In a little rowboat

i know this is probably blasphemy here, but i just wanted to point out that ive been watching ticket prospects for this show on ebay, and there are and have been several sets of seat sold for right at cost, or barely over cost, consistently...clearly the ticket brokers were all over this one from the start, and it is not going to come close to selling out....just a suggestion if you are in a pinch...

in addition, i may be buying extras...if i get jammed, ill let you know what i have...

i hope he does read it...some of those claims listed are arguable, but only for the masterbatory sake of doing so...part of loving a band is loving it for all its triumphs and whiffs. some folks come up with nonsense out of the idleness of their easy stimulated brains. some folk simply cant get enough, or expect simply too much from other humans. speculation and debate are natural...what the crazy ones do, they do out of love...

i always remind my bandmates than the word 'fan' comes from the word 'fanatic'...

as for the wild west remark, maybe...i think the internet is more like the movie 'deliverance'

id be scared id get electrocuted or something. my friends old silvertone amp had voltage problems, and when i sang into the mic, it would shock my face. not good for stage presence

old equipment scares me shitless...especially when it comes to grounding issues...

i'm thinking of making a record very soon. i've never done it before...i'd like to do it all right here so i can get a grip on learning how to record for the future. it's mostly acoustic stuff...i'd like to track some bass and maybe multiple vocal tracks. nothing too huge. can someone help me out as to where to start?

id like to start by asking what youre recording on...pc, laptop, mac? I assume its a computer. The next step depends on this...

basics are: a good dynamic mic (for example shure 57), entry level to pro level interface (m-audio, for example), software (often bundled with interface), microphone preamp (eventually essential)...dont skimp on the cables, buy good ones...experiment often, there are no rule, just suggested and proven techniques...

I have used pro tools (over-rated with a steep learning curve), logic, peek, and cubase...after all that, i prefer garageband (im a mac guy), it does everything i need, and well...i have since done 4 albums with GB...I master in adobe audition...

linkies HR board tape op board

have fun j

Well an EV RE20, or a Shure SM7 can be a cool bass drum mic. But not in a 'modern' kind of way. Think more Ringo, or jazz kick sound. Those mics are great because they are good guitar amp mics, great bass amp mics and great vocal mics.

 

Other good kick mics AKG D112, a little more modern sounding, but not that 'hyped' sound if you place it outside of the kick. You can also get a pretty modern rock/metal sound if you place it inside towards the beater and embellish it with some eq and compression.

 

Another popular choice is the Sennheiser E609. That has a slightly more aggressive frequency response than the D112 (which still has a dip in the mids and some boost in the lows and highs). The E609 seems to only want to sound 'modern' but it does it really well.

from my experience i can agree with all but sm7 for kick...i use a d112 mostly, re20 sometimes...remember, placement and tuning the drum are essential too the equation...as well as damping

thanks for the setlist...cant wait for farm aid! i d sure love to see pocahotas, or birds, nice!

might be the best setlist ive ever seen...can only memphis is half as cool

 

3) see Item #1

--------Hey there,

Thanks so much for your in-depth advice. Clearest musician advice I've read in a long time!

After your recommendation I've been looking at the Fishman pickups and have found three types: narrow, split bridge and wide formats. You've been a huge help so far but I've got one more question: what's the difference between all three? I'm only looking at playing in small settings: home recordings and small room/quiet shows.

Thanks so much,

Anthony-----------

oh man my pleasure...cool d-28 style guitar you have...with the fishman you are looking to match the width of your saddle to the piezo element...i could not find the exact measurements online for your saddle but it looks to be wide format...the split is for the 2 piece saddle the takemine n series has, the narrow for something like a martin OM...

My guess is the Infinity would serve you quite well for those settings, for recording I prefer a mic, or a mic/pickup mix....small set up gigs you'd be good and the volume/tone will allow you to dial in nicely...I really like the K&K pure western pickups (http://www.kksound.com/) for anything short of an ensemble, any question you might have you should email to Dieter, the customer service there is top notch...

Have tons of experience here...ill try to nutshell it, but it very much depends on in what manner you'll be playing...home, on stage with a band, or solo acoustic in say a coffeehouse...

Basically pickups come in one of 3 types, or sometimes a combination of type (dual source), and anytime you use a pickup in an acoustic its a compromise...most start at around $100

--The UST is piezo-electric material that fits under the saddle and picks up the vibration of the strings, and about 10% of the body...it is by far the most prevalent type of acoustic pickup, because it works...

Brands: Fishman, BBand, LR Baggs, DTAR

Pros: Good output, sounds relatively accurate, decent volume before feeding back Cons: can sound quacky, brittle, will feed back at high volumes, can be tricky to install by amateur

--the sound hole (magnetic) pickup works like an electric guitar pickup in that it detects the string vibration magnetically and sends out a signal...there are several types

Brands: LRbaggs M1 and M1a, Sunrise, Duncan, Dean Markley, Fishman Rare Earth...In my experience the Baggs M1a is the best in this category (Tweedy uses this one matched with a UST)

Pros: Great output, high feedback resistance, easiest to install Cons: Can hum, hard to get proper string balance, doesnt sound as acoustic, more electric/metallic sounding

--the SBT is a soundboard transducer made of piezo-electric material similar to a UST, but attached to the underside of the top and bridgeplate if the guitar...

Brands: K&K (which is very good), Duncan, LRBaggs IBeam, Dean Markley

Pros: Most acoustic sounding, picks up more of the guitars' natural sound, easy to install and find sweet spot Cons: can easily be a feedback nightmare, can sound thin in band setting, least amount of output and they need a preamp

--dual source you can find combos of these with 2 sources, internal mics, and such Brands: Fishman Ellipse or Rare Earth Dual, Baggs, BBand

Pros: Better sound options, better flexibility Cons: difficult install, extra feedback concerns with 2 sources, takes time to dial in and tweek, EXPENSIVE

Based on those descriptions, decide what your needs are and Ill happily give advice on specifics...Ive been an acoustic musician for over ten years, doing installs on acoustics for almost as long, and have personally used nearly all of these products before...

For all of my instruments i use the Fishman Matrix Infinity system...its a UST type pickup with bass boost/cut, tone and volume controls with a discrete internal preamp and the option to add a second source...i can use it in any live situation and it has proven over the long run to be exceptionally flexible and usable...the novice can install it (although tech is a better idea) and it works well with most PA/amps...it is a value at around $130 Fishman Inifinity Matrix

First place id start asking is here--> Tape Op Building Space forum

Im by no means a pro, but ive done a few projects...two main things to remember are that 1) Dead air space soundproofs, and 2) Bass frequencies travel longer and stronger

Id insulate the walls with thin fiberglass sheets or eggcrate foam and leave at least two inches of air separation between the exterior walls and the new...particle board is better than sheet rock because it absorbs sound waves better...many folks use green glue to attach the insulation,, as it has some absorbing qualities...youll want to carpet the walls and ceiling (home deport regularly has clearance rugs, and more flooring and carpet companies sell remanent cheap) and need to put up a few bass traps...youll want to double pane the windows, or put blankets over them...make sure the doors are doubled and well sealed when closed and the floor is insulated somehow (carpet)...

Depending on your power needs, come as close to code as possible...ive seen one bandspace burn down because the owner didnt do his homework on electricity...

Congrats, Matt! That is one truly awesome guitar. Very jealous.

 

I have been told, from a relative that is in the music business (not that that makes him special) that the GE sounds like a high-end Taylor. That many (or most) Martins kind of warmly reverberate their sound from the whole body, but Taylors and the GE models project the sound straight out of the soundhole very directly... dunno... just what I was told.

 

I have an HD-28V (good for me) that I play fingerstyle using Silk and Steel strings that I fell in love with within the last 6 months or so. Kind of evens out the boominess for fingerstyle. Sounds beautiful.

 

Enjoy your new toy.

actually...i find taylors to sound quite different (and lacking a bit) to Martins in general, GEs in particular...personal preference taken into consideration

yes, nice instrument, those GEs are really, really nice...Im a big Martin guy, I have a '70 D-28 (my main guitar), '70 d-18 and a 07' SWOMGT...ill post pics as well...

The grain is awfully hard to see, but i was able to get the idea from your description...if you are worried about structural issues from this grain cut, then I would reassure you not to...however, if it is too big an aesthetic hurdle to overcome, Id contact the retailer, or Martin, and get a direct replacement...the GE series are too expensive for you not to get exactly what you want, so bond with it for a week, then make a decision...i however would have no problems keeping her, gorgeous guitar, and d-18s are just as iconic to me as nearly any other classic model...

make su re you join here ---> Unofficial Martin Message Board

i read that those master volume controls arent really a power attenuator. since an amps effects loop goes between the preamp and power amp stages, you would really only be cranking the preamp. if you have a master volume amp, it does the same thing as cranking the preamp and using the master control.

 

i think i might get this dr. z thing, cause its relatively cheap and stuff. the reason i got rid of my hot rod 50 4X10 (other than the weight) was because it was too loud. the peavey classic 30 i use now is still pretty damn loud, i can crank it to 5 or so and its at a comfortable level in a full band setting. i was wondering if anyone had a really sick attenuator theyd recommend.

this is correct...youre not pushing the power tubes into distortion...ideally this little box idea would be after the power stage and before the output...

FWIW this is the best site ive ever seen for the discussion of the hot rod series...look at the amplification stages diagram to better understand where attenuators fit in... http://studentweb.eku.edu/justin_holton/

I don't have an opinion on the snare sound--just here to offer condolences for having to listen to the song long enough to notice.

does that have a set neck?/ looks pretty cool...

wow, funny i was just reading a post on TGP about the same combo...ill see if i can find it...word was i worked well...

man, ive said it a million times now, those damn hot rod fenders, they go from 0 to fucking loud in the touch of a knob...not sure how an attenuator would work that but i doubt the front ends (preamp stages0 are all that different, cept for the drive button...

Milano is one of my favorite cities....Io piace mangiare l'italiano...Grizzly Bear opens, Milan is my pick...

Hey guys, the RED,BLACK, and WHITE lap steel is 100% a "Silvertone" of some kind. I've found multiple photos on the net of the same headstock logo on a few silvertone lap steels. Mystery solved.

Can you link us to the photos...most articles ive found document it as a National...again, Im sure its a dynamic

http://www.well.com/~wellvis/steels/National/NationalDynamic.JPG

Not only are the Texas shows back on the Wilcoworld, the pre-sale started this morning (at least for Dallas) at 10:00 this morning. Fortunate that a friend posted on Facebook that she had purchased tickets, or I would have missed the presale for sure. A little notice from the boys would be nice.

They twittered my phone about each pre sale and show...

im not a fan of mushing songs together off different records to compile a "this should be the record" type of thing.

 

A mixtape or playlist is something different. a collection of songs put together by the listener.

 

I dont like messing with the artist's art, this case, the musician's final piece. it fits as they see fit. the original composition.

 

just my opinion on the matter. no judgment though, put together what you want to simply enjoy the music.

ditto! wasted brain function...just enjoy!

wow those went fast...got 2 5th center for memphis, and a few 6th row singles...so hard to get 2 together and i was logged in immediately...all i could get, but itll sure work

The Orpheum is a great place for a show for anyone who hasnt been there before...

As usual...the scalpers on ebay already have better tickets than i do...

on sale when?? im bitting my nails here...

Man id like to jump in, but im a mac guy...what are your error messages, are they driver oriented, or within the software..?? presonus makes good stuff, not 110% amazing, but workable...what is your front end? (mic, pre?)?

as for the effects stuff, you could get some cool results from plug ins, but i have to tell you, your best route is to get the takes down in real time, get a few pedals and track the guitar from the best possible takes...then minimal processing afterwards...nels' shit is totally in the fingers, trem bar, and a few stomp boxes...technique, technique, technique...

I play lap steel...not nearly as accomplished as Id like, but i do a bit...i play mostly in open d or g...i think Nels plays in standard a lot of the time, tough, as well as open g...ive been working on getting the swells with the volume pedal to make it sound like pedal steel, not easy either...there are some threads on Nels here http://bb.steelguitarforum.com/index.php

I dont know what the other lap steel is, I think a National Dynamic...theres a thread on VC about this as well...