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D Charles

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Everything posted by D Charles

  1. I've seen at least two people say that the Ultra III won't fit in a standard Epiphone Les Paul case. Have you tried it in one? (Cool review Jon, but tell us about your jam) :-)
  2. Hi, just found this thread and it's interesting but seems like you stopped in the middle of the review and you're just talking about novice things where I thought this guitar was a songwriter invention??? Please describe how you can sing and play and record what you're doing as this would maybe be a cool thing in my world. I don't need lessons or jam tracks. I need to record ideas and as to the name, just thought that's what this guitar was all about???
  3. I like the EV RE-20 and Sennheiser 441 way more than the SM-7 as far as large diaphram dynamics go. There are several descent mics for around two bills or less. The AT 3035 is surprizingly cool and doesn't have the typical Chinese hi end hype. For pre's, I hate the ART ones if it's your only pre, they don't stack well at all, lots of building up of crud. The RNP is good as is the Grace 101. I'd rather use a Mackie mixer than an ART.
  4. I treated my recording room using the F. Alton book. My drop ceiling tile stats showed it absorbed all the high and low treble and high mids I needed, so I made low mid, high bass and low bass absorbers to hang on the walls. Also made one non parallel wall and as the ceiling is vaulted so less problems there. The only parallel walls are the short ones so I'm putting shelves in the back and gonna fill em up with books; poor man's diffusers! The wood and 703 panels for my absorbers cost around three bills (in the late 90's) and made waaaay more difference than any $300 piece of gear I ever bought! Oh, my dimensions are only slightly off the perfect room dimensions dating back to the ancient Greeks (1 x 1.6 x 2.6) and it sounds damn good in there if I do say so myself!
  5. I just put some up on ebay and they are in excellent condition. I'm davidcharlesk over there and a 100% -er. Someone need some and want to make me an offer, just send a PM.
  6. A Mesa Boogie Mark amp, CE-2 Chorus and a delay and compressor if you need em and you're all set for anything.
  7. The Chinese 1 works every once in a while so I haven't got rid of it, but if I didn't have a bunch of mics, I wouldn't like it as one of my only sounds.
  8. I just record myself and vocalist/instrumentalist friends that can do what I can't. I do everything so my biggest problem is not seeing the forest for the trees. I've got way better at finding the right gear for me and my sweetie/vocalist. Not a ton on my wish list right now. But mixing is hard! Man, if I could get an outsider for anything it would be mixing. I'm too close to the project; forest/trees thang. I feel good about tracking, I can fix minor mistakes, I can master (and by that I mean sequencing the songs for an album, making their apparent volume fit each other and that's about all I want). But I'd love to work with a good engineer who can mix, a drummer with amazing touch and understanding of tuning and how it affects recording and a good piano player. I can cover the rest vocal, guitar, bass, sax, percussion, synth etc wise... I just need help on my weak points. If I had a budget, Nashburg is just two and a half hours down the road. I'd definitely import some guys.
  9. Some people just like to start controversy (pissing contests). If they say something useful use it, if they don't, ignore it. Chili, what I would do if I were you is put a mic like across the room and sing the song all the way through. Is your verse very quiet and your chorus knocking your socks off? Any song you record you should be able to do live in a room with no gear so some adjustments might have to be made here and there. One trick that no has mentioned is say you find your cool tone verses proximity affect at 3" from the mic. When you need to belt to hit the high note, just turn your head around 30 degrees. Sing beside the mic on the left or right. You'll still get the volume and emotion, but you won't have the air and pressure building up straight into the mic. Try it, it works! Just don't think gear is always the answer. What's in front of the mic is so much more important.
  10. I did the math and ended up getting the 1212 card with Emulator X straight from EMU and then adding the X2 upgrade. The whole thing came out less than four bills including ship. The card is really hi fi and wonderful and nearly worth the price of admission by itself. That said, we're here to discuss the X2. Can we start a wishlist? I've got a bit of a prob with the 'save' and 'save as' functions. The 'save' works exactly as it should, but the 'save as' addresses the entire bank. If I'm perusing sounds and edit something that sounds cool, I just want to save that preset and it's associated samples to say a user bank. I realise I can drag presets into a user bank, but if I'm exploring and hit on something, I wish I could just hit 'save as' and the menu bit come up with brouse and let me just put that edited preset where I want.
  11. Yes that does make sense. I guess it just seemed weird that the templates don't seem proper for a lot of what you'd want to do. Or it seems like there ought to be a way to play the same sample at a bunch of different velocities which is what I assume something like the D-4 is doing. I was also wondering about the controllers. The bit that they jump if your hardware controller is set differently. What about something like that little Behringer thing that comes with all knobs or faders and knobs. (BCR2000 or BCF2000) The knobs are endless rotary encoders with little lights around them so do they know where the software knobs are set and light up accordingly with no jumps? Didn't mean to change the object being reviewed here, but wondering if you'd tried anything with the endless rotary encoders?
  12. I guess my main problem with Synthswipe is I just don't know enough about sampling. I know on acoustic instruments the more samples the better, but what about a synth? Do they synthesize a sound and then just transpose it up and down the keyboard? Would it be best to sample one note or one note every octive and stretch it up and down the keys for synthy sounds? Also, I've been fiddling with my Alesis D-4. I've got some sets that sound identical to the original but I'm not sure which way to swipe them. I think the D-4 only had like 4 megs of samples total but it's velocity sensitive. I'm having a hard time sorting out how to make my swipes velocity sensitive. I tried the every note in the range and three velocity setting and it seems I have three volumes on each hit, but how do you get them all to be as velocity sensitive as the D-4? Again, I just don't think I know enough about the nuts and bolts of sampling.
  13. Originally posted by Anderton If there's a lot of interest in the X2, I may ask E-Mu for some loaner sound libraries and fold them into the review as well. Please do! I'm especially interested in the vintage synth/keyboards bundle (synthswiping my vintage synth rom in my P2K might be too time consuming) and on their website today they have a new one that's out of stock but all drums I think. It would be totally cool if they came up with something along the lines of Battery, BFD, DFH etc. in the X2 format. I don't really need all the bleed mic stuff, just good basic drum sounds. I'm really looking forward to this review!
  14. Hi Craig. I recently ordered the 1212 system with X2 upgrade from EMU. I've mostly been messing with the synthswipe feature and it's pretty cool so far. On the general midi bank, I fed it some of my sequences and couldn't for the life of me make it call up program changes. I had the accept program changes box ticked. Did you try that? (I was running sequences in Sonar 4 with X2 as a VST plug). I'm really looking forward to your thoughts on this very cool new software!
  15. "You Know what I mean?" "You know what I'm sayin'?" "You Know?" "Like" "Well the thing is..." "This is the thing...."
  16. I'd probably head down to Nashburg and audition some stuff. On my list: A good compresser or two, distressor, 1176, LA 2 and 3 A's. Like to check a Vintech 1272 or similar just to see what all the fuss is about. My sweetie wants a Kiwi and she sounded great on the one a friend brought over, but I'd like to hear her on some others. I love her voice on our 80's 414 B/ULS, but like to check some darker mics. There are only two mic's I've tried that truely suit my voice. One of them cost like 40 bucks in the 80's and the other one costs 5K; half the winnings. Surely there's something in between? I've got a nice little 60's Ludwig drum kit but nasty cymbals. Need some small loverly sounding Zildjians. 19" (or bigger; got the 40 something messed up eyesight going on) flat computer monitor. A great big hard drive to copy my music computer's C drive to and then store the original drive in case of lightning or other trajedy. Tranzport. A little endpin pre for my Martin. Just has the thinline pu right now. A rack mount geetar tuner. Always yanking my little boss off the desk by it's cord or misplacing it etc. Some of those little passive Adam monitors to make fun of my NS-10 M's. Some 3/4" birch plywood. Want to design and build a cool workstation. Some or all of that stuff.
  17. Cool observations. I read an article about a producer who said he mostly used Neve channels for lead vocal and Avalons for backups. I can see how different textures could blend well. Another thing I wish you'd try (time permitting) is to run some stereo synths and drum machines through that ADL to recorder and see if they sound bigger or more life like. Thanks!
  18. Hi Craig, Several years ago I bought an expensive tube pre made by Avalon. We almost sent it back because just listening to soloed parts, it wasn't a world of difference from my Mackie and Hill mixers and some low cost pre's we had around. THEN we tracked some multiple parts of the same thing and played them back together. WOW, there's the real difference in the high ticket stuff and the consumer stuff. Everything seemed to have it's own 3D space and it was way way easier to mix the parts. The biggest difference I noticed was on background vocals (they had no build up of crunchy consonants or excessive sibilants like with the cheap pres), bass and acoutic instruments. Even if I were rich and could afford a different pre for every instrument or voice I record, I'd keep the Avalon around just for backup vox and bass guitar. I think you should try some multiples of the same part with the PreSonus. A high, mid and low harmony vocal part would be really telling in how well the parts blend and how easy they are to place in your mix. I think the 'one or two channels of an expensive mixing desk' items were made for people like me who mostly track one part at a time.
  19. If you're trying to be portable, I wouldn't get a tube mic. They have a big box/power supply and extra cableing to drag around. Another vote for the AKG 414, fantastic all purpose mic on acoustic instruments and female and tenor male vox. A beta 57 might be just what you need though...
  20. I'd definately send it back at his expense, after I knew my credit card call back went through.
  21. I got really excited about Sonar 5 until I read the system requirements. It no longer supports win 2K pro. I finally got a great stable computer together and I don't want to upgrade to Sonar 5 and have to buy XP in one gulp. Dragsville.
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