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dang. I forgot that I used to see notices about "Mojo Nixon and the Toadliquors" (great name) around town. Never caught the show but seems he was around Austin a lot in the 90's-2000's maybe?

trodden wrote: ↑

Fri Feb 09, 2024 3:21 pm

Very exciting!
https://reverb.com/item/73065954-rapco- ... ed-cg00xt3

just curious. are you using that for splitting at a live show or something else?

if you don't want the sax player to shove the mic in the bell, then you might try putting tape on the floor, or something bigger, to prevent them from moving in on the mic. If you don't they will inevitably (instinctively?) move right up to it, head on... remind them it's not a live show. :lol: some...

421 or 441 are pretty good on sax. I've also had good luck with a ribbon mic (I used a Cascade Vinjet) - have the sax player stand about 2-3 feet away from it. Use a pop filter if you want (but should not be needed if standing 2-3ft back). I've also mic'd Alto and Tenor using a U47-style mic and did...

I agree with Winky. Looks like the larger one was at one time connected (or was intended to be) to a plate (or some other device) sending the signal into it, and the smaller one was possibly going to be used to receive the signal. but you can easily replace the connectors or use an adapter and try i...

I picked up a Focusrite ISA 2 (2 channel) recently and since I bought it used I got a good deal on it ($550 out the door...). It's really nice. It's got 80dB of gain, so it's fantastic for ribbons or low output dynamics. it can be really clean but its not wimpy sounding and with all the different im...

This thread is going to finally get me off my ass to build my two Lola kits. (Although maybe should be Coppers?) I have only used my JFET Hamptone, not the tube version, but I LOVE it. Some friends of mine are recording their fourth or fifth record. My Hamptone will have been the stick-it-on-the-mo...

when it's at my place, I usually do it 2 ways... 1. you have a great, well-rehearsed band, so we setup and record as many song basics as we can on day1 (or more if needed and consecutive days are available). Then schedule additional time for overdubs if needed (usually vocals, horns, more guitars, e...

I mentioned several posts back that I picked up a Pearlman TM-1. Finally got to use it for a proper vocal session. Wow! it is perfect. It is exactly the sound I was looking for (chain was TM-1->Lin2A->AML 5003D->Apollo16). I have a few other "nice" mics (and at least one that was more expensive) and...

I thought bleed was gonna be a factor (and thought ribbons might minimize that) Fig8 ribbons can minimize bleed if you are able to position the other sound sources in their null. But if you have a very reflective or untreated room (where things are bouncing around from every direction) then you are...

if you decide to go the 500 route, and if you can solder, one of the Hairball Copper (a 1073-ish sound) and a CAPI (I've got the VP312) would be a great start. I love the copper in a vocal chain or on bass or drums and the VP312 is great too. Both have input/output levels so you can adjust how much ...

a pair of any ribbons might work, but you'd have to experiment with placement because it will depend on the room, the drums, the player... You could try something like one overhead and a front of kit mic, or maybe a couple mics about 3-4 ft high and 4-5 feet in front of the kit (if you want winder/s...

vvv wrote: ↑

Fri Jan 19, 2024 5:18 pm

Traveler

EDIT: deleted half my attachments, still reading

"ERROR
Sorry, the board attachment quota has been reached."

so I'll try a pic later.

I think that means you have to delete some of your older pictures? even though it says "board" I think it's per user (but not 100% sure on that)

boring, but I bought a couple 90 deg angle XLR cables (for use on rack toms w/ ATM230's). Nice and compact and won't get in the way now. I got the Telefunken brand this time, but I also got a couple cheap 6" adapters www.amazon.com/dp/B0CH2V5TCR (they seems to work OK in the studio but don't know th...