#91
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I've never used a Shure 56a, but I've had very good luck using drum oriented mics on resonator guitars. How well does the super-cardoid pattern work for what you are trying to do??? BTW I am very familiar with the sound of the Unico, as my SIDE speaker has the same power amp section as it, and the JAM 200 has a very similar mixer in it. Every piece of Schertler gear I use sounds great. Well I hope you get to play some gigs!!! Have you though about hosting your own gigs, as the weather warms? That way you can control the size of the crowd to keep things safe as you can. I was fortunate this summer that the Riverhorse Provisions restaurant in Park City had me playing in the street, and The Montage up in Deer Valley had me play my regular patio gig. I also got to do a lot of outdoor private parties as people were starving for entertainment. They where mostly small groups of people but it kept me playing. I think some of these people threw some of these parties just to keep me working This winter I've got 4 steady gigs a week until April so I'm counting my blessings, and crossing my fingers these venues can stay open. |
#92
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As for our difference in how we get our sound across, or what we call a prestige sound for a prestige instrument, there's many ways to skin a cat. Currently right now, I've been bringing a Princeton Reverb to my gigs to add dirt to some of my slide guitar songs, that I mix with the acoustic tone. There's a 1/4" amp out for an amplifier on the Alix. But I've been playing with an Origin Effects Revival drive preamp into a Cab Zeuss Speaker simulator which would be a easier and lighter way to do it. So although I don't like IRs for my acoustic guitar set, I'm not totally against for the electric side. The one thing I do know is, it ain't cheap to get killer sound |
#93
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I think the 56A is not hugely different than my 57. Perhaps a bit darker. I like both due to their round PA-ready sound. The 56A is hard to get to feedback.
I'm not worried about gigs. I'll keep writing songs, and recording, and occasionally doing streaming things. Though I am squirreling away $100 a paycheck. Maybe by the time I get a gig, I'll have saved enough for a Felix.
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Website: http://www.buzzardwhiskey.com |
#94
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Well if it's darker, I would like it even better than a '57! I used to run an acoustic jam up in here in Ogden, and I always had a '57 on the guitars. I was very patient with each musician, and showed them how to get the best sound. I would very rarely put much of their pickup in the main mix, and that '57 always sounded great! Well I hope you get that Felix. I can't believe how good the Felix sounds in my reso rig, and with my ELECTRIC guitars. I have a distortion pedal in front of it, and the volume pedal is in it's FX loop, along with compression/delay/reverb, and it sounds really good. Check out the electric guitar parts on this song they are all through the Felix... Last edited by rockabilly69; 12-14-2020 at 08:33 PM. |
#95
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Nice thick tone. I like the tune.
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Website: http://www.buzzardwhiskey.com |
#96
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I use the helix stomp into felix
For my acoustic inst as well as My tele.. great piece of gear. |
#97
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Your pedal boards are kinda intimidating - I hope you get a chance to try the TD again with the new firmware. I may not have the experience you have with all that equipment, but I have some pretty nice sounding guitars, and running them through the TD, even at very high volumes, gets me a great sound that sounds very acoustic, but no feedback and no mic problems. If I want to modify my sound and add effects, I find I have far less need of the TD, since so much less of the “acoustic” character makes it through, and the UT pickup gets me as much as I need to feed that chain -
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More than a few Santa Cruz’s, a few Sexauers, a Patterson, a Larrivee, a Cumpiano, and a Klepper!! |
#98
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And the smaller board is not intimidating at all. It's just a volume pedal, which I use to balance the difference between my fingerpicking and flatpicking, a tuner, the ALIX (which is very easy to dial in once you've mastered it), and a delay/reverb which is on for only a few songs a night. The Alix and the delay reverb settings I have memorized so that when I setup for every gig, I plug in the DI out of the Alix, plug my guitar chord into the volume pedal, and make sure the settings haven't moved from the last gig. The only thing that typically changes from gig to gig, is where I have the high pass filter set on the Alix, which changes a bit from room to room. And while using the delay/reverb, the only setting I change is the tempo of the delay, and that, I tap in with my foot. Setup time for plugging everything in and checking all settings is about 1 to 2 minutes. It is really quite simple!!! And to be clear, I shoot for the BEST consistent acoustic sound, that's my main priority. Last edited by rockabilly69; 12-15-2020 at 05:48 PM. |
#99
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And it is an expensive hobby, no doubt about it...
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2003 Martin OM-42, K&K's 1932 National Style O, K&K's 1930 National Style 1 tricone Square-neck 1951 Rickenbacker Panda lap steel 2014 Gibson Roy Smeck Stage Deluxe Ltd, Custom Shop, K&K's 1957 Kay K-27 X-braced jumbo, K&K's 1967 Gretsch 6120 Chet Atkins Nashville 2024 Mahogany Weissenborn, Jack Stepick Ear Trumpet Labs Edwina Tonedexter |
#100
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Played all day on the Felix that Santa brought. Very blessed.
In a word... precision... the feel and the tone. It's studio gear for the stage. Mixing the K&K signal with my Shure Beta56a is just wicked fun.
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Website: http://www.buzzardwhiskey.com |
#101
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Really excited for that!
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Rodrigo Pandeló 2005 Martin HD28 with K&K Trinity; 2012 Cordoba C10; Grace Design Felix 2; Sennheiser MD441; DPA 4099 Core; DPA 4018L; Bose L1 Compact; QSC Touchmix 8; QSC K10.2; Neumann u87ai; Neumann KMS105; Neumann KM184 (matched pair). http://www.youtube.com/rodrigopandelo http://www.rodrigopandelo.com http://www.instagram.com/rodrigopandelo São Paulo/Brazil |