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Ves Paul

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Everything posted by Ves Paul

  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. 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.
  6. Playing 25 years, own strats, pauls, epi chets, martin and now Gretsch. I will try to never buy another guitar.
  7. Originally posted by MrSage Yeah, scooping the mids means to move the middle sliders on an equalizer down. "Roll off the highs" means moving the right-side (treble) sliders down. This makes the sound less trebly. This is also done by turning down the tone knob on your guitar (hence "rolling" off the highs). Rolling off = turning down Scooping = turning down in a scooped shape So turning up any portion of the EQ = Crank! Thanks, guys.
  8. Originally posted by Craigfnh Scooping mids is to have no mids, very bad imo. If you have a bunch of eq sliders it would look like a smiley face. OH, so does rolling mean turning up?
  9. Originally posted by vanguard i've played a 67 bf twin for years. i'm now running a dynacomp into a maxon od808. for real, smooth, classic sounding od, this is hands down the ticket. i dont know why i avoided the ts for so long; i guess i didnt like the hackneyed srv thing, but a good ts into a twin with the tone rolled back sounds amazing. it isnt the most "authentic" sounding od in the world; ie the klon sounds more "real", but it is way more usable. a ts boosts my tele's mid-section just the right amount to fatten up the black-face shimmer. it's really not all that smooth either now that i think about it. its got a nice chuggy distortion reminiscent of graham coxon..... I'm thinking lately that a dynacomp may be in my near future. My band mate got a modded comp from a boutique guy and is always stomping on it.
  10. Holy cow Waveman, that's alot of pedals! Do you play out with all those? What type of amp do you play through? What type of music?
  11. I have a Fender Twin Reverb amp and I've been using a tube driven Mesa Boogie V Twin pedal for thicker distortion and a tube screamer TS9 re-issue for the slightly milder distortion for years now. I've noticed that alot of folks are raving about the Bad Monkey pedal from digitech. Just curious what do you guys use to milk the distorted or overdriven tones out of your classic "clean" sounding tube amps? Guitars I play are 90% Lone Star Strat with pearly gates bridge, and 10% Les Paul Studio (so heavy).
  12. Playing for 20 years. Got a les paul studio (heavy). epi chet. martin. ebo bass. usa jazz bass. If it were lost...suicide. Dont know if it's for you, but its the answer for me.
  13. Ves Paul

    Sovtek Mig 50H

    Playing for 20+ years and I own lots of guitar gear. This was a steal at the price. If it were stolen I would take out a loan and buy the Orange Rockerverb 100. I would miss the little Meatwad. I love the fact that it weighs like 18 lbs. and feels like a lunchbox. What a power pack. If you are on a budget like me or want good tone for back-up or prac, I recommend it. I will play it out with confidence.
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