound and light. I don't care if it's gimmicky, it just makes me happy to watch it and think about it as I'm singing into my mic. - I first tested out the NY-2A for vocals. I used my Electro-Harmonix R1 Ribbon Mic, a Cloudlifter Z, and my Focusrite Saffire Pro 40 into Logic Pro X. I decided to not use my Electro-Harmonix 12AY7 Mic Pre this time just to remove any additional variables from the equation. Once I get a foothold with the the basics I will experiment later. - After a couple of hours playing with different settings, I arrived at using the LED setting for my voice with the Pre-Gain and Compression settings set around 3 00 and the Post-Gain set around 10 00. I felt like the Silver Surfer, singing instead of surfing. - For my acoustic guitar, I used the same hardware, but I changed the NY-2A settings using the EL lamp instead. I switched on the squash, set the Pre-Gain to about 1 00, the Compression to about 5 00, and the Post-Gain to about 10 00. I was using my vintage Electro-Harmonix Brody acoustic guitar, which has a super boomy low E string. That boominess combined with the low freq accentuation of the EHX Ribbon Mic required some real low-end reduction, no matter how I directed the microphone to my guitar soundboard or fretboard. I'll experiment more later with different mics and a different acoustic, which will probably yield different NY-2A settings. That's it for now. Eventually I want to try playing my final stereo mix through the NY-2A to pull everything together. But that seems quite daunting until I understand the nuances better.
  8. After years of scouring eBay and Craigslist for vintage gear ( stuff I drooled after as a kid but couldn't afford until I was older), I've finally entered the realm of MIDI. Thanks to Phil's recommendation to check out Molten Voltage, the CV-Sync and CV-CTL have been my gateway. I love Bill's modular approach, and I love that his gear allows me to continue the MIDI to Analog hybrid relationship. I have a preference for breaking down the components of sound synthesis into dedicated devices... the old school way. I often get into conversations with a friend of mine who has spent the last several years moving toward working entirely in the box (his MAC) and using plug-ins to do what he used to do with shelves full of gear. As a professional technology educator, I really respect the economy and convenience of that. But it is as though my old creative and inspired brain is wired to be more inventive using physical components and connecting them with real cables. I guess it goes to that place in my brain where I used to play with LEGOs, Erector Sets, Lincoln Logs, and Radio Shack Electronic Kits . As a result, I tend to feel that the process of searching for new guitar territory comes from combining components that normally were not intended to be used together. Alchemy if you will. This is why I'm a little suspicious ( and probably wrongly so ) of devices like the BOSS SY-300 where everything but the kitchen sink seems packed up so neatly into one box. I do, however, see that it has an EXP jack for some analog potential. That's always a great start.
  9. I didn't even know that there was a "High Tech Guitar" forum until just now
  10. I've had the Cathedral for about 4 years (?) now. Before that I had the Holy, Holier, and Holiest Grail pedals. I like them all. But in truth, I am still trying to figure out how to integrate reverb into my sound. Reverb is not an intuitive effect for me. I struggle with it because a poorly applied reverb can really screw up a good mix.
  11. Funny, I just plugged in my Classic big box POG a few days ago. First thing that crossed my mind was that I no longer know how to use in my music a pitch shifter that only does octaves. I've got my eye fixed on the Pitch Fork
  12. My list of favorites is pretty extensive. I have a passion for phase shifting
  13. I was thinking the same thing. Reminds me of the packaging on old wind-up tin mechanical space toys from the 50s.
  14. That looks really fabulous. I'm just surprised that with all of the new samplers they've been releasing it seems like they would add a CV jack so that it could be triggered by their Clockworks or their 8 Step Program.
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