Groove tubes THE BRICK ????

  • Thread starter Thread starter Poni
  • Start date Start date
What I was doing is going direct into the p1 and adjusting the knobs till I got something I think sounds good .

Are you saying you used the DI on the P1 and not the mic preamp?

Then I was just running an sm57 and a studio projects b1 through a mixer set up something like this photo ( I'm using a blues jr. amp.)Then I went the p1 into it's own track on my fostex vf16 and the mixer with the 2 mic's mixed in together into another track on the fostex. Then I mixed the two tracks together.

It sounds like you're saying another mixer is doing preamp duty? Possibly what you're saying is, you're using the P1 to record the direct signal onto one track and then a separate track blending two mics together on, and then blending those? Anyhow, mixing those two tracks together could be a major problem. If the mics are spaced at all you could be having phase issues (cancellation or enhancement of different frequencies due to arriving at different times) or other problems. I'd suggest starting with the 3:1 rule of distance when using two or more mics to record one source. I'd suggest skipping blending the DI in for most recording purposes as well.

But, I kind of just turn the knobs all over without understanding what I'm doing and not having a starting point. I know that I shouldn't rely on the manual, but it helped me and I am just learning.

Drop me an email when you get a chance.

War
 
EVT said:
So Mr. Moon, you think I should use the p1 as the pre for the sm57 on the mic'd amp? One track recorded in of guitar you think? Do you think I should eliminate the use of the condensor mic (studio projects b1). I'm just trying new things I'm finding that others seem to like to do for a good sound.
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EVT,

Follow whatever advice Warhead gives you, as he's the P1 master of the universe!!

I have only used the P1 as the preamp for whatever mic I'm using to record a guitar cab, as I like to try to accurately record "to tape" whatever the source (cab, vocal, acoustic guitar, etc.) sounds like, rather than try to use the P1 to modify the sound of the source (guitar, etc.) itself. If I use a second mic while recording the same track, I always send it through a different preamp to try to capture a totally different sonic representation of what's being recorded, so I'd say "no" to eliminating the B1. I like recording multiple tracks of the same guitar line, but I usually just stack multiple takes rather than try to have several different sonic versions of the same take. The small nuances and differences in tuning and technique are, to me anyways, what make music interesting. Sonic perfection is BORING to me, as nothing about being human is about being perfect, so why should we try to be perfect with musical expression. H3ll, if I want musical and sonic perfection, I'd listen to Brit Spears and the other pop-divas who are recorded to such a level of perfection, they cannot even perform live without the aid of Otto-Tune and backing tracks!! :mad:

...Rant over, sorry! :o

-mr moon
 
Warhead said:
I have yet to record a vocal track without a P1 since obtaining them, due to the preamp, compression and limiting being such a perfect match for vocal tracking.
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I second this one!!! :D

-mr moon

P.S. - What up, War?
 
HI,
thanks for the info. mr.moon
Layering the same track through a different source is also another good idea. I've done that in the past and was happy with the results too. I am trying to learn different methods now. But, depending on the feel of the song or the current mood, I think it will help to have the knowledge of different approaches to change things up.

Some songs may call for that sonic perfection, but if it's a good song that calls for it, I don't think it needs to be considered cheesy like B. Spears etc. I think her whole style musically/ image, and the actual songs are what makes it bad, and that all of the songs come from the same (sonic perfection) way of recording.

I personally like to experiment for new songs, and each song I write... I try to come at it from a different angle, and the recording techniques used is another aspect of the whole process of reaching your desired overall outcome. Or something new that you didn't invision, but you end up pleased with the results.

I'm ranting too...
and saying this in good spririt..
thanks...
evt
 
Mr. Moon said...
It adds a certain subtle "robustness" to the sound, like a scoop of Jamaican Blue mountain coffee adds to a pot of good regular coffee.
================================================================

With an analogy like that, home-roasters everywhere will be rushing the stores in droves to buy bricks!! If it can add to my music the same level of happiness as my first taste of Blue Mountain, I'll get one tomorrow!

Thanks Mr. Moon!
 
Let'5_Pick said:
Mr. Moon said...
It adds a certain subtle "robustness" to the sound, like a scoop of Jamaican Blue mountain coffee adds to a pot of good regular coffee.
================================================================

With an analogy like that, home-roasters everywhere will be rushing the stores in droves to buy bricks!! If it can add to my music the same level of happiness as my first taste of Blue Mountain, I'll get one tomorrow!

Thanks Mr. Moon!
Click to expand...

http://www.bluemountaincoffee.com/

;)

-mr moon
 
Hello forum
I'm a newbie to this forum, really enjoying it alot whenever I have the time to log on. Anyways, I'm in the middle of doing my own project. I love the brick! Great on vocals. Being a drummer, don't hold that against me,I'm buying three more (kick, snare,o/h's) Don't forget the list on this is $499, not a cheap pre but affordable at the "bro deal" of about $325! It's a straight tube mic pre, dead simple, in-out,gain,phantom, ground lift, built like a tank.or brick shithouse! Only criticism is the 55db gain, but not a biggy. Adds great tone and color when you open the gain up. Maybe the guys at GT aren't marketing wizs, but atleast living in L.A. I can call them anytime, they are very helpful and proud of their products. More than I can say for Tascam and their non-existent tech support. Anyways, would highly recommend the brick, but check it out, my feedback is purely subjective. Take care and good luck with your projects, keep on spreading the universal language of Music!
 
marvkan said:
Hello forum
I'm a newbie to this forum, really enjoying it alot whenever I have the time to log on. Anyways, I'm in the middle of doing my own project. I love the brick! Great on vocals. Being a drummer, don't hold that against me,I'm buying three more (kick, snare,o/h's) Don't forget the list on this is $499, not a cheap pre but affordable at the "bro deal" of about $325! It's a straight tube mic pre, dead simple, in-out,gain,phantom, ground lift, built like a tank.or brick shithouse! Only criticism is the 55db gain, but not a biggy. Adds great tone and color when you open the gain up. Maybe the guys at GT aren't marketing wizs, but atleast living in L.A. I can call them anytime, they are very helpful and proud of their products. More than I can say for Tascam and their non-existent tech support. Anyways, would highly recommend the brick, but check it out, my feedback is purely subjective. Take care and good luck with your projects, keep on spreading the universal language of Music!
Click to expand...


Hello creepy ad bot.
 
reply

Being a newbie I don't understand what creepy ad bot. is
 
I bought a Brick last year, and I actually didn't feel it was worth the upgrade over my DMP3 so I returned it. Upgrading my mic (AT4040 over a SP B1) made a much bigger difference than upgrading the preamp. I noticed little to no improvement of the Brick over the DMP3.
 
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