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Everything posted by Prime8

  1. Sounds like while this might not be good news for songwriters it could potentially be excellent news for music attorneys.
  2. I commented earlier on some of my first instruments, all of which managed to somehow get away. Other instruments I have formerly had the pleasure of owning but no longer have include a '63 Gibson ES-335 (cherry finish), a '64 ES-335 sunburst, a '64 Strat, a '66 Tele, and a '66 Fender Jazz Bass. These sweet instruments all managed to escape my orbit simply due to "horse trading" with others, although not always a trade up for me as things ultimately worked out. At least none of these were lost to theft, thankfully. Nevertheless, I would love to still have all of them today!
  3. Thanks, Red. I will definitely check this out!
  4. Not sure there would have been anything I could have done to have changed the outcome but when I was 14, (this would have been in 1964) I purchased some gear from an older fellow who was a college student from out of state. I bought three different items from him for around $275 which included a '58 Fender Precision Bass, a '63 Epiphone Wilshire solid body (kinda similar to it's cousin - Gibson SG but with mini-humbuckers) and finally, a '58 tweed Fender Tremolux (much like a Deluxe without reverb). Since I had literally spent every cent I had on these items, my dad was furious and made me sell the bass and the amp while reluctantly allowing me to keep the Epiphone. My closest friend in high school bought the Tremolux from me which I repeatedly attempted to repurchase from him over the course of numerous decades. Oddly, he never became a working pro although he did amass quite a collection of equipment over time. I found out that he sold the Tremolux late last year to a player from Miami for around $4500; however, he never gave me the opportunity to make a counteroffer. I was quite crestfallen over that one as I always LOVED that amp! Of course neither that bass nor the Epiphone Wilshire remain with me today but oddly, that old Tremolux is one that got away that I remember most fondly.
  5. As a general rule-of-thumb approach, most professionals might apply some compression (i.e., something with a compression ratio set at something not even approaching the infinity or extreme setting of such control) to a track or tracks during mixing and in some cases even while tracking, especially if a vocalist might happen to exhibit an extremely wide dynamic range in their vocal approach, for instance. Of course this is a general application, not a one-size-fits-all. Hard limiting is more commonly viewed (though again, not always in every circumstance of course) as a step generally applied during finalization or even mastering in hopes of limiting all the peaks to a given threshold to provide enough overall headroom to raise the volume, hopefully while avoicing clipping. However, when used to excess, a well-trained ear can certainly observe the loss of dynamic range variations that inevitably will result.
  6. Lots of awful choices to consider but one that immediately springs to mind is "Afternoon Delight" by the Starland Vocal Band. I could also say anything by The Steve Miller Band as they provided seemingly endless drivel.
  7. Not trying to be a curmudgeon about this but it seems as though you have little if any experience with ProTools HD. These systems have PCI cards as the DAW processing is done on those cards - not in the host system itself. Of course their entry-level systems do their DAW processing on the host computer. For me to heed your "advice" would only result in a serious downgrade and benefit me nothing.
  8. The biggest "bang for the buck" is not my reason for getting a new Mac Pro. What does matter most to me is staying with a familiar platform. I also have a serious investment already in a ProTools HD system (along with PCI host cards). And until everything starts hosting Thunderbolt interfaces, PCI will be around for quite awhile. But back to my original question: Has anyone here had any experience with the Mac Pro cylinder utilizing a PCI expansion chassis? Methinks not.
  9. Hoping to set up this configuration for my next Pro Tools setup. In addition to the external Thunderbolt to PCI chassis, also considering the Magma rack mount kit which houses both the Mac Pro as well as the external chassis. Two non-negotiable considerations regarding this setup is that it MUST be rock-solid reliable and also must be quiet. Just wondering if anyone here has any experience with this setup. FWIW, I'm not necessarily committed to the Magna expansion solution but their rackmount unit does integrate with the expansion chassis quite nicely (or so it would appear). Alternately, Sonnet also makes an expansion chassis although I'm not certain if they offer an all-inclusive rack mount solution to house it all.
  10. Although I have little doubt that some prefer micing the cab, that is not always practical. Having said that, I have tried a variety of DIs and pres and seem to have settled on the Demeter Tube Bass Preamplifier. It's a costlier solution than a DI but well worth it, IMO. What are your thoughts and choices?
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