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Everything posted by Prime8

  1. 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!
  2. [QUOTE=Red Ant;n32511438] There's a dude in Fla who makes absolutely PERFECT Tweed Tremolux clones. For about $1200. Here's my friend and guitarist Shea McCoy (Telephant on HCAF) rocking the **** out of his clone a couple of years ago: [video=youtube;2VSOVf9EZ7I]https://www.youtube.com/watch?v=2VSOVf9EZ7I[/video][/QUOTE] Thanks, Red. I will definitely check this out!
  3. 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.
  4. 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.
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