Jump to content

Phil O'Keefe

Administrators
  • Content Count

    81,941
  • Joined

  • Last visited

  • Days Won

    252

Everything posted by Phil O'Keefe

  1. I’ve always preferred the smaller headstock - I part because that’s what I grew up seeing my musical heroes playing more often than not. Plus, by the time I was in high school in the 70s, the pre-CBS guitars were becoming harder to get, and were definitely considered the more desirable guitars in terms of build quality, etc.
  2. I have two that I really kick myself for getting rid of... my very first Gibson Les Paul, and a mocha '73 Telecaster that had chocolate-colored sides. Both were great guitars.
  3. You know what that means - you’re gonna need a bigger board.
  4. Did someone tell you that you’d hear an improvement by removing various knobs on your amp? The reason I ask is because you seem to have expected that to happen, and therefore, for you, it has. Try this: have a friend help you, and remove the knob or put it back on while you’re playing... but have him / her do it while you are turned around and not looking. See if you can tell when the knob is on, and when it is off. Try it a dozen times or so each way, but without looking to see if it is on or not. Have your friend keep score. I’m betting you won’t be able to guess correctly - at least not a statistically significant percentage of the time - because removing knobs, or replacing them with fancy, hi-fi knobs made from "special" materials or with special lacquer coatings or whatever will make ZERO difference to the sound of your amp. NONE.
  5. Hello, and welcome to HC! I don’t know what they used on that particular song, but I moved your post from the DIY forum to the Keyboard forum in the hopes that you’ll have better odds of getting a reply here - the DIY forum is mainly for electronics and build projects.
  6. Unfortunately not all of the redirects for old bookmarks transferred over to the new site, but pretty much everything else did. We've also got some long-missed features back, like multi-quote, and the search function and the ignore list work once again too. It's pretty straightforward to use, but please feel free to drop me a PM if you need any help with the new software folks!
  7. Isolation goes small… IsoAcoustics has been making speaker stands in a variety of styles for several years, and they’ve been very popular with home studio and hi-fi enthusiasts, as well as in professional studios. But why do you need something under your monitor speakers to begin with? In a word - vibration. Engineers have known for quite some time about the importance of isolation and mechanically decoupling your speakers from the surface they’re sitting on, and the benefits that you get by doing so - increased accuracy in the low and low-mid frequencies, as well as improved stereo imaging being two of the biggest ones. Isolation can also be a concern for other things besides just studio monitors, and mechanical decoupling can provide benefits with other items that are commonly found in the typical studio, and even in live rigs. And that’s where IsoAcoustics’ latest product - the ISO-PUCK mini comes in… What You Need To Know The IsoAcoustics ISO-PUCK minis are small round units that look somewhat like miniature hockey pucks. They are designed to sit underneath speakers (or other objects that you wish to decouple from the surface they’re sitting on) and reduce vibrations that would otherwise be transferred from the speaker to the surface, or from the surface to the device. Each ISO-PUCK mini measures 1.7" (44mm) in diameter and is 0.9" (24mm) tall when nothing is sitting on top, although they can compress a bit when under load. The sides of the pucks are made of two rings of injection molded plastic - a black exterior ring on top, and a red ring that sits largely within it that forms the lower part of the unit. Both the top and bottom surfaces of the pucks are rubber, and have a slight cup-like indentation. They actually function like suction cups if the bottom of the speaker and the mounting surface is relatively smooth, which helps hold the speakers in position. IsoAcoustics says that the units "incorporate their patented design technology to provide a high degree of isolation while resisting lateral movement and oscillations to maintain alignment with the listening position." Translation: They help keep your speakers from vibrating and bouncing around on top of whatever they're sitting on, and that basically means two things - your desktop (or whatever) won't start vibrating and radiating unwanted sound, and your speakers will remain more stationary on-axis, which can give you additional improvements in the sound quality, which are often particularly noticeable in the mid-bass as well as in the accuracy of the stereo imaging. The IsoAcoustics products are designed to keep the energy on-axis instead of allowing the speakers to oscillate in all directions, so they recommend placing the pucks so that the logo is either facing forward, or towards the rear if you’d rather have the logos hidden. Eight of the ISO-PUCK minis come bundled together in a single small (8 3/4” x 4 5/8” x 1”) box. Smaller quantities are not currently available. This is unfortunate since many users will only need three pucks to support their smaller studio monitors, potentially leaving them with a couple of unused units, and two units are not enough to support much of anything due to balancing issues. Being able to buy the pucks individually, or in pairs would allow people to get only the amount they need, or to supplement an eight pack with a couple of additional units to be used on other items in the studio. There are weight handling limitations that you need to be aware of. Each puck can handle up to 6 pounds (2.75 kg), although you can spread the weight of larger, heavier objects over multiple pucks. For example, four pucks under a single monitor speaker will give you a 24 pound load cap. Using only three limits you to a maximum load of 18 pounds. If you need heavier weight handling capabilities, each of the original ISO-PUCK units can handle up to 20 pounds (9kg) each, so they’re more suitable for larger, heavier studio monitors and guitar amps. The other main difference between the original units and the smaller sized ISO-PUCK minis is that the original ISO-PUCK is built into a rigid, black powder-coated steel housing, while the mini units use an injection molded housing. A typical arrangement would require a minimum of three (two under the front, and one in the center rear) ISO-PUCK mini units per speaker. If the speakers are light enough, three units is all you really need for effective isolation, while you can use four units to support heavier speakers. You can use the decoupling and vibration isolating characteristics of the ISO-PUCK minis to benefit other devices too, such as guitar amps, turntables, subwoofers, mic stands, CD players, and more… just as long as you use enough of them to support the weight of whatever you want to put on them. Need to isolate your overhead mics from a drummer with a heavy kick foot and the resulting floor-borne vibrations? Put an ISO-PUCK mini under the three feet of each tripod mic stand and you’ll notice a considerable improvement. This also works great for singers who like to tap their feet enthusiastically while recording - a trio of ISO-PUCK mini units will really cut down on the stand-borne vibrations. Is your amp head receiving too much vibration from sitting directly on top of your 4x12 speaker cabinet? You can reduce the effects of that (and possibly improve tube life) by setting some ISO-PUCK mini units between the amp and cabinet. Is your guitar amp or wedge stage monitor causing the elevated wood stage (you can use the units on carpeted floors too) to vibrate and rattle? Assuming it’s small and light enough, you can use ISO-PUCK minis to decouple it. Again, the original ISO-PUCKs are a more suitable option for heavier loads and larger, heavier amps and monitors, but the minis work fine with smaller amps and amp heads. The ISO-PUCK minis are less expensive per puck than the larger ISO-PUCK model, and while they can handle less weight per puck, the weight handling capacity is sufficient for many real-world speakers and other objects you might want to decouple from whatever they're sitting on. Limitations There's no way to tilt your monitors upwards (if they're sitting slightly below ear height on your desktop) or downwards (if they're slightly above you on top of a meter bridge) to aim them directly towards you. For people who need height and tilt adjustment, IsoAcoustics recommends their ISO-Stands and Aperta series stands instead of the ISO-PUCK and ISO-PUCK mini, both of which lack any kind of height or tilt adjustment capabilities. Conclusions The ISO-PUCK minis do what IsoAcoustics claim they do - they provide effective decoupling, and when used with suitably sized studio monitors, they can make a significant and easily audible improvement in overall sound quality. Anything that’s this affordable that can make such a noticeable improvement to your monitoring accuracy is definitely worth checking out. They're still not cheap, especially compared to foam speaker stands, but they're less expensive than the larger ISO-PUCK model, and less expensive than some of the IsoAcoustic ISO-Stands and Aperta series stands, and far more effective than foam products. Speaking of the ISO-Stands and Aperta series stands, they do have the advantage of being able to place the monitors in a tilted position, which is a significant limitation of the ISO-PUCK line, although the ISO-PUCK series can be freely configured for width, and they give you the option to add more pucks beneath larger and heavier items. Still, the ISO-PUCK mini will no doubt find plenty of enthusiastic users. They really do isolate well, as long as you give consideration to the weight limitations and don't overload their rated capacity. Most users will notice a significant improvement vs. setting their monitors directly on their desktops or console meter bridges. While they lack the tilt capability of some of IsoAcoustics’ other products, they have the advantage of being able to be used with many things that their ISO-Stand and Aperta-series stands really aren’t optimized for, such as mic stands, turntables and so forth, making them more versatile and useful in situations where the IsoAcoustics stands are less suitable. All in all they’re effective and simple to use, and will make a serious sonic improvement to your studio, regardless of which nearfield monitors you use. -HC- Want to discuss the IsoAcoustics ISO-PUCK mini or have questions or comments about this review? Then head over to this thread in the Studio Trenches forum right here on Harmony Central and join the discussion! Resources IsoAcoustics ISO-PUCK mini ($119.99 MSRP, $99.99 "street" per eight pack box) IsoAcoustics product web page You can purchase the IsoAcoustics ISO-PUCK mini from: Sweetwater Vintage King Audio __________________________________________________ Phil O'Keefe is a multi-instrumentalist, recording engineer / producer and the Senior Editor of Harmony Central. He has engineered, produced and performed on countless recording sessions in a diverse range of styles, with artists such as Alien Ant Farm, Jules Day, Voodoo Glow Skulls, John McGill, Michael Knott and Alexa's Wish. He is a former featured monthly columnist for EQ magazine, and his articles and product reviews have also appeared in Keyboard, Electronic Musician and Guitar Player magazines.
  8. I haven’t tried the Picker’s Pal, but I do really like the other two. Most of my personal guitars have thinner necks. My snasuage fingers tend not to get along really comfortably with big, fat necks.
  9. Not at all IMHO - if you find a neck profile that works for you and that you really like, why change it?
  10. Those Dunlop "lever action" strap capos used to be my capo of choice too (they beat the heck out of the elastic strap type capos IMHO), but the lever part of the design tends to make the strings pull away towards one side, and they do it a bit unevenly unless you're really careful as you're putting them on - you have to really press down hard and hold them steady while engaging the lever and locking them down. Some modern capo designs seem to be a bit easier to use in that respect, and tend to be less likely to screw up the tuning / intonation.
  11. TRX has announced an expansion and upgrade to its exclusive Special Edition line: the Special Edition KX Thunder™ and AX Lightning™ Crash cymbals. Offered in 16˝ and 18˝ models, the new, vented cymbals bring TRX’s popular, specially designed hole pattern to its midpriced line. The cymbals have a unique, trashy sound when used alone or stacked and are recommended for everything from traditional Jazz and R&B to Rock, Pop and Metal. To learn more, visit the TRX website at www.trxcymbals.com or contact the TRX Cymbal Co. LLC at 818-751-3257, sales@trxcymbals.com.
  12. Phil O'Keefe

    Any opinions?

    As xStonr said, you really need to use a dirt pedal in order to get any of the mentioned amps into metal territory.
  13. The big headstock era started in the mid 1960s. Basically everything built from very late in 1965 until the early 1980's had the large headstock. After that, it's a mixed bag, with some models featuring the vintage style (smaller) headstock, while others feature the larger headstock. Fender has built numerous models over the years that feature the larger headstock design, and they continue to do so, even today. in fact, there's just way too many of them to really list them all for you... but basically anything that's a late 60's or a 70's era reissue, or is inspired by guitars from that era should feature a large headstock.
  14. Actually Mythbusters disproved the first sentence. You actually CAN polish a turd. The question is, why would you want to? And the answer is, because the band / label is paying you to do so...
  15. Q. What did the Pro Tools engineer say to the band after they played the worst take he’d ever heard in his life? A. That will do... come on in. Smart artists (and producers) make sure the band is well prepared / rehearsed before they come in. Often engineers are expected to fix things when the artists are less prepared. If you can get them to do it via another take (or ten), that’s generally preferable, but sometimes it actually is faster for the engineer to just fix it and move on... but it is nearly always better if the band is prepared and can come in and nail things themselves, even if they need a few punches here and there to do it.
  16. While this is generally true, what you don’t want to do is change the speaker configuration while the amp is turned on. Unplugging the speaker (or plugging it in) while the amp is on can short the speaker output, resulting in no impedance load, which can fry a solid state amp.
  17. Unfortunately, it has been my experience across multiple platforms and many, many years of moderating websites that nothing remains effective for long against spammers. They come up with something new to impede them, then the spammers come up with a way to get around it. Measures / countermeasures - same as it’s always been. Still, we keep fighting the good fight, and spam deletion here is actually faster, easier and hopefully more effective in the long run than on the previous software. You said it took you a few tries to get here. If you don’t mind me asking, what kinds of difficulties and challenges did you encounter?
  18. Three mics, three tracks, and the types of mics mentioned lead me to believe it was almost certainly a Decca tree. Same with your description of the positioning and sound field. 1959 would have been right after the Santa Monica Civic opened. And it's really not a bad sounding venue at all IMO. Lots of live albums have been recorded there.
  19. Sometimes less is more, but in general better material, better arrangements, better performances = better recordings. Sounds to me like you’re hearing a Decca tree recording... nice, huh? Practically puts you right there in the middle of the orchestra...
  20. Thanks - both Chris and I knew it we had seen it somewhere, but neither one of us could remember where it was offhand.
  21. AES Headphone Technology Conference to Dig Deep into Emerging Audio Technologies and Applications — Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality offer new areas of study and innovation for this year’s conference — New York, NY, August 22, 2019 — The AES is set to hold its second International Headphone Technology Conference, August 27–29 at the Golden Gate Club, Presidio, San Francisco, CA. The Conference offers three days of presentations, sessions, demonstrations, and more, all dedicated to headphone technology, with a special emphasis on the emerging fields of Mobile Spatial Audio, Individualization, Assistive Listening and Audio for Augmented Reality. “We are eager to bring this topic to the international stage, once again, after the overwhelming success of our 2016 Conference in Denmark,” states Conference co-chair Christopher Struck. “As the role, and very definition, of ‘headphones’ continues to evolve, we plan to take a closer look at how new applications, technical designs, and evaluation of headphone technology and its impact can be applied to the headphone, hearing aid and audio delivery industries across the board.” A highlight of AES Conferences are the guest keynote speakers, of which the Headphone Technology Conference offers six. These include Prof. Michael Vorländer (Aachen University) speaking on “Acoustic Transparency of Earphones and Headphones”; a talk on “HRTF Modeling and Rendering" with Prof. Ramani Duraiswami (University of Maryland); and Prof. Dorte Hammershøi (Aalborg University) with her remarks on “Hearing Damage Risk from Headphone-Based Listening.” Scientific research papers – now available for preview in the AES E-Library - will also be presented, covering an array of topics including active noise cancellation, signal processing, virtualization, test and measurement, modeling, binaural rendering, and more. Demonstrations of headphone measurement, response simulation and rapid HRTF rendering will be a part of Tuesday’s and Wednesday’s afternoon sessions, in addition to poster presentations and sponsor exhibits. Other highlights include a workshop titled “Measuring 3D Directivity of Microphones and Radiated Sound in Headsets and Hearables" by Robert Werner of Klippel GmbH, and a Workshop/Panel Discussion on "Practical Considerations of Commercially Viable Headphones" with Moderator Michael Klasco (Menlo Scientific, Ltd) leading a discussion with panelists John Patrick Quigley (Eastman Chemical Company), Christopher Struck (CJS-Labs), and Mark Donaldson (SoundChip). The full technical program, keynote speaker schedule, and more are available online at aes.org/conferences/2019/headphones. The AES is set to hold its second International Headphone Technology Conference, August 27–29 at the Golden Gate Club, Presidio, San Francisco, CA, offering three days of presentations, sessions, demonstrations, and more, all dedicated to headphone technology. About the Audio Engineering Society The Audio Engineering Society, celebrating over 70 years of audio excellence, now counts over 12,000 members throughout the U.S., Latin America, Europe, Japan and the Far East. The organization serves as the pivotal force in the exchange and dissemination of technical information for the industry. Currently, its members are affiliated with 90 AES professional sections and more than 120 AES student sections around the world. Section activities include guest speakers, technical tours, demonstrations and social functions. Through local AES section events members experience valuable opportunities for professional networking and personal growth. For additional information, visit aes.org. Join the conversation and keep up with the latest AES News and Events: Twitter: #AESorg (AES Official) Facebook: http://facebook.com/AES.org
  22. Mine was over two billion yesterday, and is significantly smaller now. I suspect that as the indexing and caching continue and conclude, that will work itself out.
×
×
  • Create New...