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stevemcb

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  1. The Mooer pitch pedals are digital not analog but I'll put in my 2 cents worth about them - avoid the Pitch Box for octave up. The octave down setting is fine but the up sounds just slightly out of tune - I don't think it's exactly an octave! The Mooer Pure Octave may do better (I see that Richard Thompson had one on his board but haven't heard him using it). But with the pitchy pitch box and the shimverb which shifts a 5th rather than an octave, I'd be very wary of Mooer pitch effects
  2. I've done something similar and would suggest a more capable/heavily featured mixer than the 402. A few reasons: - The 402 would require you to plug its output into the pedal then into something else - another mixer, PA, etc. The next thing in the chain may not like the very low level signal that guitar pedals operate at causing troubles with noisy signal or inadequate output volume. - If you want to practice with headphones (or monitor with them), this setup will not allow the small mixer's headphone amp to present you with the looped signal as well as the direct input signals - The 402 leaves you little if any capability to add elements to your setup - what if you want to use a bass to create a looped bassline, and a drum machine or pads+laptop setup to play live drum beats, or add a second vocalist? I use a behringer UB802 (not as high quality as the Mackie, but more channels and has an Aux send/return). I put my head rush or boomerang in the aux loop - this lets me adjust the gain so the send/return is at low levels that the pedals like, but I can use the headphone amp on the mixer to monitor myself, drive the PA or whatever I'm running it into with decent level, and the extra channels mean I can expand to other sources. The Mackie 802 would be even better for this given 3 preamp channels.Behringer equivalents obviously are cheap as chips and actually work well, just less durable/more likely to crap out. Steve
  3. I have plenty more stuff, but lately my go to rig has been: Guitar - Home-made semi-hollow ash tele (duncan vintage broadcaster and alnico pro neck pickups and a 4-way switch). I originally made this for a fun project when I was at college and because people kept asking to borrow my Ibanez RG570 (which I wouldn't let them) so I wanted something that if it turned out well would be cool and if not would be OK to be a loner. Ultra cheap made-in-India neck, did heaps of things wrong in building (including routing the cavity for the bridge pickup on the opposite angle to what it was supposed to be), paid a luthier to cut the nut and it turned out to be a great guitar. But I put a lil '59 in the bridge position, then later ended up buying a bunch of guitars later with bridge humbuckers. A couple of years ago I seized the bull by the horns, bought a proper tele bridge and bridge pickup, and converted it to a real tele, which made it a hugely better guitar. I love it even more now, and given that I made it with minimal tools and my own sweat, it holds a special place in my heart. Pedals: I have a 17 pedal + 9 loop loopmaster in storage at the moment (awaiting room to house them in) and a bunch of spare pedals. But I've been singing most of the time I play guitar lately, and because I suck at singing, my board has to be simple and cover the essentials only. Hence, the tiny all-Mooer board - bought back when they were very cheap (thanks Ren!). Mooer Flex Boost - AC boost clone I believe, never played an RC boost, but this is a great OD with plenty of flexibility from almost no gain to moderate gain and 2 band EQ. Small footprint, covers my OD needs. Not quite as nice as my Boss OD3 which is my favorite OD with single coils, but close. Also stacks well with: Mooer Black Secret - Rat clone which sounds better to me than my Rat 2, and better than I remember my (sadly broken atm) 91 big box reissue Rat. Covers low-medium to high gain well. I've always loved Rats and this one gets close to the older rats I've played. Mooer Ensemble King chorus - I don't use this very much, but when I do it's very nice. Basically a CE2 with a mix knob, so you can be a little more subtle and a little less hair metal. Mooer Trelicopter tremolo - This is hands down the nicest tremolo I've had the privilege of playing outside an ancient Gibson amp from the 50's. Warm, pulsating, gets up to high speeds but never super choppy. Lovely. Mooer Ana Echo - supposed to be a DM2 clone, works very nicely although a little noisy at times, and I wish the large knob was feedback rather than delay time, because I like to manipulate the feedback with my foot if I can. Not nearly as nice as my AD99 but I could actually put all of my mooer board on top of the AD99. Vox Night Train - I was ampless when I lived in the UK. I wanted a decent, low-wattage tube amp and found a good deal on this online with the matching cab. I've heard differing stories about whether it's class A vs. AB, and it's not as completely Vox-sounding as a dimed AC30, but it sounds great, takes pedals well, was a good deal, and doesn't have to be super loud to sound good (which is great because I mostly play on very quiet stages). I guess this rig is a triumph of practicality over my previous excess. Super easy to transport, good sounding, fun and easy to set up. I love it. Steve
  4. I definitely understand where you're coming from - larger analog mixers are definitely on the decline (I imagine that I'm benefitting from the studio that liquidated the Sony moving to a digital desk). I haven't owned nearly as many mixers as you, but I can see if you're regularly tracking a whole band that a bunch of great preamps and then straight into the box is the way to go. But with my budget constraints and other uses, it's great to get a bunch of neutral preamps for less than what it would cost to buy a Presonus blue tube locally... I do own another mixer which is a behringer with 2 mic pre's and a couple of stereo channels. It's a great little box to have around - enough to run a couple of vocals through a makeshift monitor setup for a band practice in the garage, decent enough sound in terms of preamps to get the job done although noisier than my old Mackie, easy to set up a multi-source loop pedal arrangement, etc. and that's certainly not being replaced by the Sony - it's too convenient just to throw it in a bag with whatever else you need. I guess digital doesn't get better with age either - the caps don't dry up, but the hardware packs up, the OS stops being supported and the plugins are discontinued or not supported in the new format (my foray into multi-channel interfaces was mLAN-based…) Steve
  5. FWIW, I prefer the sound of my Mooer Black Secret rat clone to my 91 big box Rat RI and my newer Rat 2. Thanks Ren! Steve
  6. Just on the off chance that anyone's interested in this mixer in the future, I thought I would post a followup. There is precious little information online and much of what there is comes from brief posts on recording forums. The bottom line is if you see one for a good price I would suggest grabbing it… I bought mine mostly because the price for the features was outrageously low (but it came from a studio liquidating analog gear, so I'm sure it wasn't illegitimately obtained, just hard to sell because there's so little info on it!). I've now got the mixer and had a chance to check it out. Everything is working except 1 channel's aux 1/2 pot, which looks like it's been sheared off the board. Hopefully not too challenging to fix. The SRP V110 does seem like an amazing swiss army knife mixer for recording and other tasks. There are 10 pre's, which seem to be very low noise even at maximum gain (60dB) and neutral-sounding (initial testing with phones only so take this with a grain of salt, although an online discussion I found suggested very flat frequency response from the preamps). Channels 1-8 have direct outs, and all channels have inserts you can take an unbalanced direct feed from the other 2 pre's if you need to. The EQ sounds good, not surgical but you have DAW EQ for that right? Given I paid less than $250US including shipping (and especially considering that the original RRP was over 2.5k Euros) the price per pre is right! I'm sure they're not Neve quality… But on initial testing they sound significantly better than the Mackie pre's I used to use. It also has 8 stereo ins (if you were to want to do some analog summing?) may be of use for recording (an I guess makes it ideal as a keyboard mixer too), and if you wanted to use the EQ and auxes for analog processing at mixdown there are "tape in's" for the first 8 channels. The features are all packed into a very compact shell, so this won't take up huge amounts of real estate in a studio setup - it's about 45cm/18" square. It's moderately heavy. Because of the small size, the knobs and switches are very small and packed tightly together - to the point where fat fingers may be an issue! So overall from a recording point of view I can see a lot of milage in this mixer. For other tasks, it's more variable. I think live the very, very compact nature of it would make mixing tough - 60mm faders and tight spacing of knobs and switches would make it less than ideal, unless you needed something for side-of-stage where space was tight, in which case it would probably be great. Only 4 of the 8 auxes are pre-fade (and 1-2 are a stereo pair) so effectively only has the option of 3 monitor mixes. Still a lot better than many compact mixers but you might well want more unless you're in a trio. Also, durability would be an issue in the live setting. It's housed in metal, but the pots appear to be board-mounted (and one has sheared off the board on mine) and not actually attached to the chassis so there's a lot of scope for damage if dropped or otherwise abused. Would need to be road-cased and babied. For silent band practice for a small band, I think this is an ideal substitute for the jam hub I was considering, as we should be able to use the 3 pre-fade auxes + main outs to generate 4 separate mixes, 1 for each band member. 3 of them will need headphone amps of some description but that won't be a problem and even if we had to buy cheap headphone amps it would come out cheaper than buying the cheapest jamhub! Steve
  7. Thanks for your input - appreciated. I've had no contact with Sony's pro audio stuff prior to this. It's disappointing to hear that you've encountered lots of failures. To be honest, the reason I bought the mixer is mostly because it seems to be a bit of a swiss army knife in terms of versatility - able to do small live shows, recording, silent based practice, etc, and I appreciate that it may be a jack of all trades master of none. It was also dirt cheap (about 5% of original RRP) although I know they sold at way less than RRP. In terms of multi-track recording, I was thinking that the 8 direct outs might be good if the preamps are decent. If I need to do more than stereo recording, the 01x (which is clunky but still works for me) does the job and can do 8 simultaneous ins. I previously had a mackie vlz 1402 which I used for pre's and was happy with (sold it a couple of years ago as we moved overseas for a while). Steve
  8. Hi guys, I've just bought one of these (shipping is being sorted at the moment so don't have hands on) because it was too good a deal to pass up. I'm hoping to use it for recording (Focusrite Scarlett 2i4 (and Yamaha 01x for multiple ins if needed)), but it seems it could also manage in a live setting and for silent/headphone only band practicing (which is probably where it'll get the most use as all of the band members either have or are expecting young children). 10 mic pre's, 8 auxes, multiple stereo channels... There's not a lot o info on the web - just wondering if anyone here has ever run across this board or other Sony analog mixers? I got it for a song (less than a Behringer with 4 mic inputs locally) so couldn't pass it up and the little info I could find suggests that it should be a decent bit of kit, but any experience or opinions would be gratefully accepted. Steve
  9. Phil I usually make it across to the US once a year for work, so generally stock up then. However I'm very unlikely to come over before late 2015. I've ordered the Joyo ultimate drive as I have experience with OCD clones and the price was right! I'd love to have tried the soul food but at triple the price for a very low budget project it was out of the picture. Love to try it in future though. Steve
  10. I have a range of pickups - singles and humbuckers. The soul food sounds like a great idea, but will be much more than $60 here in New Zealand. We pay about double US prices. The Chinese brand stuff like Joyo is the same price as you get it for in the US though. The kit idea is a good one, I've been tossing up an SHO clone, but I'd have to buy a decent soldering iron and ultimately I'm not sure I have the patience! Thanks for the suggestions, I'll have a look to see what price I can get the SF for
  11. I'm wanting to build a small board entirely of cheap clones - got OD and delay covered and thought a boost would finish it off. I've been looking at the joyo roll boost micro amp clone but there's not much info on the sound/noise/other issues. Would an ultimate drive OCD clone be a better choice? Or something else? My amp is a vox night train which doesn't react well to TS style pedals so I'll be staying away from those. Steve
  12. I'm a reasonably experienced guitarist/bassist and beginner drummer. I've recently started drumming in a situation where the guitarist sometimes uses a loop pedal to "play additional parts". How well it works depends on how well the drummer/bassist can hear it, where your distortion is coming from (if it's amp dirt rather than pre-looper pedal dirt it will sound like a gigantic mess), how complex it is and how necessary it is. If you're gigging with this band and using a looper, you have to be absolutely sure that the PA/monitoring system is up to the job. My band is not yet gigging so we haven't had to climb that particular hurdle... Even so, in some situations (particularly where there's a pretty sparse arrangement so the loop is easy to hear, we've gone with it. In others we've embraced the space, gotten a bit more busy on the bass and drums. In past situations as a bassist wanting to fill in space in power trios I've used various techniques from playing octaves to octaving with a pedal to octaving with a 12 string bass, playing double-stops or chords, just making things a bit busier, stepping on an overdrive pedal… And various combinations. As a drummer, things like using sloshy-sounding part-open hats, wash-riding on a crash, more fills etc. can fill things in a lot. So I think it's totally reasonable to use a looper, just make sure you will be able to be heard (which is pretty difficult as unfamiliar PA's often suck!), don't rely on it 100% of the time, use other strategies, get the other 2 to do the same and it should be fine! Steve
  13. Squier Tele $100 (GC used) Vox AC4 $130 20 bucks for cable, picks, strap... Steve
  14. First pedal = first mod pedal = Arion SCH-1 - still my favourite chorus by a long way, can't get on with phasers and flangers... First OD pedal = Ibanez TS5 - still have it, switch is dead and replacement switch didn't do much better First distortion = 1991 big box Rat RI. Needs some work (new switch I think) but sounds great First delay = Ibanez AD99 - sweetest subtle, non-oscillating analog delay First weird pedal = Digitech EX-7 - not a popular choice, but with good whammy and synth sounds and free volume pedal, OK wahs and a flanger (which is not for me but also not terrible) it's pretty versatile and mangles things well. Actually, these pedals would make a pretty decent board! Steve
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