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Posts sent on: 2015-12-07

07 Dec 2015 
It's a fact that lower budgets mean shorter production cycles and, ultimately, more no-nonsense mixing, but engineers working with experimentally inclined artists find ample opportunity in the mixing process to satisfy all manner of sonic curiosity. When I use my digitech to model stomp boxes and these then go into my modeling amp (rather than straight to my headphones) I usually use two maybe three channels of the amp—mostly use a clean Bad Cat amp with all gain and eq controls set to neutral with no delay or reverb only post volume for a clean channel. The interview covered a wide range of topics, from amp choices to pedals and signal chains, to the different approaches taken in the studio vs live.


As well as documenting my gear and music, this website is also home to the Shep On Bass blog, featuring a range of interviews with musicians who use effects as a major part of their set up as well as designers and builders of effects pedals. Or you might want an aggressive delay really bringing out the rhythmic qualities of the effect, so you would set the effect level higher.


Considering that storage costs are divided by two every 12 months, digital archivists can ride the dropping price wave and adopt a step-by-step, incremental storage policy: storage capacity can be acquired on-demand, very much like tape was in the analog world. The point is that the record was made without being able to reference each take in a perfect environment.


It works incredible well, but I still don't know if this pedal has to be placed before or after my OD and FUZZ pedals?... I suppose placing it before them will make my pedals less effective or less gainy?...not sure about this. Me, I like an amp set clean, just at that sweet spot that many erstwhile Overdrive pedals start at. I mix a custom Green Russian type fuzz with a Lovepedal Kanji 9, either one first, makes lottsa cool diff Tones. All mod and delay pedals go at the end of the chain, with the EQ somewhere after (or in-between) the higher gain chain".




Using the processes covered already in this article, the obvious way to set up such a system is to insert an instance of the I/ plug-in on an output object, so the signal is routed through your hardware before it reaches your speakers. Using the 'in-the-box', mixerless approach removes this problem, as the audio returns from the synths are compensated if PDC is set to All (Logic Pro / Preferences / Audio / General).


So if you want MIDI control over bypassing/engaging several types of stompboxes Eddie Kramer and/or rack units you can simply construct a looper box with this type of digital control stuff and you're golden. Keep in mind that those are essentially just thirteen normally open (or normally closed, whichever way you want to set them up) momentary footswitches. So I could set this system up to use my bass pedals to select various routing presets by simply stepping on a bass pedal!


Yamaha's VCM technology gives these outstanding recreations all the warmth and atmosphere of the original vintage units, and combines it with the control and processing flexibility that a digital environment affords. Right out of the box the 01V96i offers 16 analog channel inputs?12 with improved studio-quality head amps-?and on the digital front, 8-channel optical ADAT, coaxial 2-track inputs and 16 inputs via USB. The benefits of digital technology are innumerable in terms of functionality, cost and space.


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