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SteinbergerHack

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Everything posted by SteinbergerHack

  1. Not sure how that works with an Android phone....? Hmmm..... The config is basically what you describe - but the usage isn't. Pit gigs involve a bunch of different instruments - typical might be steel-string, nylon-string, electric, and a mandolin, often with very fast swaps. I have to mute the channels for the unused acoustic instruments when they aren't being played so that they don't ring/resonate/feedback, then turn 'em on just before the appropriate cues. Other than that, yes, there is very little "adjustment" going on during the show.
  2. Have you ever worked in a theater pit? Let me be clear. There is not room in my rack and I do not want to have to add more junk to carry and connect. I would rather go back to basic analog than carry more crap. The whole point of this addition was to make my setup smaller, lighter and simpler. It's smaller and lighter, but it doesn't work and is not simpler. I don't play clubs exclusively, and the problem isn't other routers. Imagine a Broadway-sized theater. Empty and during tech rehearsal, everything works fine. 10 minutes before the house opens, it works fine. 10 minutes after the house opens and a few hundred people are seated, it fails and will not recover. My X32 works fine in the same environment, so it is not a characteristic of routed concoles in general - this one just doesn't work properly in a live performamce environment. Once the house opens, I have very limited time to tune, set and prep. I don't have time to screw around with the gear during performance - it needs to work, period. Playing around with a WiFi scanner isn't part of the program - and shouldn't be necessary to begin with. I'm sticking with not suitable for pro use.
  3. Absolutely! With a 9-piece horn band, it is very easy to get stage volume out of control - and then nobody is happy, because nobody can hear what they want to.
  4. Agree with everything you said here. I am really on the fence on the amp itself. I generally carry either a Bogner XTC or Marshall 3203 to gigs, run through a Two Notes Torpedo Live cabinet emulator, so it's a bit of a hybrid analog/digital system. I still carry the tube head, but not the cabinet. I hate dealing with the weight and size of the tube heads, but I just haven't found any digital amp that I like the sound of, aside from the Kemper.....and it's a bit on the expensive side. One thing I have found, though, is that doing away with the cabinet has given me much better control over stage volume. Running all my stuff through a wedge monitor aimed directly at me from downstage makes the guitar nearly inaudible to the rest of the group aside from whatever they want in their monitors, unlike an open-back amp that bleeds all over the stage. It also lets me dial in my sound on the exact same feed that the FOH tech gets. If I need more volume or wider coverage (outdoor stages), I just add a second wedge coming from the side or upstage. This also lets me run my acoustic instruments and vocal mic through the same monitor cabinet, which cleans up the stage and generally makes life easier.....which is where the XR12 was supposed to come in.
  5. From my perspective, the mixer isn't doing it's job well at all. I'm in the middle of a show and suddenly I can't turn on a muted channel? Regardless of the reason or any excuses for the manufacturer's reasons, it's an embarassment, and unacceptable in a professional setting. If I can't rely on a piece of gear to do the job properly 100% of the time, it simply is not suitable for the task. The X32 Rack has a backup system - the front panel works to make changes when nothing else does. The XR12 has no backup.
  6. I'm about ready to just give up on it and go back to a small analog rackmount mixer. More stuff to carry around is moving in the wrong direction - my intent with it was to carry fewer cables and less weight. There's no space in my rack case for a router, and having to carry a laptop/tablet and power supply into every club and pit to be able to change a level or two is just nonsense. I think that this is a case where the newer tech just isn't better. I can tolerate that stuff for a mains console because the benefits outweight the difficulty, but not for a guitar rig mixer.
  7. Not just better than anyone else on the team....in the NBA. When he is on, he is unstoppable - Jordan-esque ability. Next year, adding Zion Williams into the mix will make things very interesting.
  8. Bucks will take the Raptors 4-2, and will have home court advantage against the Warriors. Can't wait to see it!
  9. Indeed. They went 4-0 and 4-1 in the first two playoff rounds, and are up 2-1 in the third. Brutally good. That said, I would not suggest that nobody has taken them seriously. They had the best regular season record in the league, and you don't get there by luck.
  10. Really? I would say not! https://www.encyclopedia.com/history/news-wires-white-papers-and-books/niccolo-paganini Which one were you suggesting operated in a "degraded cultural context", again? Paganini sounds like the prototypical rockstar to me....
  11. I got the first two years of a music degree, and qualified for a minor but didn't request it on my diploma. FWIW, in my current playing, I ride the border between the two. Both my horn bands and my theater gigs have some degreed players who have studied performance, and many of them (not all, but most) cannot improvise to save their lives. We also have "untrained" players who always think in terms of making music, rather than in terms of following the chart/score. Players with both are rare and incredibly valuable. Anecdote - about a year ago I was directing a theater gig, and I gave the instruction that we would do a playoff based on one of the "rock" numbers from the show, play the head, then two verses through with soloists each 12 bars, then the last 4 bars of the score as an "outro". The drums, bass, guitar and keyboard played it perfectly as described without even looking at the score; the concertmaster (lead violin), asked me if I would chart the playoff so that the string section could follow it. Different ways of approaching music - not good or bad, just different.
  12. I have always failed to see the difference between "classical" and pop music as the stark line that so many people seem to envision. From my perspective, the only substantive differences are the "born on" date and the fact that the only old music that we still losten to is the 10% that isn't garbage. For example, I see Paganini as the rough equivalent of a Steve Vai or Miles Davis; Mozart is a bit like a Michael Jackson. How are Strauss' waltzes functionally different from modern dance music, or a Mussourgsky work terribly different from a Steely Dan album? On second thought, there is a third difference - the performers. "Classically trained" players focus on very precise execution of existing works, while most people who perform contemporary material focus on stylistic authenticity and creativity/improvisation. The truly top players can do both, but most of us are specialists in one or the other. In short, the stuff that still gets covered by high level players 20 years or more after release is generally just the best of breed from a given period, and this is completely independent of when it was written. JMO, YMMV.
  13. Ted Nugent had an entire career and never changed keys....
  14. [QUOTE=Opposite Day;n32515166]Oh, here's one! Very '80s! [video=youtube;Xqg82l8WniQ]https://www.youtube.com/watch?v=Xqg82l8WniQ[/video][/QUOTE] Please tell me that you aren't serious.....Paula Abdul is NOT a strong singer....really terrible technique......blech.
  15. [QUOTE=Red Ant;n32515137] Huh? He played a 1st inversion Maj triad??? With a little sus4 thrown in? Genius! :lol: Seriously, whats so special about DMaj(sus4), BbMaj/D and Cmaj/D?[/QUOTE] Honestly, "Way Cool Junior" is the example I would use for a Ratt guitar intro. At least it grooves.....sort of.
  16. [QUOTE=Phil O'Keefe;n32514703] I'm on a half acre in a semi-rural area. Just close enough that I can get into the city fairly fast (an hour or two, depending on exactly where I need to go, and the traffic) but away from a lot of the noise, traffic and light pollution. And a half acre lot (with all of the neighbors having similar or larger sized lots) is big enough that it puts me far enough away from the neighbors that the inverse square law works in my favor... I can blast away as much as I want, whenever I want, and not disturb anyone. With 30 acres, I doubt anyone would hear you, even if you had Deep Purple playing a house party at your place... ;) [/QUOTE] Well, the neighbors might be able to hear it, but it wouldn't be anywhere near as bad as a dog barking next door in an average subdivision. In general, I don't worry much about what anyone else thinks - we can do as we like and when we like it. It's not for everyone, as the maintenance isn't minor, but there are a lot of advantages.
  17. I solved that by living on a 30- acre farm. Screw the city - I drive in every day to work, and am happy every time I leave it behind.
  18. With you on that - those two positions are the iconic strat sound that you can't get from other configurations. Honestly, I find that I'm either using bridge-only HB, neck-only HB, or one of those two in single-coil. I rarely ever use a single-coil by itself, nor do I use mixed HBs. JMO, YMMV, etc.
  19. Today, the only additional guitar that I really would like to add to the collection is a Maton Messiah. I'm happy with my electrics as they are.
  20. [QUOTE=onelife;n32511446] Back in those days (early 70s) my friends and I would peel the Made In Japan stickers off our copies. Now I seek out Japanese guitars - it's one of those "if I knew then what I know now" situations.[/QUOTE] Yes. I have a Japanese-built Westone (Pantera?) from the early 80s that I bought new, sold, then bought back a year later. Through-neck, HSH pickups, pull-pots to select about any configuration, and plays incredibly smoothly. I did a LOT of performing and recording with that guitar over the years, and it's going out with me tonight to a club gig. It's the one that almost got away. When I bought it, it was a hideous metal-flake blue burst - it looked exactly like this: [ATTACH=JSON]{"data-align":"none","data-size":"full","data-attachmentid":32511624}[/ATTACH] Now, it is a hideous yellow-green neon finish that was really trendy in the late 80s. C'est la vie.
  21. Hard to say which was the worst loss - there have been a few. Probably my first Les Paul - an early 70s clownburst Deluxe. I got it when I was 16, then let it go when I was 19, because I started playing with a band that had an endorsement deal. Not smart. A very close second was the '60s Epiphone Casino that I traded to get the LP. :facepalm: I worked for two years delivering newspapers to get that guitar. I've never had a pedal that I missed after it was gone, and there's only one amp that got away that I would like to play through again today....but given the collection I have now it's probably more about nostalgia for the gigs I played with it than actual good sound. Now, the best sounding amp I ever got to play through was probably the house amp at a theme park gig I had for a year - an old Super Reverb that was just magical. I tried to buy it from them....no chance. It probably went in the dumpster when they stopped using live music.
  22. Can you not hear it in the altered timbre of the instruments and voice? Think "Chipmunks", but not quite so over-the-top.
  23. Honestly, I may be the odd man out on this view, but I absolutely DETEST hearing a recording that has been sped up or slowed down. It's like fingernails on a chall board for me. The poster child for worst of this was a particular chain of radio stations back in the late 80s that sped up nearly everything they played and cut down the intros and outtros to get "more songs per hour" while keeping just as much ad time. I remember hearing Aerosmith's "Rag Doll" played about 15% faster than normal and wanting to throw the radio across the room.... :angry47:
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