While I totally dig the sound of the Egnater rig, sometimes it's a hassle when I just want to get a couple song ideas down quickly... if I've only got half an hour to get 'em recorded, I don't need to spend 15 minutes getting mics set up, running cables, etc.
Over the years I've had several modelers, some of which (Johnson J-Station, Vox Tonelab SE) have gotten more studio use than others (Boss GT-6/GT-8)... tone matters, but for scratch tracks, ease-of-use is the key issue. Just like I don't want to spend time setting up mics, I also don't want to spend time flipping through a modeler manual for deep editing, trying to make out-of-the-box patches not suck, sorting through an overwhelming array of models + cabinets + effects, dealing with a non-intuitive interface, etc. The other key (for me, at least), is keeping the modeler with the recording gear (on the desk, in the studio rack) vs. with the guitar gear... if it's not within arms reach from the studio desk, I'm less inclined to reach for it in a pinch.
So having just sold a Boss GT-8 (which I used primarily as an FX box in the guitar rig), I wanted to pick up something that could live with the studio gear... after doing a little research, I picked up the Behringer V-Amp Pro. The reviews (from a tonal perspective) were just as favorable as the reviews for any other modeling device I read; while some reviews dogged the durability for live use, I'm not too worried since it will live in the studio rack. At about 1/4 the price of the Pod Pro XT, it can't suck that much, right? Plus, it has a decent PC-based editor for quick tweaking while sitting at the desk... bonus!
Anyway, I had a bit of time to sit down tonight with the V-Amp Pro and put it through its paces. I installed it in the studio rack, connected the XLR outs to the Octopre, fired it up, plugged in a PRS Standard 24, and recorded the following track...
V-Amp demo track
The models used: left rhythm guitar = Tweed with delay and Top Boost (switches at 2:10), right rhythm guitar = Plexi and JCM800 (switches at 2:10 also), solo guitar = California Drive with delay (enters at 3:30)
Overall, the V-Amp sounds pretty good... probably wouldn't use it for many "final" takes, but it's certainly good enough for doing scratch tracks, doubling parts, etc. I found it relatively quick to dial the right amp tones & effects in... I didn't even have to fire up the PC-based editor.
Given that there are a lot of overlapping amp models between the V-Amp and Egnater modules I've got (Twin, Vox, Plexi, JCM800, Recto, etc.), it'd be interesting to do a head-to-head comparison... spilt the guitar signal into the V-Amp (direct) and Egnater rig (mic'd), record 'em on parallel tracks, and see how drastically different they are. Or better yet, set up a poll to see how many folks on the Randall/Egnater forum can properly identify 'em. :)
--B
Showing newest 13 of 16 posts from August 2007. Show older posts
Showing newest 13 of 16 posts from August 2007. Show older posts
Thursday, August 30, 2007
Tuesday, August 28, 2007
Vehicular gas sets in - '07 FJ Cruiser
About a week ago I wrote about my generally wasted trip to Guitar Center... wasted with the exception of getting to test drive an FJ Cruiser. Well, tonight I picked up an 2007 FJ Cruiser in Titanium Metallic...
This one's reasonably decked out... has an automatic and 4WD, both the Convenience Package (keyless entry, tinted glass, daytime running lights, heated mirrors, rear parking sensors, cruise control, rear window wiper) and Upgrade Package #1 (limited slip rear differential, stability/traction control, information display, 6-disc changer, leather-wrapped steering wheel with audio controls, aluminum wheels) plus a couple other random features (running boards, floor mats). As it turns out, most FJ's have roof racks installed at the dealership, and the roof rack makes the FJ too tall for my garage... so it actually took a bit of hunting around to find a well-configured FJ with no roof rack.
I'm looking forward to the FJ for a couple reasons... One, it will be far easier to haul around my musical gear in the FJ than the Acura TL. Second, having owned a Jeep in a previous life, I miss the ability to go off-roading. So I'm bound & determined to not be one of those yahoos that just drives their FJ to the mall on weekends!
Having had the FJ in the garage for all of 4-hours, the G.A.S. is already setting in... I was searching for FJ accessories on e-bay... everything from spare tire covers to (short) roof racks to subwoofers to fog lights to 1:18 scale FJ models for my desk at work. Well, at least it's not more guitar gear...
--B
PS - Look who's ready for a road trip...
This one's reasonably decked out... has an automatic and 4WD, both the Convenience Package (keyless entry, tinted glass, daytime running lights, heated mirrors, rear parking sensors, cruise control, rear window wiper) and Upgrade Package #1 (limited slip rear differential, stability/traction control, information display, 6-disc changer, leather-wrapped steering wheel with audio controls, aluminum wheels) plus a couple other random features (running boards, floor mats). As it turns out, most FJ's have roof racks installed at the dealership, and the roof rack makes the FJ too tall for my garage... so it actually took a bit of hunting around to find a well-configured FJ with no roof rack.
I'm looking forward to the FJ for a couple reasons... One, it will be far easier to haul around my musical gear in the FJ than the Acura TL. Second, having owned a Jeep in a previous life, I miss the ability to go off-roading. So I'm bound & determined to not be one of those yahoos that just drives their FJ to the mall on weekends!
Having had the FJ in the garage for all of 4-hours, the G.A.S. is already setting in... I was searching for FJ accessories on e-bay... everything from spare tire covers to (short) roof racks to subwoofers to fog lights to 1:18 scale FJ models for my desk at work. Well, at least it's not more guitar gear...
--B
PS - Look who's ready for a road trip...
Friday, August 24, 2007
Good G.A.S.-related reading
While it was this thread that got me thinking about G.A.S. and how appropriate it would be to have a blog related to the topic, just the other day I was Googling for "gear acquisition syndrome" and came across this 7-part article series (including a self-test) on avoiding G.A.S. (FWIW, I scored a "5" on the self-test, which qualifies as "a mild case" of G.A.S.) It's actually a really good piece... talks about how to buy amps & guitars, how to assemble racks & pedalboards, even how to put together a bass rig--even though it's almost 10 years old, it talks about a lot of "classic" gear and is therefore extremely relevant even today. Lots of things I wish I would've known when I started collecting stuff (and a few things I wish I didn't learn the hard way).
Anyway, here are some of my thoughts on the survey questions...
1. Has the phrase "I wish I never traded that..." ever passed your lips?
Yeah, though not as much recently... I kick myself for selling my first Les Paul, a couple Ibanez models (particularly the RG6-CST J-Custom), and the Mesa Mark IV combo. All-in-all, to only regret selling half a dozen pieces of gear out of the couple hundred that I've owned feels pretty good.
2. Do you spend more time shopping for gear than practicing?
Hell yeah, though if online shopping and e-bay didn't exist, I'd spend more time practicing. I shop for gear over my morning coffee, read gear reviews over lunch break, check auctions as soon as I get home, check around for deals at least one more time before I go to bed, even monitor e-bay auctions from my cell phone when I'm away from the computer. If I could spend half that time practicing, kinda scary to think about how much better my technique could be.
3. Do you spend more money on gear than you make playing gigs or teaching lessons?
Yes, but in all fairness, the amount of money I make from typical original rock gigs in Cincinnati is enough to buy a snack at Taco Bell on the way home from the gig. I have started recording bands in my home studio as a way to make some gear $, and with time I may actually make enough $ to cover my gear habit.
4. When faced with the budgeting dilemma of buying a new amp or new tires, you opt for the
amp?
Good timing, my car needs new tires now, but somehow I've picked up 3 or 4 guitars during the past month. The question should read: "When you realize that your car needs new tires, brakes, and a few other repairs, do you get it fixed or just trade it in on a new one?" Vehicular G.A.S. is just as real as musical G.A.S.
5. Has a significant other ever left you because on Valentines Day, you bought a pawnshop prize for yourself in lieu of flowers for her?
No, this has never happened, though I keep wondering if a significant other will ever get me anything music-related for Valentines Day, a birthday, Christmas, Arbor Day, etc. Interestingly enough the only music-related gift I've goten in the past 5 years was a can of Fret Ease that my father-in-law got me for Christmas a couple years back.
6. Are lessons "too expensive" but a Ibanez TS-808 is a "bargain" at $200?
I don't really find myself in the market for lessons these days, but to be clear, an Ibanez TS-808 at $200 doesn't qualify as a "bargain" in my book.
7. When you browse a musician-oriented magazine, do you skip the articles and go right to the advertisements?
No, I actually do read the articles first, though I'm most likely to start with gear reviews if there are any... I generally try to avoid the advertisements.
8. Is a "buyer" pass to the NAMM show and a U-Haul the makings of a dream vacation?
As much as I'd love to go to a NAMM show someday, I don't think that qualifies as a vacation in my book.
9. Does your rig evolve faster than your playing? Bonus: have you ever charted the evolution of your rig on a modified "family tree?"
I'm disappointed in myself that I never thought of maping my rig out on a "family tree"... though maintaining a blog full of lists and pictures feels like one step in the right (or wrong?) direction.
10. Is it difficult to remember every guitar, amp, processor that's ever passed in and out of your possession?
Yeah, it's difficult to remember, but that's why I have the blog, right? :)
--B
Anyway, here are some of my thoughts on the survey questions...
1. Has the phrase "I wish I never traded that..." ever passed your lips?
Yeah, though not as much recently... I kick myself for selling my first Les Paul, a couple Ibanez models (particularly the RG6-CST J-Custom), and the Mesa Mark IV combo. All-in-all, to only regret selling half a dozen pieces of gear out of the couple hundred that I've owned feels pretty good.
2. Do you spend more time shopping for gear than practicing?
Hell yeah, though if online shopping and e-bay didn't exist, I'd spend more time practicing. I shop for gear over my morning coffee, read gear reviews over lunch break, check auctions as soon as I get home, check around for deals at least one more time before I go to bed, even monitor e-bay auctions from my cell phone when I'm away from the computer. If I could spend half that time practicing, kinda scary to think about how much better my technique could be.
3. Do you spend more money on gear than you make playing gigs or teaching lessons?
Yes, but in all fairness, the amount of money I make from typical original rock gigs in Cincinnati is enough to buy a snack at Taco Bell on the way home from the gig. I have started recording bands in my home studio as a way to make some gear $, and with time I may actually make enough $ to cover my gear habit.
4. When faced with the budgeting dilemma of buying a new amp or new tires, you opt for the
amp?
Good timing, my car needs new tires now, but somehow I've picked up 3 or 4 guitars during the past month. The question should read: "When you realize that your car needs new tires, brakes, and a few other repairs, do you get it fixed or just trade it in on a new one?" Vehicular G.A.S. is just as real as musical G.A.S.
5. Has a significant other ever left you because on Valentines Day, you bought a pawnshop prize for yourself in lieu of flowers for her?
No, this has never happened, though I keep wondering if a significant other will ever get me anything music-related for Valentines Day, a birthday, Christmas, Arbor Day, etc. Interestingly enough the only music-related gift I've goten in the past 5 years was a can of Fret Ease that my father-in-law got me for Christmas a couple years back.
6. Are lessons "too expensive" but a Ibanez TS-808 is a "bargain" at $200?
I don't really find myself in the market for lessons these days, but to be clear, an Ibanez TS-808 at $200 doesn't qualify as a "bargain" in my book.
7. When you browse a musician-oriented magazine, do you skip the articles and go right to the advertisements?
No, I actually do read the articles first, though I'm most likely to start with gear reviews if there are any... I generally try to avoid the advertisements.
8. Is a "buyer" pass to the NAMM show and a U-Haul the makings of a dream vacation?
As much as I'd love to go to a NAMM show someday, I don't think that qualifies as a vacation in my book.
9. Does your rig evolve faster than your playing? Bonus: have you ever charted the evolution of your rig on a modified "family tree?"
I'm disappointed in myself that I never thought of maping my rig out on a "family tree"... though maintaining a blog full of lists and pictures feels like one step in the right (or wrong?) direction.
10. Is it difficult to remember every guitar, amp, processor that's ever passed in and out of your possession?
Yeah, it's difficult to remember, but that's why I have the blog, right? :)
--B
Give me diversity or give me something else...
As I've bought, used, and sold more than my fair share of gear over the years, I've certainly developed a "find something that works and stick with it" mentality... With guitars, that manifest itself first with Ibanez guitars & more recently with PRSi; with amps, the focus has been primarily on Mesas & Egnaters; even with effects, I keep coming back to the Lexicon MPX-G2 and the TC Electronic G-Major. Granted, I've gone through a considerable amount of gear, but any guitar/amp brand that I've owned more than 5 of or any effects unit that I've purchased at least 3 times must have something going for it, right? With the amps and effects units, it's all about the versatility... the Egnater modular amps easily cover the tonal spectrum of a dozen classic amps; the MPX-G2 has dozens of classic stompbox emulations built into it; etc.
On the guitar front, though, I started to find myself yearning for a bit more diversity... I was up to 18 PRSi, quite a few different models (diverse from a PRS perspective), but at the end of the day, not drastically different. So I decided to sell off half of my PRS collection and branch out with the following guitars:
I'm looking forward to putting these through their paces in the studio... I recently used the EBMM Petrucci 7-string and G&L ASAT Classic on a few tracks and am waiting for the golden opportunity to break out the others. The Heritage H-535 and Gretsch G6120 have already become staples for big band performances. While I've fiddled with the Gibson Firebird & Les Paul a bit for Necessary Distraction rehearsals, I expect the PRSi will continue to be the main players for rock-oriented gigs & practices going forward.
So what's next? Hard to say... Given my recent fascination with Gibson, I've been eyeing the SG Supreme for the past couple weeks. I've always been intrigued by the EBMM Steve Morse and Axis Rosewod models. Sometimes I wish I still had a Steinberger around (not for the tone, but just for the TransTrem!). And I'm always on the lookout for PRSi--maybe a Custom 22 or Singlecut Trem--though Lord knows I really don't need any more PRSi.
Let's face it... at this point, I probably need to sell some gear before picking up something new, and right now there's nothing I really care to part with. Could this be the end of my GAS? I highly doubt it...
--B
On the guitar front, though, I started to find myself yearning for a bit more diversity... I was up to 18 PRSi, quite a few different models (diverse from a PRS perspective), but at the end of the day, not drastically different. So I decided to sell off half of my PRS collection and branch out with the following guitars:
- Ernie Ball Music Man John Petrucci 7-string (ok, technically I already owned this one)
- G&L ASAT Classic
- 2 G&L Legacy Standards - one stock, one with the EMG David Gilmour DG-20 pickup configuration (3 SA's + SPC + EXG tone controls + PI-2 phase switch)
- Gibson Firebird V
- Gibson Les Paul Classic Antique
- Gretsch G6120-1959 Chet Atkins hollowbody
- Heritage H-535 semi-hollowbody
- Rickenbacker 360/12 12-string
I'm looking forward to putting these through their paces in the studio... I recently used the EBMM Petrucci 7-string and G&L ASAT Classic on a few tracks and am waiting for the golden opportunity to break out the others. The Heritage H-535 and Gretsch G6120 have already become staples for big band performances. While I've fiddled with the Gibson Firebird & Les Paul a bit for Necessary Distraction rehearsals, I expect the PRSi will continue to be the main players for rock-oriented gigs & practices going forward.
So what's next? Hard to say... Given my recent fascination with Gibson, I've been eyeing the SG Supreme for the past couple weeks. I've always been intrigued by the EBMM Steve Morse and Axis Rosewod models. Sometimes I wish I still had a Steinberger around (not for the tone, but just for the TransTrem!). And I'm always on the lookout for PRSi--maybe a Custom 22 or Singlecut Trem--though Lord knows I really don't need any more PRSi.
Let's face it... at this point, I probably need to sell some gear before picking up something new, and right now there's nothing I really care to part with. Could this be the end of my GAS? I highly doubt it...
--B
Thursday, August 23, 2007
Sounds
To get a flavor of my musical style, check out some of the following tunes:
Conundrum (2008) -- driving acoustic rock -- Jennifer DePalma (vocals), Brent Duersch (everything else) -- recorded in home studio in 2008
- Never Be Free
- Undone
- This Way for Good
- Turn and Run
- Empty Walls
- Perspective
- Rock of Gibraltar
- I'll Find You Hiding
- Through the Years
- Last Forgiveness 2008
Necessary Distraction (2007) -- driving acoustic rock -- Jennifer DePalma (vocals), Brent Duersch (guitar + keys/bass on demo tracks), Scott Pirk (drums), Dave Rottenberger (guitar) -- recorded in home studio in 2007
recording project with Jennifer & Scott (2005) -- cover tunes -- Jennifer DePalma (vocals), Brent Duersch (guitar, bass), Scott Pirk (drums) -- recorded in home studio in 2005 & remixed in 2008
- Barracuda (Heart)
- Heartbreaker (Pat Benatar)
- Magic Man (Heart)
- Sweet Child O' Mine (G'N'R)
The Burning Sensations (2004) -- hard rock/funk originals -- Brent Duersch (guitar), Chris Meade (bass), Scott Pirk (drums), Mike Reeves (vocals), Dave Rottenberger (guitar) -- first 3 tracks recorded at Group Effort Studios, remaining scratch tracks recorded in home studio in 2005 & remixed in 2008
- Around
- Left Behind
- Let it Go
- scratch tracks:
- All Comes Down
- Dots not Feathers (I have no idea what the actual name of this song was)
- Gettin' it Done
- Goin' On
- Let it Ride
- Live for Today
- Majority
- Run
- Stare
- Tonight
- Under
Naughty Butterspoon (2002) -- hard rock/funk originals -- Brent Duersch (guitar), Scott Pirk (drums), Dave Rottenberger (guitar, vocals), Brad Whitmore (bass) -- recorded in home studio in 2002 & remixed in 2007
Serenity (1999) -- during my brief stint as a bassist -- Marc Bullard (drums), Brent Duersch (bass), Jenny George (vocals), Dave Rottenberger (guitar) -- recorded at Group Effort Studios
Enjoy!
--B
Sunday, August 19, 2007
Yesterday's G.A.S. field trip - came home empty handed!
Imagine the disappointment... planned a whole day of shopping with the wife that included a pit stop at the local Guitar Center. Had about half an hour to roam the store... glanced at a few guitars & amps, but nothing was screaming "PLAY ME!" or even approaching "BUY ME!" So I left empty-handed. Well. not completely empty-handed... I did buy a couple Gibson gig bags for $20 each. Certainly not something to write home about. Heck, it's not even worthy of writing in my blog about. I must be losing my touch...
On the flip side, we did test drive a pimped-out Toyota FJ Cruiser, which I've had my eye on for a while. Really dug it, but we're not quite ready to pull the trigger at this point. I guess the ultimate expression of GAS would've been coming home with a new FJ Cruiser...
Wonder how many guitar cases the trunk holds? True story... when I was test driving my Acura TL, I took it to my house to see how many guitar cases, racks, & cabinets I could fit in the trunk.
--B
On the flip side, we did test drive a pimped-out Toyota FJ Cruiser, which I've had my eye on for a while. Really dug it, but we're not quite ready to pull the trigger at this point. I guess the ultimate expression of GAS would've been coming home with a new FJ Cruiser...
Wonder how many guitar cases the trunk holds? True story... when I was test driving my Acura TL, I took it to my house to see how many guitar cases, racks, & cabinets I could fit in the trunk.
--B
Thursday, August 16, 2007
New guitar - Rickenbacker 360/12 12-string electric
I've tried a couple different electric 12-strings this year, knowing well in advance that they'd probably never see the stage but would be a great studio tool to have on hand. I started out with a PRS Custom 22/12, which was the first (and only) 12-string I'd ever owned that played like a six-string--amazing guitar, but a lot of $ to be tied up in a single guitar that would likely see low usage. So I traded the 22/12 for a Gibson EDS1275 doubleneck... while not as tonally versatile or visually stunning as the PRS, I thought it might be a bit more useful for gigging purposes. Needless to say, it's a complete beast... playing it for more than 10 minutes brings on the back pain and getting around both necks (particularly to the high frets on the 6-string neck) has turned out to be more of a chore than I bargained for.
So the latest decision has been to sell the EDS-1275 and pick up a Rickenbacker 360/12. The Ric is definitely the "industry standard" 12-string electric. This one is a late 90's model in FireGlo finish. The guitar arrived tonight, and after spending a bit of time messing around with it, here are my initial thoughts:
Unique. I've never seen another guitar quite like it from a construction perspective... From the headstock design to accommodate 12 strings worth of tuners in the space of 6, the "stacked" pickguards, the felt under the pickup mounting rings, the body binding on the back (vs. the front), the clearcoated fretboard, the dual output jacks, and the mysterious 5th knob. (even the case has unique latches...)
Tone. Plug it in... immediately obvious why it's a classic. All the jangle I'd ever need... played it through the Egnater Vox module with the bridge pickup selected and volume & tone knobs turned to 10, and it was bright enough to peel paint off the wall. :) But the combination of neck/bridge pickups with dual volume/tone controls gives a wide range of tones, from warm & mellow to thin & bright... I expect there will be no problems dialing in the right tone for recording projects.
Feel. Overall, the guitar is pretty easy to play for a 12-string... the neck is relatively thin & the action relatively low. The challenge is that the fretboard is extremely narrow for a 12-string. I have relatively small fingers, and even I'm finding it hard to precisely fret chords. I expect I'll get used to it, but I must say that the profile caught me a bit off guard. (I checked the specs on the Ric website... looks like all the 12-strings have the same narrow nut width except for the 660/12.) As always, time will tell...
Of course, no "new guitar" post would be complete without some pictures...
So the latest decision has been to sell the EDS-1275 and pick up a Rickenbacker 360/12. The Ric is definitely the "industry standard" 12-string electric. This one is a late 90's model in FireGlo finish. The guitar arrived tonight, and after spending a bit of time messing around with it, here are my initial thoughts:
Unique. I've never seen another guitar quite like it from a construction perspective... From the headstock design to accommodate 12 strings worth of tuners in the space of 6, the "stacked" pickguards, the felt under the pickup mounting rings, the body binding on the back (vs. the front), the clearcoated fretboard, the dual output jacks, and the mysterious 5th knob. (even the case has unique latches...)
Tone. Plug it in... immediately obvious why it's a classic. All the jangle I'd ever need... played it through the Egnater Vox module with the bridge pickup selected and volume & tone knobs turned to 10, and it was bright enough to peel paint off the wall. :) But the combination of neck/bridge pickups with dual volume/tone controls gives a wide range of tones, from warm & mellow to thin & bright... I expect there will be no problems dialing in the right tone for recording projects.
Feel. Overall, the guitar is pretty easy to play for a 12-string... the neck is relatively thin & the action relatively low. The challenge is that the fretboard is extremely narrow for a 12-string. I have relatively small fingers, and even I'm finding it hard to precisely fret chords. I expect I'll get used to it, but I must say that the profile caught me a bit off guard. (I checked the specs on the Ric website... looks like all the 12-strings have the same narrow nut width except for the 660/12.) As always, time will tell...
Of course, no "new guitar" post would be complete without some pictures...
--B
Wednesday, August 15, 2007
Mid-August downsizing in progress
In an effort to clear a few things out to make room and $ for what's coming in, I'm listing the following gear on e-bay tonight:
- Boss AC-3 acoustic simulator pedal - SOLD!!
- Boss DS-1 distortion pedal (Keeley modded) - SOLD!!
- Boss GT-8 multi-FX - SOLD!!
- EbTech line level shifter - SOLD!!
- G&L ASAT Special - SOLD!!
- Gibson EDS-1275 doubleneck - SOLD!!
- Godin SD - SOLD!!
--B
Monday, August 13, 2007
New guitar - G&L Legacy Standard #2 - mod it like it's hot
When I kicked off my "guitar diversification exploration" a few months ago, one of the first purchases I made was to pick up a pair of G&L's: an ASAT Classic and Legacy Standard. I was extremely impressed with the tone, the feel, the build quality for the $... certainly blew away many USA-made Fenders, even those costing nearly twice as much. This encouraged me to pick up a couple more G&L's (ASAT Special and ASAT Deluxe semi-hollowbody) which once again exceeded my expectations.
As part of the guitar sales/purchases of the past week, I found a ridiculously good deal on a new G&L Legacy Standard in Fullerton Red. As expected based on past G&L experience, it's an amazing guitar! Almost too good to mod, but as we all know, nothing's safe around here. I thought it would be fun to hot-rod it to be similar to David Gilmour's Strat... starting with installation of an EMG DG-20 pickup set (3 SA single coils + active EXG & SPC tone controls). For added versatility, I ordered an EMG PI-2 phase switch to throw the middle SA out of phase in relation to the neck/bridge SA's. So last weekend I took the Legacy apart, removed the stock pickups, and installed the EMG's... it wasn't a true plug & play installation since the EMG pickguard didn't fit the Legacy, but it was relatively simple. Transferred the EMG pickups & pots over to the Legacy pickguard, drilled a small hole for the PI-2 switch, and soldered in the switch & input jack. The biggest challenge was finding space for the 9V battery... the Legacy doesn't have as big of a control cavity as Strats, so space was tight under the pickguard.
With the mod complete, the guitar looks sweet... for some reason the DG-20 set includes a pearloid pickguard, white knobs, & ivory pickups (???). The ivory pickups are a much better match with the cream pickguard & knobs that came stock on the Legacy. Observe...
The tone of the EMG's is unique... they sound "flatter" than the stock G&L pickups and have virtually no noise. The EXG control boosts highs & lows--it is great for clean tones, giving the guitar an almost acoustic quality. On the other hand, the SPC control boosts mids--it makes the single coils sound almost like humbuckers. Jury is still out on the utility of the PI-2, though after I re-assembled the guitar I realized that I accidentally wired it to the neck pickup instead of the middle pickup... not a big deal, but would definitely be more useful in the middle position. But that's a project for another weekend.
Before I go, had to share this picture... with addition of the Fullterton Red Legacy I've got this all-American trio thing going on...
--B
As part of the guitar sales/purchases of the past week, I found a ridiculously good deal on a new G&L Legacy Standard in Fullerton Red. As expected based on past G&L experience, it's an amazing guitar! Almost too good to mod, but as we all know, nothing's safe around here. I thought it would be fun to hot-rod it to be similar to David Gilmour's Strat... starting with installation of an EMG DG-20 pickup set (3 SA single coils + active EXG & SPC tone controls). For added versatility, I ordered an EMG PI-2 phase switch to throw the middle SA out of phase in relation to the neck/bridge SA's. So last weekend I took the Legacy apart, removed the stock pickups, and installed the EMG's... it wasn't a true plug & play installation since the EMG pickguard didn't fit the Legacy, but it was relatively simple. Transferred the EMG pickups & pots over to the Legacy pickguard, drilled a small hole for the PI-2 switch, and soldered in the switch & input jack. The biggest challenge was finding space for the 9V battery... the Legacy doesn't have as big of a control cavity as Strats, so space was tight under the pickguard.
With the mod complete, the guitar looks sweet... for some reason the DG-20 set includes a pearloid pickguard, white knobs, & ivory pickups (???). The ivory pickups are a much better match with the cream pickguard & knobs that came stock on the Legacy. Observe...
The tone of the EMG's is unique... they sound "flatter" than the stock G&L pickups and have virtually no noise. The EXG control boosts highs & lows--it is great for clean tones, giving the guitar an almost acoustic quality. On the other hand, the SPC control boosts mids--it makes the single coils sound almost like humbuckers. Jury is still out on the utility of the PI-2, though after I re-assembled the guitar I realized that I accidentally wired it to the neck pickup instead of the middle pickup... not a big deal, but would definitely be more useful in the middle position. But that's a project for another weekend.
Before I go, had to share this picture... with addition of the Fullterton Red Legacy I've got this all-American trio thing going on...
--B
Sunday, August 12, 2007
New studio gear - Presonus Digimax FS
With some of the cash-flow from my most recent paid studio project (check out Backstage Pass), I picked up a Presonus Digimax FS preamp & AD/DA converter. While I already had the ability to record 16 simultaneous channels with the Focusrite Octopre LE and Presonus Digimax LT, the Octopre has one shortcoming... since there are no inserts, it isn't possible to have a compressor/limiter in the signal path for a little extra "protection" when recording. With the addition of the Digimax FS, I now have the ability to record 24 channels simultaneously and run compressor/limiters on 16 of them, which should be more than adequate for any recording project I take on in my basement.
Speaking of compressor/limiters, I have to give a shout out for the ART MDM-8L. Designed to be used with ADAT's, each MDM-8L combines 8 channels of optical compression + brickwall limiting. Definitely not a unit for tweakers (only has input/output level controls with fixed compression threshold + attack & release times), but gets the job done for sure (and can be had on e-bay for under $100).
Anyway, here's a pic of the (now full) studio rack with the Digimax FS and ART MDM-8L's; looking forward to having a studio project where I can put it all to good use...
--B
Speaking of compressor/limiters, I have to give a shout out for the ART MDM-8L. Designed to be used with ADAT's, each MDM-8L combines 8 channels of optical compression + brickwall limiting. Definitely not a unit for tweakers (only has input/output level controls with fixed compression threshold + attack & release times), but gets the job done for sure (and can be had on e-bay for under $100).
Anyway, here's a pic of the (now full) studio rack with the Digimax FS and ART MDM-8L's; looking forward to having a studio project where I can put it all to good use...
--B
Thursday, August 9, 2007
Buy / Sell / Trade
last updated: 2010-Feb-21
Here’s what I’ve currently got for sale as well as what’s on my “wish list”. If you’re interested in working out some sort of a deal, send me an e-mail.
Also, I occasionally sell gear through e-bay, so you might want to check out my current auctions.
For sale:
- Alvarez 4280 banjo
- (2) ART MDM-8L compressor/limiters
- Audio Technica MB1000L Midnight Blues mic
- Axess Electronics BS2 buffer/splitter
- BBE Freq Boost treble booster pedal
- Carl Martin compressor/limiter pedal
- Casio MG-510 MIDI guitar
- Hamer Eclipse
- ISP Technologies Decimator noise reduction pedal
- Johnson J-Station modeler
- (2) Legion Sound EMI-15 cabinets (15” woofer + horn)
- (2) Legion Sound EMI-18s subwoofers (18” subwoofer)
- Legion Sound PA7203 power amp
- Mesa/Boogie Dual Rectifier Roadster head
- Mesa/Boogie Electra Dyne head
- Mesa/Boogie Mark Five head
- Mesa/Boogie Stiletto Ace head
- Nady CBM-40 condenser boundary mic
- Optimus SSM-50 DJ mixer
- Paul Reed Smith 305
- Paul Reed Smith SC 250
- Presonus DigiMax FS preamp/AD converter
- Rocktron Hush SuperC noise reduction BROKEN
- Rocktron PatchMate MIDI switcher
- Rocktron Vendetta 4x12" cabinet w/ Celestion Vintage 30's
- Rogue FM-80E acoustic-electric mandolin
- Taylor Solidbody Classic guitar
- Traynor YBA-1 with Fuchs ODS mod
- Voodoo Lab Sparkle Drive overdrive pedal (Keeley-modded)
Wish list:
- classical guitar
- G&L electrics: ASAT Bluesboy or ASAT Deluxe semi-hollow, Comanche or Z-3
Tuesday, August 7, 2007
My Recording Gear
last updated: 2010-Mar-18
So anybody who's spent more than 15 minutes with me knows that I spend a considerable amount of time & money working on my home recording studio. I've been interested in home recording for over 10 years now... ever since I took a music theory class in high school and was introduced to computer-based MIDI sequencing (on a Mac - yikes!). During college I was introduced to 4-track tape for recording, then after graduation I started recording on my PC using Digital Orchestrator Pro and later Cakewalk Pro Audio. Now, while I'm still using Cakewalk's Sonar 8.5 Producer to record on my PC, it's interesting to look back on how my recording setup has evolved over the past decade...
Here's my first recording computer, which technically didn't have much going for it aside from a SoundBlaster card and an external MIDI interface... not great, but about all I could do in an apartment...
Once I moved (~2000) I was able to upgrade the studio computer and put in a dedicated card for recording (Lexicon Core2), which gave me the ability to record up to 6 channels at once when combined with the SoundBlaster. Note the sudden proliferation of rack gear...
In late 2004 I built a new studio PC from scratch, using a pair of M-Audio Delta 1010LT cards to record up to 20 channels at once. Again, notice the completely new collection of rack gear...
Almost not worth mentioning (due to the utter disappointment), my next setup (January 2006) used a pair of Presonus FirePods to record up to 16 channels at once. While the promise of simplicity was great, the experience was horrible... almost every recording was plagued with snaps, crackles, and pops. Reformatting the PC and reinstalling all the software didn't help; neither did the constant finger-pointing between Presonus, Cakewalk, and Microsoft about whose fault it was that firewire wasn't performing as expected. After a few weeks of messing around with the FirePods, I sent them both back.
My current setup (as of April 2007) uses the same PC but with a pair of Frontier Audio Dakota/Montana cards. With the current preamps/converters from Presonus, I can now record up to 16 channels at once, but the Frontier cards support up to 32 channels at once with additional preamps/converters...
The whole room is set up as follows, which allows me to record a whole rock band (drums, bass, guitars, keys, scratch vocals) live...
And, of course, it wouldn't be complete without a powerpoint "mock-up" showing how it's typically wired up:
Anyway, while I've cycled through my fair share of computers, sound cards, & rack gear over the years, one thing that has remained fairly consistent is my use of recording software from Cakewalk. I started out with Cakewalk Pro Audio 8, moved to Pro Audio 9, to Sonar 2.2XL, to Sonar 4 Producer, then to Sonar 6 Producer, and recently to Sonar 8.5 Producer. I remember when Cakewalk switched from being a pure MIDI sequencing tool to supporting recording/playback of digital audio, when video editing support was added, when digital effect processors (DSP) were bundled in (so I could greatly reduce the amount of rack gear), and when virtual synthesizers/drums were added. These days, a full Sonar install (with all the plug-ins) can easily handle the job of rooms full of analog gear (effects, synthesizers, mixers). Whether or not it sounds the same is subject to debate, but nobody can argue that it doesn't provide a lot of capability and convenience for the money.
Just as interesting to me as the software evolution has been the developing market for interesting hardware: For mixing, I use a Cakewalk/Peavey StudioMix (can be seen in several of the pics above), which is basically a virtual mixing console... it has 8 channels worth of knobs and sliders which move knobs and sliders on the screen--no audio actually flows through the device. The Studiomix sliders are automated, so they will move in sync with the sliders on the screen during playback. Very cool for giving the "feel" of a real mixing console, since moving knobs and sliders on screen with the mouse isn't the most authentic experience. Also worthy of note is the Frontier Design Tranzport, which is essentially a wireless remote for Sonar. It allows me to play, record, rewind, fast foward, solo/mute individual tracks, and check levels from anywhere in the room. Very helpful little tool since most of the time when I'm recording a band, I'm doing double-duty as recording engineer and guitar player, so I can't always be sitting in front of the computer. Even relatively simple devices like SMPro's NanoPatch play a big role... the NanoPatch is basically a big standalone volume knob for studio monitors, which is necessary since most D/A converters do not have volume knobs and the volume knobs on most studio monitors are on the backside, where they can be hard to reach and adjust precisely.
With all this gear, a lot of reading/research, some hands-on experience, and a critical set of ears, I have been able to put together some decent recordings over the years, many of which are available on the Sounds/MP3's page.
Anyway, this provides a bit more insight into one of my big hobbies (er, obsessions). I'm always glad to talk shop with anybody else who's experimented with or looking to get into home recording.
red indicates recent acquisitions
purple indicates items for sale
So anybody who's spent more than 15 minutes with me knows that I spend a considerable amount of time & money working on my home recording studio. I've been interested in home recording for over 10 years now... ever since I took a music theory class in high school and was introduced to computer-based MIDI sequencing (on a Mac - yikes!). During college I was introduced to 4-track tape for recording, then after graduation I started recording on my PC using Digital Orchestrator Pro and later Cakewalk Pro Audio. Now, while I'm still using Cakewalk's Sonar 8.5 Producer to record on my PC, it's interesting to look back on how my recording setup has evolved over the past decade...
Here's my first recording computer, which technically didn't have much going for it aside from a SoundBlaster card and an external MIDI interface... not great, but about all I could do in an apartment...
Once I moved (~2000) I was able to upgrade the studio computer and put in a dedicated card for recording (Lexicon Core2), which gave me the ability to record up to 6 channels at once when combined with the SoundBlaster. Note the sudden proliferation of rack gear...
In late 2004 I built a new studio PC from scratch, using a pair of M-Audio Delta 1010LT cards to record up to 20 channels at once. Again, notice the completely new collection of rack gear...
Almost not worth mentioning (due to the utter disappointment), my next setup (January 2006) used a pair of Presonus FirePods to record up to 16 channels at once. While the promise of simplicity was great, the experience was horrible... almost every recording was plagued with snaps, crackles, and pops. Reformatting the PC and reinstalling all the software didn't help; neither did the constant finger-pointing between Presonus, Cakewalk, and Microsoft about whose fault it was that firewire wasn't performing as expected. After a few weeks of messing around with the FirePods, I sent them both back.
My current setup (as of April 2007) uses the same PC but with a pair of Frontier Audio Dakota/Montana cards. With the current preamps/converters from Presonus, I can now record up to 16 channels at once, but the Frontier cards support up to 32 channels at once with additional preamps/converters...
The whole room is set up as follows, which allows me to record a whole rock band (drums, bass, guitars, keys, scratch vocals) live...
And, of course, it wouldn't be complete without a powerpoint "mock-up" showing how it's typically wired up:
Anyway, while I've cycled through my fair share of computers, sound cards, & rack gear over the years, one thing that has remained fairly consistent is my use of recording software from Cakewalk. I started out with Cakewalk Pro Audio 8, moved to Pro Audio 9, to Sonar 2.2XL, to Sonar 4 Producer, then to Sonar 6 Producer, and recently to Sonar 8.5 Producer. I remember when Cakewalk switched from being a pure MIDI sequencing tool to supporting recording/playback of digital audio, when video editing support was added, when digital effect processors (DSP) were bundled in (so I could greatly reduce the amount of rack gear), and when virtual synthesizers/drums were added. These days, a full Sonar install (with all the plug-ins) can easily handle the job of rooms full of analog gear (effects, synthesizers, mixers). Whether or not it sounds the same is subject to debate, but nobody can argue that it doesn't provide a lot of capability and convenience for the money.
Just as interesting to me as the software evolution has been the developing market for interesting hardware: For mixing, I use a Cakewalk/Peavey StudioMix (can be seen in several of the pics above), which is basically a virtual mixing console... it has 8 channels worth of knobs and sliders which move knobs and sliders on the screen--no audio actually flows through the device. The Studiomix sliders are automated, so they will move in sync with the sliders on the screen during playback. Very cool for giving the "feel" of a real mixing console, since moving knobs and sliders on screen with the mouse isn't the most authentic experience. Also worthy of note is the Frontier Design Tranzport, which is essentially a wireless remote for Sonar. It allows me to play, record, rewind, fast foward, solo/mute individual tracks, and check levels from anywhere in the room. Very helpful little tool since most of the time when I'm recording a band, I'm doing double-duty as recording engineer and guitar player, so I can't always be sitting in front of the computer. Even relatively simple devices like SMPro's NanoPatch play a big role... the NanoPatch is basically a big standalone volume knob for studio monitors, which is necessary since most D/A converters do not have volume knobs and the volume knobs on most studio monitors are on the backside, where they can be hard to reach and adjust precisely.
With all this gear, a lot of reading/research, some hands-on experience, and a critical set of ears, I have been able to put together some decent recordings over the years, many of which are available on the Sounds/MP3's page.
Anyway, this provides a bit more insight into one of my big hobbies (er, obsessions). I'm always glad to talk shop with anybody else who's experimented with or looking to get into home recording.
red indicates recent acquisitions
purple indicates items for sale
Studio rack:
Home stereo (also used for monitoring):
Other studio gear:
|       |
Stuff I've Sold / Traded
last updated: 2010-Feb-21
While somewhat of a laundry list, this is a 99.5% comprehensive list of pretty much every guitar, amp, effects box, and recording device I've owned over the years. Owned, of course, referring to anything from a period of a few days to several years, depending on how much I bonded with any particular piece of gear. So I've gone to the effort to highlight a few of my personal favorites from over the years... stuff I kinda wish I hadn't sold at the time, stuff that was kinda hard to get my mitts on again, etc. Think of this as a tribute to gear that's come & gone...
red indicates recent divestitures
green indicates some of my personal favorites
While somewhat of a laundry list, this is a 99.5% comprehensive list of pretty much every guitar, amp, effects box, and recording device I've owned over the years. Owned, of course, referring to anything from a period of a few days to several years, depending on how much I bonded with any particular piece of gear. So I've gone to the effort to highlight a few of my personal favorites from over the years... stuff I kinda wish I hadn't sold at the time, stuff that was kinda hard to get my mitts on again, etc. Think of this as a tribute to gear that's come & gone...
red indicates recent divestitures
green indicates some of my personal favorites
Electric guitars:
Acoustic instruments:
Basses:
|                       |
Amps & cabinets:
Effects:
Accessories:
|                                    |
Recording gear:
|                 |
Subscribe to:
Posts (Atom)
Posts
