Search results

The guy behind Black Lion used to work at my company...I remember going into Guitar Center one day, and he was walking out the door with a MOTU Traveler under one arm. Funny to see how he's kind of famous within the home recording community now (deservedly so from what I hear of his work).

It is the former--this is pretty similar to an X/Y miking config. The reason I like this and avoid doubles is because it helps the guitar track sound more real to me, and it enables me to toss off little fills and things in a performance without worrying about having to take the trouble to...

You can use the digital I/O to get a stereo in or out if you have the proper devices to connect, but in my opinion the real value of the digital out on this card for most people lies in the expandability. I used a Delta 66 for a long time, and for about half of that time I had it synced to a...

This is more from a standpoint of recording than live sound, but a while back I read a tip that totally changed the way I mic amps for recording: use a dynamic of your choice (for me it's the black e609) and a large diaphragm condenser of your choice (for me it's been either a CAD M-37 or an MXL...

Poor choice of words, but I was trying to say that with the gain on the preamp set at the proper level for a guitar amp, the ambient noise in the other parts of the mic's pickup pattern will not be amplified sufficiently to pass through the speakers back into the mic and create a feedback loop...

This page describes it pretty well: http://www.churchmedia.net/CMN/general-audio/17017-shure-sm57-modification-experiment-described.html It's pretty simple to do.

Jesus H...I'm saying that the ambient sound coming from the sides of the mic will not be amplified nearly as heavily as the loud thing that is right in front of the mic. Are you being deliberately obtuse?

The SM57 and SM58 are very nearly identical, but I wouldn't worry about bleed problems. Remember, with the gain on the preamp set low to accommodate your big loud guitar amp, it's not going to be sensitive enough to pick up much else.

I suppose it depends on the style of the music, but assuming heavy rock (because why else would you have a XXX), do you really think there are benefits to using a condenser on the guitar amp that outweigh the negatives associated with using a more fragile mic than a dynamic? I have been to a...

The amount of hiss introduced by cranking the gain on mic preamps, even cheap ones, is so minimal that you don't need to concern yourself with feedback. And even if it were, a condenser mic would be more likely to pick it up and amplify it than a dynamic. A dynamic mic pointed at a raging...

Most people (me included) would not recommend a condenser mic for live guitar amp miking. A dynamic mic will be much more convenient to use in this application. I second the Sennheiser e609, though I'm basing that on the older black version instead of the current silver version...many believe...

Using REAPER seems to help. I took it down to 96 samples and was able to play a session with 19 tracks and a handful of plugs with no problems. Actually here is what I wound up making with the overdub project I mentioned earlier...it turned into a recreation of what it sounds like to be inside...

This started off as just a project to pile a bunch of tracks on top of a block of 9 basic tracks of outtakes from our most recent album so I could test the latency with my new interface/software setup, and it wound up being a sonic recreation of what it sounds like to be inside a Guitar Center...

I just love the way some people are always unable to hear the difference! :D

Did that already, and added the SidSpeed DWORD registry value.

Tune the DVD drive? How and why? Turning off FX didn't seem to make any difference. However it looks like Reaper might behave a little better...I took latency down to 256 samples and loaded up 9 tracks of an old session and started overdubbing new tracks on top of that to see how far I could...

I was thinking the same thing. I have Reaper installed as well as Ableton Live 6, but I don't have any sessions available in those programs to test. It'd probably still be worth importing a bunch of tracks into one program or the other to see if I get better results though.

I just upgraded from an M-Audio PCI setup that I've had since 2001 to a Fireface 800, and I'm still getting acclimated. I wasn't using ASIO with the M-Audio stuff, but now I am, and I'm not sure what I should be shooting for as far as latency. When playing back a session with ~25-30 tracks in...

Mic 1 clearly sounded better to me on both sources. I don't know why anybody would choose 2, to be honest. In both cases I could hear the cheapness of the mic, especially in the sibilant parts on the vocal. Some aspects of that Chinese top end work for the acoustic guitar, but in the context...

I was just in London and in one of the shops on Denmark Street there was a very old 2-track Studer that used to be in Abbey Road as a mastering deck. I don't think it was even for sale but I gawked over that for a long time.