I don't have very specific models in mind - which is good since the kids and house etc. take up most (almost all) of my free time
But I'd sure like a Gibson SG and a Fender Stratocaster. I have a telecaster already, and a PRS Custom 24, so that way (to my mind) I'd have most of the bases covered. The SG is just an all out rock machine, and I really dig a lot of the stoner rock and harder southern-inspired rock stuff, where the SG seems to be a staple.
Actually, I'd like to find an old Gibson Les Paul Studio 50s Tribute (from 2013 or thereabouts). I had one of those some years back and stupidly sold it. It was a crappy guitar in many ways (for instance, the fretboard width was off compared to the neck width by about half a millimetre on both sides), but I came up with so many riffs and songs on that thing despite that. I thought I'd get a big boy Les Paul (ended up with a used Standard) and sold my tribute, but it was just never the same.
Better quality, but the inspiration followed the crappy guitar out the door :-/.
I've found - looking back - that gear upgrades have generally NOT been good to me in this respect. Stay with the old crap!
So why do they choose to raise their prices and insist they will sell the same amount of guitars this year like they did last year? It don't make sense.
Well, I'm sure they're not expecting to sell the same amount. Rather, they are likely scaling down production (and thus transportation and other derived expenses) and recouping fixed expenses by pricing their products higher. This is speculation on my part, but it does make sense to me.
As far as acoustical treatment goes, I think it's just not worth the effort for such a small room. Even for larger rooms you will be spending A LOT to get a somewhat flat room.
Room treatment is fine and dandy, but most people underestimate how much time, effort and money is really needed. The usual "bass traps in the corners and first reflection points" is a good starting point, but often woefully inadequate. Add to that that the "bass traps" people often put up are in actuality only broadband absorbers and don't really address the stuff below say 150-200 Hz in a meaningful way.
This is all based on my own (admittedly limited) experience and second-hand information (that I trust) - so take it for what it is.
Much better in my opinion to find a good spot in the room for your listening position. Here the advice from Wheresthedug above is good - using a test oscillator in your DAW. They can often be set up to do a frequency sweep so you don't have to check each frequency individually. Just set it sufficiently slow so that you can get a good impression. Find the best listening spot. And get speakers you like to listen to.
From what you're saying, this is for music listening and playing only (not mixing or necessarily recording), so translation to other systems is not a major concern. You don't necessarily need studio monitors to achieve your purpose (though of course you might prefer them - that's fair).
Are you monitoring via headphones - and if so: are they open back or closed back?
If you're going for Professional version - wait until it comes on sale. at least once a year (in my estimation) you'll hit a 40% or even 50% discount. You can buy the artist version now, and upgrade later.
The Rh. guitar : it's just a simple stereo take with the double tracker panned hard L/R ,
That's probably what I'm hearing if I understand you correctly; a "sameness" due to it being the same performance.
Double tracking the stuff would help in that regard.
You can go two ways with that (at least!); either play them as tightly and as "equal to each other" as possible, or try to approach it like you were two different guitarists with two different approaches to what to play (with the two guitars complimenting each other of course). For something like this I would probably go the second route, personally. There's room in the arrangement for some amount of variance, especially if you dial back on the "busy-ness" of the rhythm guitar part(s). One could guitar could be very laid back, with the other being slightly busier. One could play full chords and the other one power chords. One could play the chords higher on the neck or on the higher strings, the other one lower string/on the neck. Etc etc etc
For tones, you could use different profiles from left to right (listen to what your favourite profile offers, and go slightly in the other direction for the second choice - i.e. balance of bass, mid, treble, gain etc. Consider what each guitar is playing (if you do as I suggest above), and select the best match based on that.
If you're married to using just the one profile, you can still switch things up a bit by how you strum the strings, or even just a different pick thickness/material. Again, consider which tone best fits what the guitar is playing.
You could also see if changing cab on one of the sides still gives you something you like - then you'd have the same amp, but different cab/mic position.
VERY quick notes - haven't listened too intently, so these are my very immediate thoughts.
Agree with Per I'd also add some more room sound (compressed) to the drums and raise them a bit.
I'll add that the guitars seem a bit narrow to me, which may be panning or may be similarity of tone+playing.
Playing/arrangement-wise, I'd allow the guitar to "live" a bit more, i.e. lesser amount of strums (letting it ring a bit more, taking the back seat to the vocals in that sense). They can be more busy when the vocals are not there, but when both vocals and guitars are there it takes a bit away from the song (both things are trying to get my attention, as opposed to serving the song the same way, making it clear where to listen). Same can be said for the bass to an extent.
Cool song, don't take my input at criticism - and thanks for sharing
That’s why I always park the car outside the strip joint and walk the last 5 blocks to the guitar store 🤣
Hahaha, that's funny! 😆
I'm sure it could. Husbands and Wives are putting them in spouses cars to keep track of them. So I've heard on the news. Android has a version of airtag that's a little cheaper.
If it's inside the car - it has great big windows that wouldn't prove an obstacle.
The stage has wireless connection, so maybe it isn't an issue for an airtag, but I have no idea whether that's due to the specific construction in that area.
1) Yes and No. Opening up the Kemper chassis and inserting a foreign body may void the warranty. If the warranty is already over, then you better make sure the airtag never comes loose and fries your board. Maybe wrap it in some insulating tape first. Make sure you have your serial number written down or a pic of it in case of theft.
I also wonder whether the airtag will be able to transmit its location sufficiently precise through the chassis?
Michael_dk Just wondering if we’ve bumped into eachother on the Danish scene? While Anubis Gate is my artistic project, i am actually mostly a cover band guitarist.
Probably not - I was never part of the scene, just a bedroom noodler (OK, that sounds bad - hopefully you understand what I mean :-))
But we may know some of the same people
It’s streaming, so we bought two and a half banana splits, and thus wasted away the revenue….
Hahaha, better than me! I pay around 12 dkr (Danish Kroner, for you internationals) per month for having my music up, and revenue is about 1 % of that each month. A net loss on my part!
According to my personal experience in your particular case only " Clean sense" is important! "Distortion sense" is valid for different scenario. But maybe I am wrong
According to the manual at least, pushing CS from 0 to 3 would increase volume only, whereas increasing the gain to 2 and reducing DS to negative 3 would be equal to increasing the gain to "something lower than 2 but higher than zero" (i.e. the sum of gain increase of 2 and some negative offset from the DS, which has a different scale).
I'm getting vibes of Stratovarius (Visions album) and 30 seconds to mars (first album, self-titled - mainly some of the vocal harmonies). Both of which I'm sure are not inspiration for you guys or anything; there are just some details in the music that put me in mind of those.
Sounds great Kim!
You could put yourself in the closet and use some good headphones instead - maybe 🤔 . Haven't thought this through
First, I don't know if they do regression testing at all, but I assume that they do. So there is that. More importantly, an edge case failing to be caught is an improper regression test by definition. The goal of regression testing is to make sure that the system is FULLY(not partly) functional after code changes are made. You can argue that since it is beta the full functionality is not guaranteed. Even so, it's an opportunity for improvement.
The goal of regression testing is to reduce the risk of defects in the systems.
No system is completely immune, even after a full test programme. For systems consisting partly of software, this is doubly true (well, much more than doubly). A full test programme will also not cover any conceivable error that might occur.
Although I agree that the first bug fix not being effective is unfortunate (assuming the same root cause).
It may be that the area of defect and root cause should have been higher on their radar (either due to previous bugs, or parts of architecture being subject to recent changes. But ensuring something like this will never ever happen is utopia.
If I recall correctly (and it's been years since I looked), the manual indeed states that the alternative input has a higher noise floor. But check the manual to see of I'm right or wrong
If using spdif connection, check the sample rate settings
Best advice I can give:
Train singing intensely if you havent already
Focus not only on pitch, but also on rhythm of singing when training and recording.
Record yourself while training.
Train in front of a mirror - so you can se e g if you open your mouth properly
Get a mic that fits you voice. I found that SM7 does not fit mine even though it is very popular for my STYLE of singing.