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DVaz

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  1. I have a guitar in my possession, that was my first actual guitar teching job. I dont really consider it mine, in great part because its a total piece of shit. Somehow, someone put enough current through the electronics that it melted the cladding off all the wires, burned out all the pots and destroyed the insulation on the coils of the pickups. I replaced it all, and asked him to pick it up. Again, and again and again and again. That was, oh, 5 years ago. Mine now. I suppose. Stupid piece of shit guitar.
  2. In order of aquisition, x = still have marshall park 10W Laney TF300 Carlsbro GLX80 Roland cube 15 TSL 602 Cube 30 Engl Screamer Vox ADVT30XL - x Engl Powerball - x VHT Pittbull CL100 EQ - x Peavey Vypyr 30 - x strictly speaking, on loan to a mate Peavey Bandit - x JVM410h - x Cabs: Ubercab, orange 2x12, still have both I think thats it. If theres anything missing it will be random {censored}ty practice amps. Various modellers not included.
  3. A rather inadequate answer, inkblot. No offence, but...contentless/unexplanatory. Sounds or signals are out of phase to some extent if at any given point in space or a circuit where they meet and are therefore added they are (assuming the same source sound, or a single frequency) not in the same period of the oscilation of the signal or wave. Basically, if one is going up while the other is going down then theres at least a degree of cancelation. It results from destructive interference (and constructive as well, for parts of the spectrum that are in phase) between the two waves/signals. So if you have two mics that are differing distances from a source then there will be some degree of phase cancelation because the sound is in a different phase of its oscilation when it hits each mic. The audible effect is anywhere from a slight loss (sometimes desirable) of high frequency content, along with an emphasis on other frequencies, through to oddly 'swirly', like holding a sea shell to your ear, through to low frequencies cancelling and the bottom falling out of the sound. The radial phazer is a device that delays one signal with respect to another and so can either force the effect, or correct it. I have one, its pretty good. It doesnt have to two with feedback, which is taking a signal and looping it back on itself continuously - yes, if the added signal is in phase theres positive feedback and if out of phase, negative, but feedback is a different thing entirely, which phase considerations are a part of. Two perfectly in phase sounds that are identical just get twice as loud, two identical perfectly out of phase sounds leads to silence.
  4. This is what happens when you write and record a tech death album one note at a time. :lol:
  5. Tru oil = gunstock oil = great on unfinished bodies and necks. Nothing stopping you from using it on fretboards. It creates a light varnish that embeds slightly into the wood; it needs about 24 hours to set, wire wool back and repeat and its a pretty durable pseudo-finish that protects the wood from grime and crap without affecting the sound (it doesnt sink in very much and it sets hard). Looks pretty too. And I like the smell, but then I like the smell of WD40 as well, so that might just be me.
  6. DVaz

    Post Your Rig

    My main guitars and amps. The amps are pretty self explanatory The guitars are, left to right SLSMG with C-bomb bridge, unnamed unreleased BK neck Legra MDV602, Bare Knuckle Aftermath bridge, painkiller neck DX1, gotoh double locking, C-Bomb bridge, Trilogy neck and middle Legra Aurora, BK Aftermath bridge, Holy Diver neck. Legra are a custom shop based in the UK - the 602 and Aurora were designed between me and Bob Johnson, who made them. Incredible guitars. I consider the Aurora into the CL100EQ to be 'My Rig'. Not pictured MJW Roadstar 18W (you can see the corner of it down in the right), a couple of acoustics (one handmade spanish), schecter somethingorother bass, a couple more electrics, peavey bandit and vypyr 30, vox ADVTXL30.
  7. I'd guess its more that the people that want one really really really want one, plus they're quite rare, so they can command a high price. If I just got two of them, and actually wanted the amp (which I dont) I would sell one and keep the other. If I got two of them and didnt want the amp (so, normal) I would sell now. Some sunn O))) or pelican fanboi or even someone that doesnt know that Isis switched to VHTs will probably pay top dollar. Edit - assuming what you say about the prices is true and that you would make a profit, if Nortons right then you just got yourself 2 model Ts, hope you like em!
  8. DVaz

    Legra Guitars Aurora

    10/10, easily. Awesome and unique sound and feel, stunning looks, amazing guitar. I see a lot of guitars, too, I dont even want to think how many, actually: I own quite a few (10 at last count), have owned many others in the past and I work on a lot of them as a tech and only the most exceptional dont feel, look and sound like toys compared to the Aurora. Were it stolen I'd have no choice but to get Bob to build another. Convenient that hes making Auroras as a main line of guitar now, so successfull was the design. A final note on the price - I paid less than they will normally cost, as I'd bought from bob before, he really liked the ideas I went to him with at the start of the build and was keen to take it on, and maybe other things, it was a semi-arbitrary price reduction on Bobs whim, and future Auroras can be expected to price at about 2300 to 2500 or so GBP. I'd still pay that without thinking twice.
  9. Thanks. Can you listen to the amp while simultaneously recording the dry signal? I ask this as the way you play, particularly when in a high gain context, is affected by what the amp is doing to the guitar's output. For example, while I am recording the dry signal of a riff, I want hear my Recto on brain melt while I play it so I know I am playing it in a way that fits with a high gain setting. That way I will capture a dry signal that contains all the "chug-chug" and high sustain inspired playing nuances that my playing might not put into the dry signal if I could only hear a clean sound while I played it. Yes, you can. I know exactly what you mean, thats what I was talking about in the last part - playing and reamping through what you intend the final sound to be from. I split the signal from the guitar into the instrument input of my fireface and into my powerball and record both so I can hear the dry sound for merciless inspection and reamping purposes and can hear how the amp responded to it in general as well, then reamp the dry into the amp again, screwing with mics and EQ and whatever. I have reamped through a different amp (and modellers and preamps) but its not the same as if I played it through them.
  10. Its one of these things thats extremely simple to do that leads to a whole world of awesome You record a DI from the guitar to the interface/desk/souncard/whatever youre using. Dont colour it in the least. You focus on getting the performance you want. Analysing a totally dry track is merciless for this, so you can get utterly nailed takes too. You line it out into whatever you want, and record from that. Its as though you played into that thing and recorded from it. This lets you play with mic location, amp settings, layering from different amps/whatever all day long without having to get a nailed performance every time. Caveat - how you play can vary depending what you play through. How you play is a big part of making any given amp sound its best, so the best way to do it, IMO, is record the DI and a tollerable sounding track from the amp/modeller/sim/whatever you intend to use for the final sound (or as the lions share of the final sound) and try not to reamp through a new device. Though you can and theres nothing to stop you it may not be as good as if you actually played through that amp (or whatever). Superb tool, IMO, I wont record anything without recording a dry track so I can reamp later.
  11. I'm not ready to say which clip is which yet. I'll wait for Dave and WRGKMC to chime in. But here's a suggestion for you and everyone else too: After you listen for these sort of details, listen again an hour later to both clips. Sometimes we hear new details just because we missed them on the first playing, not because of a legitimate difference. Human auditory perception is very tricky and very fleeting! A few weeks ago, a guy in one of the hi-fi forums I visit was convinced that demagnetizing his LP records (!) brought out subtle details such as you describe. In his post he described more air from a flute part, and hearing details not present before he applied the demagnetizer. Clearly you can't affect an LP record with magnets, so all that's left is faulty perception. And of course placebo effect. --Ethan So its 2 then!
  12. I'm going with 1. Clearer highs, richer lows. Some more detail in the non-musical things, scraping on strings, strings rattling on frets is in the first one, too. But the difference is {censored}ing miniscule. Listened to on - Laptop and HD25s - Fireface 800 and adam A7s & sub 8 and ultrasone pro750s. Now....I'm wrong arent I
  13. Gotta say, from a purely analytical perspective, Ethan is making FAR more sense that most of those arguing with him here. I'm not going to say anything about the matter of converters or interfaces, because I've only spent any time with 5 or 6 of them and only 2 in the same place with all other variables controlled... But Ethans talking about double-blind tests, eliminating perceptions and psychoacoustics, variable control and unbaised interpretation of what you hear when changing only one thing Everyone else has a story about a bit of kit or a time when _insert anecdote_, and most often of stuff they own or have taken a good impression from. Now, I dont disbelieve any of you and your experience works for you, but personal experience doesnt translate into generalised statements. Thats the antithesis of rational scientific analysis. Do I think theres a difference? Well, the 2 that I've had as part of exactly the same setup were an EMU1616M and a Fireface 800. I can hear differences. Its not night and day, but they are there (tighter, better resolved low end, clearer midrange, smoother treble, more forward in the mids). But my story is just a story, YMMV, and I think in a generalised discussion to advise someone else that has to be taken into account. I try very hard to avoid the pitfall of trying to rationalise big purchases retrospectively by overplaying their practical value. I really dont think many people do - most get something they've lusted after and then in their excitment and need to feel the money was well spent find reasons to like it rather than really pick it apart 100% honestly and dispassionately. See almost all HC reviews for this in action in full force. Now, someone may say something about an isolated incedent, non-variable controlled, or a new bit of kit thats completely true, but we cant know that it is without knowing that everything else involved wasnt taken into account. My amp comes to mind, or rather the cab. Its highly directional - someone might hear it from right infront and 10 feet away and think its awesome (which I do in that position), someone else might hear it from 5 feet away and to a 45 degree angle to it and think its crap (which I do in that position). The first will in all likelyhood just say "DVaz's amp sounds great", the other "DVazs amp sucks!" - absolute and generalised statements when we dont know the precise details of the situation the evaulation was made. Both 'true', but niether 'accurate'. If you want to talk in general terms about any bit of kit you have to have knowledge of it in comparison to something else in the same setup as that other thing, all other variables controlled. I'm not saying that as a guitarist or amature/n00b AE, but in my profesional capacity as a physicist.
  14. DVaz

    Engl Owner's Club!

    oK i got my Powerball and still doing the tweaking. Who has some settings to share? (modern metal tones welcomed). I am using a Uberkab with 75/30 x pattern, and running through a OD808 . I find the tone different we I brought it home. Maybe my ears are {censored}ed but I think I liked the Engl cab better.... Still sounds crushing though....very happy with it. Allmost the same setup as me - powerball through an ubercab, minus the 808, plus an MXR10 band and/or an EQ20 in the loop. I dont use an OD infront of it because the PB doesnt take well to it - all the things that gives (more gain, sharper sound, more tightness) the PB has in droves, so try ditching that for a start. The ubercab is really beamy and fussy about placement, so try moving it around the room, different distances from walls and corners and what have you. Settings wise I vary them a lot, but have a couple of fixed things and a couple of 'regimes' - channel 3 for rhythm, gain about 5. Its tighter and punchier. - Channel 4 for lead, thicker and more saturated, gain the same. I keep mids open, focussed mids rolled off, open midz on about 5 unless I'm just gonna play lead or track a solo, then I dime it. Treble and presence vary but I tend to keep the treble higher than the presence (about 8 and 5 at the moment). At lower volumes crank the gain a bit more and put more depth into it. At higher volumes take the gain right the {censored} down, no need for it to go over 3, and roll back the depth punch, treble and bass. I tend to roll the master volume up before the preamp vol, since it sounds less compressed, more open and punchier too. Roll both up past 5 and then dial in pre to suit. My MXR - I have the FX loop on about 30% mix and put a {censored}load of 1Khz and scooped out most of the bits in between, but a lot of this is my room. That said, the PB in every room I've used it has benifited from a >1khz hump. This is some general guidelines around how I'm using my PB/UC setup at the moment, but I'm finding new ways to get tones out of this {censored}er all the time, so keep experimenting!
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