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Vatican

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  1. No every generation of music was about convenience and access as well And a recording was always more convenient than dragging around a symphony orchestra or Led Zeppelin, too.
  2. Maybe I should have asked a different question. Would you track in 44.1, 48, 88.2, or 96 kHz, assuming you're recording material that you expect to care about in a few years? It sounds to me from this thread that you guys would be happiest in 88.2 or 44.1, for music.
  3. Is anyone here sensing that the days of CDs and 44.1kHz are coming to a quiet end? Does it seem with streaming media these days and MP3s, that 44.1kHz is having less of a mandate in the world?
  4. While you guys lost me a long time ago with some of this technical talk, I must also say I've been reading Bob Katz the last few days, and he sounds like he's got things to say in favor of 96kHz, citing LPFs as one of the reasons. I didn't comprehend his exact point, but that was the gist. I think one of you made a similar point.
  5. Excellent, ermghoti II! My research today led me to the similar information, which you've just confirmed, that one of the chief benefits of having higher sampling rates than 48kHz is to take advantage of these sympathetic interactions between instruments. Furthermore, this claim is not accepted by all audiophiles, so there is some dispute there. Yet it's seeming to me that studios are leaning towards 96kHz or higher for their recordings, so that makes me wonder if there isn't something to what they're saying, because usually studios are frugal. Maybe it's just a question of wanting to impress their clients.
  6. I've heard drums are especially suited for 96kHz rather than 48kHz. Would this pertain to analog drum machines as well? How about voices as well, do they benefit much from the increased sample rate?
  7. I've tried a bunch of treble boosters, even ones that accent the bass, but am never entirely comfortable with a Fender/fuzz as the inputs. Anyone have any difference of opinion? Too grating for me, but I know Ritchie Blackmore and others have thrived with this.
  8. Why would, or wouldn't, the Vox AC-30 make a good acoustic amp? (I'm wondering whether I can just use my AC-30, or if I'm forced to go into the market to get an 'acoustic' amp.)
  9. I should also add that turning the cut knob clockwise will decrease the higher frequencies and turning it counter-clockwise will add higher frequencies. What confuses me about the Cut knob is that there already are bass and treble knobs on the amp, so having a knob which amounts to a low pass filter (the 'Cut' knob) makes for (confusing to me) interplay between them all. Leaving all three knobs at 50% seems to strike an acceptable tone tho, no matter what I'm amplifying. I'd be curious to know yours, or anyone else's, approach to these knobs.
  10. Vox AC-30 * If I turn up the volume on one of the channels, that wears out the tubes for that channel faster, right? * If I turn off/down the volume knobs on the channels I'm not using, would I be conserving those tubes' lifespans? * If I use a hot plate with this, then I have to consider that some inputs are 8 ohms and the others are 16 ohms, right? * Also, for use with a hot plate, would the AC-30s speakers be in serial? Because I think that affects the computation of the ohms that the hot plate should be set for. * The 'Brilliant' channel has three knobs, for Cut, Bass, and Treble. What toes the Cut knob do, and is there anything else I ought to know about making them useful? * Any mics recommended for recording? AC-15 * Is it possible to get a version of this without the Vibrato channel? And if I can't, what risks/problems are there if I simply don't bother installing new tubes for the Vibrato channel? * If you're in the market for an AC-15, are you looking to avoid the newer, made-in-Asia varieties? * Do people find they often need to cut through by using a treble booster?
  11. I think the funiest thing is seeing all these people that ignored the 69' now drolling over it. I never ignored it. I have one, sold another, and probably wanted to buy another over time. Never imagined they'd stop making them so soon. But your point is well taken. I hadn't valued the germanium fuzz until it was unavailable from Fulltone, and then I started to miss what I had taken for granted.
  12. which ones The GT2 is kinda midrangey. I personally have found the TriAC is quite good. Of course, I only use the pedal for recording direct. That is its primary function. I use the Bassdriver. I think they have a newer one as well, which I would investigate if I was back in the market.
  13. I like Vox amps, and I'm sure Tonelab is a great product, but my experience is that analog is the way to go. Digital starts to sound flat the more I listen to it. If Tonelab is digital, I'd reconsider. Plus, if Tonelab is a multi-effect processor, I'd doubly reconsider. I've had good experiences with SansAmp, but not the GT2. Try one of their other amp modellers.
  14. I've got a mid-90s Fulltone pedal that sounds great, sounds identical to other examples of the same pedal, but one difference on the inside is that there are gobs of the glue or whatever on the inside. Someone told me that Mike did this to conceal his work from copy-cats. Does anyone know if there is any truth to this?
  15. I've always thought the soul bender sounds alright with a wah, on certain amps.
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