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Ves Paul

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  1. I have not. I did try the A/B/Y box and it worked well. Funny thing is, I didn't like the result! I will give the aux send on the Mackie a shot and see if I get move favorable results. Thanks!
  2. Just had a thought. I could use an A/B box instead. Although, if it's passive, will I be losing half the signal for each input?
  3. Greetings, I'm using a Presonus Firestudio Project (8 Input interface) along with the Studio One 2 Pro DAW. I've got a kick mic going into the Input of of a Mackie ProFX16 mixer (not a control surface) so that I can utilize the pre's and the EQs going in. From there, the left main output is connected to the FSP's first input and is feeding the DAW. The snare top mic is treated similarly, utilizing the right output channel and the second input of the FSP. There is an OH mic going into a Presonus Studio Channel and into the fifth input of the FSP. Pretty standard stuff and is working as expected. My experimentation with the bottom snare mic, however, is not. I'm trying to utilize some of my guitar effects in what may be considered an unorthodox manner. I've got the mic going directly into the FSP's third input, the third "general output" (an assignable signal output for each input is located on the rear of the FSP) going into my delay pedal and then into the fourth input of the FSP as a sort of effects loop. I have adjusted the Universal Control for the general outputs as suggested by Presonus to achieve single channel output I'm after, and that seems to be working fine. My problem is this... I've got a slight slapback delay on the pedal with a very short regeneration time, but upon striking the snare the signal seems to be looping at a rate of infinity, resulting in a solid, unwavering tone after the first hit. Is the delay effect being run through the pedal over and over instead of just once? If so, why? If not, is there another way I can achieve my goal of using outboard effects on signals being sent into the interface? Thanks for reading. P
  4. Up for auction here.
  5. So I'm using a Sovtek Tube Midget 50 watt head and a 12" Hellatone 60 watt @ 16 ohms. I've got all the materials, but am hesitant to start cutting, as I can't decide on how to join the corners with my limited toolage. Any sites for plans or suggestions?
  6. Thanks for the helpful input, all. So would a 12" speaker rated at 150 RMS & 300W peak be a bad choice due to the high volume needed to "break up"?
  7. I'm going to attempt to make a combo out of my Sovtek tube midget. It's 50 watts and I'm thinking of ordering the Eminence TX heat 12" speaker because of the price and review ratings. It's offered at 8 or 16 ohms, and the Sovtek has a 4-8-16 option output. What would be the benefit/difference in tone and overall usage qualities between 8 and 16ohm? I will be playing rock on it, and would like the tone to be of the "unique" variety. Thanks for your brains. -P
  8. I'm going to attempt to make a combo out of my Sovtek tube midget. It's 50 watts and I'm thinking of ordering the Eminence TX heat 12" speaker because of the price and review ratings. It's offered at 8 or 16 ohms, and the Sovtek has a 4-8-16 option output. What would be the benefit/difference in tone and overall usage qualities between 8 and 16ohm? I will be playing rock on it, and would like the tone to be of the "unique" variety. Thanks for your brains. -P
  9. Playing for about 20 years now. I own lots of guitars amps and 2 more basses. I dreamt of having an eb3 and found a 1969 ebo for $400 and snagged it up. I love it, but the sound proved to be a bit woofey for recording and some live applications. This bass is exactly what I need in an instrument and I will likely never purchase another bass. Just ask my wife. It plays fast and clear with a booming presence. The perfect harmonic love child of the ebo and a jazz. Didn't come with a case.
  10. Orange Tiny Terror + PPC112 w/V30 NICE! That's a hell of an Xmas present! Is it dark? I've got a 4x10 Orange cab and it's THICK! My buddy's interested in all-tube having previously owned a Roland JC. He's an expressive player and uses alot of notes in his rhythms (imagine that) as well as some complex chord structures that deserve to chime out and not get too muddy. The JC and Gibby combination he has now seems dark and round, so I'm thinking Fender would definitely take him in another direction, but would like to ponder something with more break up.
  11. Modern classic rock music played with a Les Paul Special with soaps. Bandmate has the opportunity to obtain a Fender Deluxe blackface for $900, but I'm afraid it wont break up easily. Thanks.
  12. For ease of carry, I'm also thinking of building it into a combo. Wonder how hard that would be? Probably not too bad with a good plan going into the build, eh? The Sovtek shell is pretty brittle as it was damaged in shipping. Thanks, UPS. So as for the diameter of the speaker, it really doesn't matter as long as it can handle the wattage? What would the difference be in tone between a 12" and an 8" with the same wattage capacity?
  13. i say get a celestion g12 75, perhaps a g 12 100 I assume the 12 is for diameter and the 75/100 is for watt handling capabilities?
  14. I would like to build a 1 speaker cabinet to tote around to practice and recording sessions and what have you. The head unit I will be using is a Sovtek Tube Midget 50. It has been modified to accept (and sounds great with) Ruby tubes. Is there a speaker out there that will handle the head on it's own? Also what diameter should I consider? What about ohms? Thanks, VP
  15. Playing 25 years, own strats, pauls, epi chets, martin and now Gretsch. I will try to never buy another guitar.
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