#61
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I truly hope that ToneDexter will be the "magic box" to end magic boxes, but (IMO) its a little too early to yank a state-of-the-art beloved pickup for it. |
#62
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Hopefully you can get that worked out. Many of us agree that the Trance is one of the best pickups out there. Having it compatible with Tonedexter would be a great combo. Nevertheless, that J45 sounds like it's a match made in heaven. Also, you're bound to run into gigs/situations where the Tonedexter isn't the right outboard gear. Who know? Maybe your Collings with Amulet will come in handy. Sent from my iPhone using Tapatalk Pro
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"Lift your head and smile at trouble. You'll find happiness someday." |
#63
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The goofy midrange honk I was getting (on a D#-E on the B string) turned out to be a resonance of the EON 10 I was using -- I switched to a larger powered speaker, and the midrange weirdness was greatly diminished. |
#64
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Got my ToneDexter yesterday--Wow! It came quickly!--but I just started a new job yesterday afternoon, so I won't get to play with it until the weekend. Darn It!
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Martin HD-28 Sunburst/Trance M-VT Phantom Martin D-18/UltraTonic Adamas I 2087GT-8 Ovation Custom Legend LX Guild F-212XL STD Huss & Dalton TD-R Taylor 717e Taylor 618e Taylor 614ce Larrivee D-50M/HiFi Larrivee D-40R Blue Grass Special/HiFi Larrivee D-40R Sunburst Larrivee C-03R TE/Trance M-VT Phantom RainSong BI-DR1000N2 Emerald X20 Yamaha FGX5 Republic Duolian/Schatten NR-2 |
#65
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Fiddling around with the TD last night, I tossed an Empress ParaEQ in the loop to see if I could tame the honk. While the TD without the EQ is, to me, a totally acceptable live sound, with the EQ it's really pretty fantastic.
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#66
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I wonder how well the ToneDexter would work with, say, a ribbon mic or a old Beyerdynamic dynamic mic? Would it model the character of the mic?
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#67
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Different mics certainly sound different through it, so I don't see why not. Not sure if you saw my post a bit back, but it compares two different high end condensers (across two different sets of clips, mind you).
Last night I finally spent some time w/ my acoustic amp and my TD and found the magic sauce, which was to really yank mids out on the amp EQ - doing that got me so close to the un-amplified sound of the guitar that I had a hard time feeling like I was amplified to begin with... ...which led me to a thought. Do you think that due to the scooped characteristics of basically any/all UST/SBT pickups, which are in probably 90%+ of electrified acoustics, that amp manufacturers set a high initial midpoint, or to put it another way, that they boost mids out of the gate to compensate for those tendencies in pickups, so that when someone gets their new amp home it sounds 'good' on default EQ settings? Made me wonder... acoustics and TD'd sounds have that mid range to begin with, so things might come through as too mid heavy without rolling them off? Anyway, it was an 'a-ha!' moment for me... which, of course, introduced the next challenge: If I DI out of my amp w/ the mixed signal, if I need to turn the amp up for myself on stage, it will turn it up in the mains... If I DI out of the amp on the channel signal, it is pre-EQ... So how to get the sound I want out to the sound guy to begin with? Hrm... |
#68
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From ToneDexter you can use the XLR out to the sound guy, and use the 1/4" output to feed your amp with any EQ settings that work.
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James May Audio Sprockets maker of ToneDexter James May Engineering maker of the Ultra Tonic Pickup |
#69
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Maybe you can help me out with some explanation of what the EQ on TD is doing, James? |
#70
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Bass and Treble These are shelving equalizers that boost or cut 9dB. The inflection points are 125Hz for bass, and 2KHz for treble. So, bass will adjust up or down below 125Hz, treble with adjust up or down above 2KHz. Keep in mind there is a slope and transition region around these inflection points.
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James May Audio Sprockets maker of ToneDexter James May Engineering maker of the Ultra Tonic Pickup |
#71
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But on a very wide range... Last edited by LookerBob; 05-09-2017 at 03:22 PM. |
#72
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I have made several wavemaps with both an SM57 and an AKG condenser mic, and all have ended up bass-heavy with more midrange honk than I'd like. I ordered a TRS Y cable to put an EQ into the effects loop -- I'll see what can be done about tone shaping once that arrives.
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#73
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I experienced a similar situation. The wavemap had more bass than the mic'ed guitar. What I did was reposition the mic to produce a more treble heavy sound and then trained that way. The resulting wavemap was then much closer to the "ideal" mic sound.
Worked on one guitar, haven't tried it on any others yet. |
#74
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Racerbob -- what mic position did you use?
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#75
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One needs to keep in mind that each guitar is unique and may require a very different mic location to get the tone that is desired. Neumann has a great set of videos on the subject at :
https://www.youtube.com/watch?v=aivxxQLK9Qw In this specific case I was recording my McPherson Sable which I found worked best for a mic'ed sound placing the KM148 slightly above the strings aimed half way between the bridge and the end of the sound hole (or kidney shaped opening !). But the Wavemap had too much low end. I tried several positions and found moving the mic opposite the 14th fret but aiming it back toward the start of the sound hole gave a brighter mic sound but produced a wavemap much more like the original desired mic sound. You will have to experiment to find out what direction to go for your guitar. |