Recent content by Whoopysnorp

As an M320 owner with six burned-out bulbs, I hereby thank you!

You also have to tell Reaper to record the track's output rather than input. That is one of the options available when you right-click the track arm button.

I beg to differ; the sound of my V69 changed substantially for the better when I put a Mullard 12AT7 in there. I did vocal takes on the same song through the same preamp before and after the tube swap to prove it.

In order to break through to the next level of preamps, you kind of need to spend $400-$500 a channel or so. For the time being, I'd say you're fine with the DMP3. The next thing you need after that is a condenser mic...probably a large-diaphragm type. Between that and the SM7 you would have...

I use a Sennheiser e609 and an MXL V69...if the cab has multiple speaker types in it, I'll put the mics on separate speakers, but otherwise I don't bother. I angle each mic so it's pointing at the wall of the speaker cone just off center. The mic element is sitting parallel to the speaker cone...

I am not primarily a drummer (and certainly not good at the drums), but I do enjoy playing them every once in a while, plus I like to have real drum tracks on demos of my songs. For pretty much as long as I have been alive, I've had an old '60s or '70s set of Slingerland shells with a Sonor...

I have the Focusrite ISA428 unit, which is 4 pres at I guess about $420 a channel; the Sebatron VMP4000e, which is 4 pres at about $450 a channel, a Presonus Eureka on which the going rate is I think about $500, and a Tascam M320 desk with 20 pres. Not sure how to put a value on those...I think...

New Sensor Electronics has revived the Mullard brand name, but these are made in Russia like all their other products. As I understand it, new-production Mullards have nothing in common with the old British variety.

Hm, you may be right about that. My mistake if true.

I have been happy with my Peluso CEMC6s. They have a very transparent character to them that I think would be beneficial for acoustic rock. The Josephson C42s have a more rock-and-roll character to them, from what I understand (a good friend of mine uses those in his studio as his main SDCs).

Consider the Peluso CEMC6. I upgraded from the 603s to a pair of those and have been very pleased so far. When I A/Bed them on drums I found that the Pelusos were tickling some areas in the middle of the frequency spectrum that I wasn't getting with the 603s...this confers a certain 'fullness'...

My SM7 is one of the purchases I have been most happy with. It sounds good--maybe not great, but always good--on EVERYTHING I have ever put it on, including vocals, bass drum, bass guitar, electric guitar, trumpet, and violin. Another big plus for me is that it allows me to easily record...

I have decided that I need to do something about my mixer situation. I currently have an old Tascam M320 that is mostly working pretty well but has a few age-related issues: there are constant crackles through the L/R monitor outs, I'm getting some low 60 cycle hum in the balanced bus outs...

It's not so much that as it is that it's very difficult to gain access to the tube socket, and you kind of have to jerk some things out of where they go. In the course of doing that it's easy to pull something apart.

Never mind, I got it sorted out. The wire went where I thought it did, though I broke another wire in the process of figuring it out. New tube sounds great and I hope that's the last time I have to change it in a long while.