jorhay1

1 hour ago, Red Ant said:

I like the Sub37 as well, but a) I dont already have one and b) this is primarily for live gigs, and the Boog is way more portable, besides being ridiculously cheap. 

I plan on triggering it with my VR-09, putting the two on separate midi channels and setting it up so that I can effortlessly switch between the two with one soft button on the VR. Just need to add a little shelf to my keyboard stand. And I'm good to go!

 

Oh for sure.

And sorry, I meant to respond to this, as I was referring to the Jan Hammer/George Duke sound. My bad.

Quote

Don't have one yet, but I NEED one - those Jan Hammer/George Duke Minimoog leads ain't gonna play themselves! 

5 hours ago, Red Ant said:

I have a birthday coming up - as you well know, having the same birthday

Perfect excuse to treat myself!

You might also want to get a SEM Module, hard sync the oscillators, and modulate one of them, + a drizzling of FX. But yeah, The bang for buck is undeniable.

I had one but sold it.

I have a sub 37 with the wood sides, and I just love that thing.

The Boog sounds basically identical as a Model D, but the Sub37 just sparks me.

 

I actually had a GC sales rep tell me to just buy, then return something years ago when I inquired about renting some PA gear I needed for a party.

 

I just couldn't bring myself to do it. It just felt "wrong" to me, so I called up some friends at Yamaha, and they hooked me up with a PA loaner for the party for free.

 

Believe it or not, sometimes there actually are advantages to being me.

Fortunately for the rest of us

you’re not the only one with a heart of gold.

“You will find peace of mind

if you look way down in your heart and soul.

Don’t hesitate ‘cause the world seems cold.

Stay young at heart, ‘cause you’re never old.”

~EWF

It apparently has a line out to go to a cab etc' date=' would this also function as a headphone jack and defeat the speaker for quiet playing? Sorry probably dumb/ obvious to you amp gurus... lol [/quote']

 

It’s line level. But a million easy ways to convert to headphone level. You prolly have something lying around your house that can do it.

You could plug phones into it, but it would probably work on only one side, and you’d barely hear it.

Happy NTD !!!!

(In before anyone craps on your thread)

The first goal should be to make noise that people can hear. A lot of sound systems are junk or the venue is junk. So much of the time I hear the bass drowning out everything else. Mixers are big on bass these days, it seems.

 

Absolutely agreed. This is giving credit to where credit is due.

Major respect to the production managers, lighting geniuses, audio techs, stage hands, gaffers, riggers, ect.

After the actual ‘real heroes’ (that risk their lives to save others), these guys are the real heroes.

Note:

the guys and ladies actually on stage should also get some kind of credit....

The idea is to take your audience on a journey, and create a magical experience for them. Math is fine, but it may or may not be relevant to accomplishing this goal. There’s key and tempo, but there’s also style, genre, feel, energy, and other factors.

There is no substitute for trying out your set(s) on a live audience to see what works and what doesn’t. From this you’ll gain experience. From experience, you’ll learn how to make a good show, or one that can be great, with a few tweaks.

 

Been said since the early 80s... and yet there is still an abundance of drummers

 

This is horrible news....

1st decision: Drummers' perspective or audience perspective? I prefer Audience, myself.

 

Kick & Snare: up the middle.

HH: 45-50% to the right

Toms: spread right to left from about 20-25% right to about 60-75% left.

Overheads: Stereo

Room mics: Stereo (or up the middle for a mono room mic)

 

Make certain that the L-R orientation of the Overheads and Room mics matches your chosen perspective.

 

For that matter, when I mix drums I will bring up the OH and Room to find as precisely as I can where the toms show up in the stereo image, and then place my direct tom mics to match. Hi-hat as well.

Drummers perspective is a pet peeve of mine. I hate it. Lots of classic recordings use it though, so I happily tolerate it, with my best fake smile, if a client wants it.

 

I'm definitely interested in the OB clone... any idea when it's going to be shipping, and what they're shooting for on the price?

 

I WILL get one of their Pro 1's too whenever it's released...

 

I haven’t seen anything regarding price.

However, based on their previous releases, I would say it will be in the ‘Bargain’ category.

 

All the tunes and the performances on that album are so strong that no amount of cheesy phase-shift (or Bill Payne's annoying Oberheim synth sounds) can ruin them. IMHO, while Lowell George lived, they were the greatest live "rock" band of all, simply peerless.

 

I love this one to death.

 

The Oberheim sounds are GREAT. Your taste in synths is questionable by popular standards. Dave Smith, Korg, and Uli, are all currently spending and doing business in the neo-analog synth market because literally millions of people think AND FEEL the polar opposite of you. Not that there’s anything wrong with your taste. But please don’t casually act like what you’re saying doesn’t basically sound insane.

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Strat: Mainly neck pick up, esp for lead. Bridge for sklanks and janks. I only use 2 & 4 positions for dweebs with laptops that care more about buzz than tone, and don’t know how to use a gate. But wtf is position 3, the middle pup only for? Been playing a strat all my life, and still don’t know. Seems like it’s only function is to be the double humbucker for neck and bridge pup.

 

Despite being born in 1964, I was never "80s enough" for the 80s

 

This was my "80s guitar", and my only electric from about 1985 to 1995.

 

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That Tele is Sexy AF!!!!

:love::love::love:

 

Oh, no doubt Jorhay had no idea of that.

Actually true.

Any guitar is fine, as tone is in the fingers, and as long as you don’t play cheezy wannabe funk pseudo jazz crap.

I did a session once with a ‘new age, worship the universe, the universe is tuned to 446.4’ guy.

 

People may think I`m crazy, but I think songs at a certain pitch are more appealing at a higher pitch. I`ve had arguments on songwriting forums about this, but it always proves itself to be true.

 

-certain songs

Back in the day, this was a common concept. And I believe true.

Crap.

buy your CB stuff while you can....

Someone posted that he left. But IDK. He seems MIA.Did you see him at NAMM, or go to the Catalinbread booth? I didn't see him, and there's no picts of him. In fact, The Catalinbread Booth seemed like some random hipsters came upon an empty booth and went "Hey look, Guitars!!", and then just took it over to get free drinks from people.

I really like the Vintage Synth module. It sounds better than the 1080/2080, maybe because it's optimized for the unit? It doesn't have the aliasing/distortion problem the JV's have.

No Howard at NAMM. All they have new is the EP-3 pre....? What happened?

2S. No song mode...

Did you see 'Dekard's Dream'? It's a CS-80 clone.

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SE-1. It's really clunky besides the bad samples.

Whoa you got me on that one! lol

I never heard of it but I guess it's from the same era as those Expansion modules.