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I can totally see the 81 being used on amps. A studio I recorded at a few times used them in their reverb chamber for reamping and they were great. I can't believe how they handle such high SPL's so gracefully. My favorite SDC for micing amps is Scott Helmke's "Alice" mic for the crazy aggressive mi...

losthighway wrote: I remember in the Geoff Emerick book he was talking about trying the innovation with using a speaker as a mic on that song.

A totally awesome read BTW for anyone here who hasn't read it yet.

Nice!...hopefully. Provided it's been serviced and everything on it (and in it) works. Otherwise, you may have opened up a can of worms my friend, LOL. Anyway, Quantegy 456 is great tape, not only for tracking (IMO) but for dumping your digital mixes to. Quality? well, it's a consumer deck, so...don...

Bill Lawrence's noiseless single coils of course.

http://wildepickups.com/Wilde_Bill_s_NF_Singles.html

I still make reference to the manual for my '90's Digitech RP-1 because the sheer depth of programming control on that thing still freaks me out. Just reading back through it the other day it reminded me the amp sim section in that unit is analog, while the modulation effects are digital. Brilliant.

The Aria and Vantage guitars from '78-'80 are amazing IME/O; made at the Matsumoku factory in Japan. Hell yeah Kenny. Do you have any experience with the PE series Sir? Yeah, I played a few pf the PE's when I was in the market for a new guitar in '79/'80. I compared a lot of guitar's before I made ...

i've got an "Aria Pro II" copy of a custom LP. it was about 400 I think. It's solid as a rock, def the best lp copy I've held. It also has the real gibson headstock shape, before they changed it. I think mine is a 76 or around then. The Aria and Vantage guitars from '78-'80 are amazing IME/O; made ...

How does the English Muffin sound clean?

Next, I'll sneak my RNLA into the signal chain for a little compression, then run a bass through it to see how it sounds. Electric bass does benefit from the 12AY7 pre as well.

Not sure if anyone cares about this but I've been using the EHX 12Y7 tube mic pre as an electric guitar pre for a few days now and getting some very cool DI tracks to work with.

The trick to interfacing the guitar with the pre is a DI box.

Our band recorded to SVHS several times back in the 90's and when I go back and listen to those original tracks that were dumped to DAT they still sound sort of smallish compared to what I get recording today to HD. It's really cool though that you're tracking to SVHS and having fun with it. And it'...

Great topic. I recently bought a pair of the Dreamland mics handmade by Wildwood microphones (formerly ACMCO). Connected them to my beloved ZED pre's and they were awful - unusable. Found out these mics are high impedance and the ZED pre's are designed to only handle up to 600 Ohm mics. Plugged the ...

^^^^^^^^
Thanks for that.

Levee Breaks (and entire Zep catalog for that matter) is already emblazened on my brain so I can already hear what you mean. Same with the Beatles, and subsequent Sir Paul work with the Wings (I assume).

Thanks again.

fossiltooth wrote:Many, if not most of your favorite records often use way more compression than you're "supposed" to use.

Fossiltooth, I know you know what you're talking about and could you give a few examples/releases I can refer to and have a listen for study?

I've been listening to Riverside's new record "Shrine of New Generation Slaves" and loving it. But when I gave it a first listen I thought the mastering limited the dynamics a little too much. Subsequently I increased the volume of playback and after a few listens have come to appreciate this mix mo...

But if it was me (and I'm guessing I'm a shitload older than you) I'd A/B the fuck out of those compressor settings to make sure it really is "better." Compression can be a bit like salt or something, at first you're like "Mmmm, that's some tasty shit." and then after a few minutes of it you're lik...