#61
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#63
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You misread what I wrote. I compared it to the UAD LA-2A plugin, not the UA LA-2A.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#64
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The reason for having the EQ is to get the compressor to compress in a more flattering way and not having it compress frequencies that it doesn't need to. It would be well worth your time to learn this technique. You can practice the art "in the box" with plug ins to see if it would be worth the the money to go with an outboard EQ. if you already know how to do this, disregard my post. |
#65
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One important addition is the high frequency control(limiter response) was added to the front plate which is very handy. This was a control on the back and set from the factory depending on what the application. This potentiometer was factory set for recording as “flat” side-chain response (clockwise). Increasing the resistance of this potentiometer by turning it counter clockwise will result in compression which is increasingly more sensitive to the higher frequencies. It filters out low frequencies to the T4B module so it compresses the lows less and changes the 'focus' of the compression. Very handy indeed to have up front as the demo video below points out! The Audio-Scape is the only version I've seen where this control is easily accessible. I'm told Stam put this control on the underside of the unit and you need a screwdriver to adjust it.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#66
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My studio dreams are more about the ability to utilize what I have then getting gear. I do have some nice mics, converters, preamps and now have a decent sounding room.
What I want to achieve is a good representation of my original music. I have become more adapt at grooving to a click track but still, the live singer songwriter performances (Me my guitar and the mics and just let it roll) sound more natural. I want to achieve that natural feeling while playing to a click. This way I can record and overdub with ease. But the journey has been been a blast.
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David Webber Round-Body Furch D32-LM MJ Franks Lagacy OM Rainsong H-WS1000N2T Stonebridge OM33-SR DB Stonebridge D22-SRA Tacoma Papoose Voyage Air VAD-2 1980 Fender Strat A few Partscaster Strats MIC 60s Classic Vib Strat Last edited by Mbroady; 04-04-2018 at 04:00 PM. |
#67
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I think it's something most of us go through. I had a really hard time playing to a click when I first tried but at some point I started getting more comfortable with and now I wouldn't want to record without it. It just makes everything you do afterwards so much easier.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#68
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#70
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__________________
-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#71
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It really is very well made. The knobs and toggles are top notch. I had a couple of friends over last night, both have lots of experience with gear, one does production full time. I didn't want to rely on just my own ears but we all agreed the unit was a keeper.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#72
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I have been playing with a click track for around ten months now (playing guitar for 30, writing songs for around 2 years) and my timing has definitely improved. Playing with a click I think helped me understand my own personal groove-isims, meaning we’re the pocket sits on any particular groove. Sometimes a song calls for pushing the beat or pulling the beat and recording to a click allows you to get a visual representation of that pocket, or lack of. I love seeing why a take feels great or why it ....sucks. But must of all I love when you record and the recording has a vibe without the back up rhythm. That’s when I know I nailed it.
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David Webber Round-Body Furch D32-LM MJ Franks Lagacy OM Rainsong H-WS1000N2T Stonebridge OM33-SR DB Stonebridge D22-SRA Tacoma Papoose Voyage Air VAD-2 1980 Fender Strat A few Partscaster Strats MIC 60s Classic Vib Strat |
#73
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That guitar track can be to a beat or click. Then when I go to lay down other tracks or a final vocal, I can run that scratch vocal at a very low level mixed off to the side in the monitor mix to serve as guide where I am in the song structure, I'll even sometimes say in the scratch vocal cues like one might say off-mic on stage like "going to the bridge section" or "solo here". One advantage of this is playing and/or singing in ways that don't lock right to the beat/grid is part of what makes a lot of styles sound "natural." It's still good to have the click or the beat/grid to arbitrate what the "ruler" of the beat is (pun indented). Part of what you may like about your playing when you are just "letting it roll" is that your voice and guitar are interacting. Scratch vocals let you do that, while still allowing a final pass for a "perfect vocal" later.
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----------------------------------- Creator of The Parlando Project Guitars: 20th Century Seagull S6-12, S6 Folk, Seagull M6; '00 Guild JF30-12, '01 Martin 00-15, '16 Martin 000-17, '07 Parkwood PW510, Epiphone Biscuit resonator, Merlin Dulcimer, and various electric guitars, basses.... |
#74
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I just bought a pair off eBay, thanks for the suggestion, it makes tons of sense.
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Alvarez 66 CE Alvarez AJ80CE Takamine F340 Guild F-2512 Deluxe CE Ibanez Acoustic Bass 12 M1 Martin 12 string X Series Harley Benton Telecaster EVH Wolfgang Formerly known as Martin Maniac..... M |