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SteinbergerHack

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SteinbergerHack last won the day on March 8

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    Crash test dummy repairman

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  1. Mickey's Monkey (Smokey Robinson) Mickey's Monkey (cover by Mother's Finest!)
  2. Maybe it's a difference in the area, but: I have played 8 paying shows over the last three weekends, one of which was virtual. Audiences were smaller (covid-limited), but present for the other 7. I have another 6 nights booked in early May, and I was offered a 6-night show in April that I had to turn down due to conflict with my daughter's wedding. I also have a few nights booked in June and October. Even better, I am scheduled to get the vaccine 1st dose tomorrow afternoon. It's not back to what it used to be, but it's coming back ....... slowly.......
  3. I'm not getting any stimulus checks - none last year, none this year. I'll also be writing a large check to the IRS on April 15. PM me for the address to send your thank-you cards.
  4. Over the holiday break, I decided to start playing around with some recording. I ended up getting roped into doing some large group mixes for a virtual benefit concert....and figured out that I'm in a bit over my head. I know the basics of how things function, but knowing what to do with them to make a recording sound good is where I am a stone-cold beginner. Below is a link to a really rough song that I've put together to us as a learning tool. What I'm looking for is an idea of what's wrong with this mix, and what I should be listening for to make it better. Nay and all input is welcomed, and feel free to be brutally honest. That said the playing/singing isn't the point - I'm specifically using this to work on my recording/mixing skills. https://www.dropbox.com/s/1zsjvpyh2gtgyyv/Amie - Rough Mix 1.wav?dl=0
  5. With that amp, you can make almost anything sound good. The EMGs have a very characteristic sound, very good for high-gain metal tones (IMO). I would never mix an EMG with something else, as they don't mix well with anything else in my experience. Put in a complete set or stick with something more basic like a PAF-style passive.
  6. Pickup selection has more to do with what sound you want from it than what was there before. What amp do you.use with it?
  7. Absolutely true. My daughter is studying opera at the Jacobs School, and has probably another 5 years or so of training before she could be considered a viable candidate for a lead role in a major opera company (though she has the lead role in their fall opera this year, ahead of a number of grad students). Meanwhile, she can walk into just about any other type of vocal audition and score straight 10/10s. I music direct with a couple of community theater groups, and I can guarantee you that any trained opera singer will blow away any other sort of vocal setting in technique, diction, presentation, power, and sight reading. There's a lot more to it than that. "Classical" performers are selected by highly trained, skilled professionals on the basis of their technical skill and ability BEFORE they are allowed to perform or record; opera is the highest level of vocal performance within the classical spaces, so it is reserved for the absolutely highest-skill performers. Other genres focus on other aspects, like songwriting, look, and sometimes just acceptance by a lowest-common-denominator audience. Sure, there are operatic pieces that can be sung by lesser-trained vocalists, but they will never pass the audition to get themselves on an opera stage. Put another way, CC Deville and Ace Frehley sold a lot of records playing simple guitar parts, but there's no way either would ever take a gig from Chris Parkening, no matter how well they might be able to play a specific piece; they simply aren't qualified for the gig. Oh, and BTW, most operatic performers still work without mics. Broadway performers use headsets, but not opera.
  8. I'm the last person to ask about this - I'm afraid I'm a bit of a luddite in this area. I've never even recorded over a digital backing track at home. My studio experience has been either working as a player/composer in a full-on pro studio, or recording a few guitar and/or vocal tracks at home with a very simplistic setup, always one-shot, no overdubs, no punch-ins (until last weekend, when I finally overdubbed parts on a couple of songs for hire). Back in the mid-80s I engineered some reasonably good (for the time) demo recordings with the old Fostex Model 80, but those techniques don't translate very well to modern technology. I would seem that the latency would be highly variable due to the way 'net traffic is routed. There are ways within a given subnet to prioritize traffic, but I doubt that the average home subscription service will allow those flags to be passed through so that we can hog the neighbors' bandwidth.
  9. It would be pretty cool to have that function here somewhere......Phil? Anton?
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