Voltan

changes...   no doubt.

score!

hope that helps? 

On 5/11/2020 at 10:10 PM, nice keetee said:

beware 'perfectly'

put on some headphones and give it a spin for yourself... dont ask me.   the recordings done in asmr are all marked as such, and pretty much the last 6 or 7 uploaded at the least...     they are recorded @ “the neighbor’s incessantly barking dog studios” with a couple tracks from “logging truck highway” mixing facilities...  ive got an appointment for recording in the local caverns when the dust settles...  the larger room at the caverns is so silent!    further, its nothing like what i expected...  i figured  reverb and reflection like mad, but its the polar opposite!   its silent, and no echo, reverb, reflection of any kind that i can hear.  its dead, jim...       perhaps a resonance will be found in the room but so far it just eats any sound ive produced...  flutes, whistles, hand claps, voice, hand drum...  ive yet to roll in a gong...  thats next.   the rangers seem to like me and have graciously offered me the time i require and more. a couple of them are musicians, too!    

headphones required. 

On 5/3/2020 at 10:14 PM, nice keetee said:

how is your rig working out?

perfectly

On 2/4/2019 at 12:49 AM, nice keetee said:

You might consider setting up an RTA microphone out where your audience is to fine tune and know what frequencies you're generating?

What size gongs you using low down?

the largest right now is a 54” chinese chau...  but i think the 48” is actually giving me lower frequencies, at least with the techniques im using now.  the 48 emits a pulse that is just a little over three not quite four pulses per second... you dont hear it, you feel it...  you can see the sides, frame of the gong flopping in an odd visual...  it looks “soft” kinda “floppy”?   oscillating...   and a “heavy” silence, for lack of a better term.   you hear something, but its like the tangential harmonics off a gong “chord” set up...  but you feel this pulse in your bones and hips... likes its inside you trying to get out, not the opposite...  the trick i use on the 48 doesnt play on the 54...  i warm up the frame with two of my heaviest mallets in a way that promotes lower registers, then friction applied to the perimeter of the frame with a 3” natural rubber ball on a hollow brass rod, 3/16th inch dia x 16” long with matching silicone ball on opposite end...  believe it or not, all those details make a difference in what frequency is produced. 

the frequencies im looking to capture are the ones that dont travel farther than where im sitting. think of the vibrations being two halves of of a sphere, held together by a plane of silence.  this sphere is not smooth, it is patterned, rippled or striated... think magnetic meridians around this planet... movable, in flux...  now think about the currents that flow within this flux...borealis...     some extend far from the source, others swarm close to the center, not enough energy to move too far from source... others... lower, longer waves, travel much more easily through even densely compacted matter...  i have sought to bring these subtle vibrations...  the beauty that can only be discovered in the decay of resonance close to the source...   fifteen feet away you hear the primary frequency of the instrument colored by whatever harmonics happen to be pulled out with it from a particular pattern or sequence...its beautiful... relaxing, physically and mentally healing for stress related issues.  but, my brother... 15 inches away from the center of the gong there us a symphony going on between those tones...   melodies... voices of angels...  (others description, i hear mantras...)  whales and dolphins sing...   three inches away from the center isnt even the same universe as the last one described...   but those mysterious “outer limits”, are covered up by primary tones, and even for the most part, by the noise floor itself...  its a delicate, very subtle thing...   the polar opposite of peoples first impression of gong...  oh big! loud!  mmmm. good!    and it is!  but its so much more...  in so much less...   this is why asmr recording trips my trigger... it opens a door to a universe of vibration usually obscured to those who have never properly interacted with one of these ancient teachers...  

On 4/14/2020 at 5:35 PM, nice keetee said:

Would PZM mics be useful? Mount on flat surface/board, try it and adjust position.

i have two crown pzms... nice ones...   ive not had much success with them, but open to ideas...  im kinda infatuated with asmr recording right now...  the detail and separation is a brain hack...  listen to the last three or four soundcloud submissions on my page.  put on your headphones, turn it up...  close your eyes and just focus on sound...   the mics are inside my ears, you are listening through my ears...  you can tell when i turn my head or shift focus...  no stands, no mic placement issues...   im going to try them for vocals and guitar...  maybe today! 

i think proper placement with sdc’s can work...   the right mic/room/placement/technique, all contribute as well as the artist’ attention to dynamics, personal style etc... the most success ive had has been,  first, mic the air around the instruments like you were mic’ing up a string quartet...  an a/b or your preferred stereo technique set at enough distance to allow for “bloom”...   full resonance.    lots of folks recommend their pet mics,  to my reasoning, the lower the self noise and extended frequency response the better off. there are lots of good mics, i prefer ldc’s...  “LeWitt 440 pure” specs are good guidelines...  i have two and was set to buy two more and then i discovered ASMR recording...  autonomous sensory meridian response or something is the name, what it is, is true immersive 3-D sound...  on steroids...  the separation and detail is a brain hack...   miniature mics inserted into the ear, below the level of the pinnae, allow the listener to hear using my ears. what i hear as i blend the frequencies. ive tested two sets, roland em-10’s, which have built in, in ear monitors..  and my current preference, sound professionals

ms-tfb2 master class, despite the easier fit of the rolands, i prefer the sp’s smaller size,( no need for in ear monitors) plus i feel there is a slight benefit in the deeper fit of the smaller mic to the listeners experience. both require 10v phantom power and work well with my zoom Q8, which the lowest is 12v...  both manufacturers said no problem. the rolands are $79, the sp’s are a little better than twice that money...  i have recordings done with both... same time, same day, same tools on the gongs, im happy to share a link if youre interested, but im hard pressed to hear much of a diff...  wearing preferences and maybe slight edge in handling higher spls...  maybe just my imagination...  ?  

on a side note, ive just tried recording voice and guitar with these...  i like them.  no, they probably wont replace my other mics completely, but they just may come really close...  

On 1/3/2020 at 10:25 PM, theManfromAlabam said:

I use to hang out here, learned a lot from a lot of amazing people, sold and traded a ton of pedals....I still have way too many.

so how close are you to the redneck riviera?   are you thinning the herd?

On 12/18/2019 at 11:27 PM, SmoggyTwinkles said:

Yeah I do. Not sure if I'll be able to get them to post though but I'll try. 

 

Basically I bought a used Dot from my local Long & McQuade. I've been looking for a semi-hollow for like 10 years, used to have a Peerless made Casino that was amazing but had to sell when I was in a bind in my late 20's (time has FLOWN eh?). For some reason this Dot just caught my attention.  Didn't have a price on it but it was in really great shape, played great acoustically, took it to the counter and asked how much (they go for $550 new in Canada) and he says "how about $335?". 

 

Sold!

 

Nice guitar, but I knew I was gonna put new pickups in it. Ended up putting in Klein Epic 58 PAF both 6.9k, a Schaller roller bridge (which is amazing btw) and Creamtone 50's spec wiring harness with bumblebees or whatever and a new nut and setup from a local guy (not totally happy with that) and also a Bigsby. Did the pickups, wiring and bigsby myself. Not fun trying to put new wiring into a 335! I think getting another set-up from someone better would make the guitar perfect as far as playability. But as is right now it plays decently but not quite where I'd like it, yet it  sounds incredible. I had no idea the kind of tone low-output PAFs delivered, just incredible sounding!

 

https://imgur.com/o2F3tNf

 

 

where does the watering can go in the signal chain?  it appears that youre connecting it between the amp and the wall socket?

the tractor seat was wet...  honestly...  

i have a rash developing...

7 hours ago, 1001gear said:

I'm hiring to explore the possibility of me being.

which one of you is handling payroll?

On 4/20/2019 at 8:22 PM, 1001gear said:

 

Turned Chinese too?

On 4/20/2019 at 8:22 PM, 1001gear said:

 

Turned Chinese too?

i think i may be...  

On 8/23/2019 at 2:05 PM, Notes_Norton said:

I didn't know about your wife's accident. I do hope she heals quickly and completely.

Notes

Thank you, I’m afraid neither of those are in the cards... but then she’s walking without crutches up to 15 minutes at a stretch and she was told she would never walk again...   

On 7/24/2019 at 3:43 PM, Notes_Norton said:

Fantasy is reality when you are in the entertainment business, Voltan

 

In fact, to escape from fantasy, we read non-fiction books.

 

Notes

our animal sanctuary and rescue pretty much keeps me grounded in reality...  that and focusing on getting my wife out of her wheelchair, since the accident. 

On 6/15/2019 at 5:05 PM, daddymack said:

Please, no, lead singers, at least, lead singers who do not play an instrument, should be hired only if none of the instrumentalists can sing...and then only if they have their own PA system.

IMHO, of course...and based on decades of experience. The only exception: a beautiful woman with a voice like an angel who actually studied music would be acceptable...

and she must own a van...

delusional... i’ll show you delusional, mister! watch and learn...wait, artists arguing about reality?

no is the new yes.

 

I'm still absent.

im absent minded

no... i mean, yes...

https://images.app.goo.gl/G6sGbbpdSTXZTF4y8

the wages of sin...

I think there are two things going on here that should be considered separately.

 

First, there's the guy who has his own (potentially impractical) artistic vision for a band. Following an impractical vision, or producing something which will probably have a limited appeal, is not necessarily delusional in and of itself. In my experience, real artists have a bubbling fountain of artistic urge inside them which compels them to express themselves through their artistic medium, and in that case, they're going to make their art no matter what. Even people who are not strongly driven artists occasionally have flashes of artistic inspiration that motivate them to do something. Gotta follow that muse.

 

However, one can often find a level of delusion in such people regarding the potential appeal of, or marketability of, such a project. Also, there are lots of musicians who I think are better described as practicing the craft of music, as opposed to making art. It's not hard to find projects which were probably conceived something like this: "Hey, I love [genre X]. I'm going to start a band to play [genre X], and everybody will love it! I'll be a star! At last, the perks of fame and fortune will be mine!" It's hard to admit that nobody wants to hear what you're doing (which may have nothing at all to do with how technically good or bad the project is). Trying to sell people on something they don't like, or even something they don't know they like, is a hard slog, and one for which some people forming bands are not prepared.

 

There's a separate potential level of delusion in the OP, which is whether a given musical community can provide the necessary collaborators to realize a particular artistic vision. That may be a variation on the foregoing situation, i.e., "This music is so self-evidently excellent, everybody will want to play it, even if they've shown no interest in [genre X] before." It may also involve ignoring inconvenient realities like, if there was a singer with the talent and experience to do [whatever], he/she would already be in a band and everyone would know about him/her, but we don't, so it's not realistic to expect such a person to materialize suddenly.

some valid points, but if i may, stating anything as “a reality” may or may not be valid... the inconvenient reality is not reality at all but purely conjecture. making broad statements that sound plausible on the surface are convincing until you stop and apply a bit of critical thought... you have critiqued everyone in a 50 mile radius on their musical abilities with an unbiased standard? as far as innately “knowing” about these elusive, magical beings that suddenly materialize, it actually takes about 9 months and out of the 360,000 births yesterday, im betting there are a couple musical prodigies that are as of yet undiscovered by you or me... one may be living next door to you now... so its more of a reality that yes, indeed! most miraculously they materialize without our permission or knowledge... imagine that!

knowledge and skill are nothing compared to imagination.

for real world application, the difference in less sensitive cheapo LDC and the much quieter, more sensitive lewitt may have only been several notches less gain on the board for equal spls, but increased gain on the less sensitive mic to compensate meant increasing the already difficult noise floor. all the surrounding sound, art cars blasting edm through small club pa systems, the bass frequencies from the surrounding sound camps, general noise from 3500 humans, all that is within range reverbrates/vibrates through the gong, so less gain needed and increased distance from the source instrument allowed a more accurate reproduction of the dynamic and tonal range experienced sitting at the face of the gong. both mics worked but the quieter, more sensitive mic made life noticeably easier... im going to pick up two more lewitts...

in real world application, the system worked better than expected. some of the lower gong frequencies were reported being heard over a half mile away despite the din of numerous sound installations... (read edm blasting through pa’s.). accurate enough to reproduce the nuances and dynamic range of my proprietary hands on style.

this time i was able to fill my space and actually be heard... i had several people tell me that some of the binary pulses seemed to block out the sounds around us... planes, the crowd, the thumping bass, all you could hear in a 50 foot radius was peacefully singing gongs! once again grateful for the ideas...

its taken longer than i had expected, but then... life... it seems the promoters are still interested despite my choice to not perform after my wifes accident, i am much better equipped this time thanks to everyones input here as well as dumb blind luck. a single lewitt lct 640 set 12” above centerline of three gongs, slightly forward of the intersection of those three centers focused downward at center of instrument. i plan on a second one, set at 90 degrees and figure eight pattern. as it stands now, everything except the upper frequencies of the two side gongs are being accurately reproduced and done so far above what is needed for art festival standards, easily within ranges to produce the results im seeking. i only need to fill a 30 foot diameter dome so im trying what i have. a single yorkville elite Ls720p, a choice of a pair of qsc k10s or k8s... im opting for the 8s due to short distances and the 8s wider dispersion angle. yamaha 12 channel is kind of overkill... at the onset, im happy... very clear, super clean through all frequencies and spls... seriously happy with the accuracy... until i pack up to leave for another week of tropical beaches and gongs, im going to try to add a bit of soarkle to the two side gongs or set up so i can easily reposition on the fly if/when i choose to switch primary instruments during the performances... ive redone the pyramid stand as wellmaking a lightweight, easily portable stand/gong transport which will allow impromptu performances anywhere in the venue...

sorry to dig this up but unresolved and ongoing for me... and i feel i should share what ive learned with any of you that were still interested. i seriously appreciate all posts in this thread, thank you,

v.