Oh - I never meant I'd use the SansAmp with every bass. But I only get to record two - and it is splendid for both.

I don't know really - but what I do know is that at a shoot-out of recording bass amps and such, the clear winner was a SansAmp Driver DI throuhg a Neve hands down won. Over a Sun into a U47, etc.

I go direct to a SansAmp into the Darlington pre of my sound card and I am pretty satisfied.

Interesting.

I think it's close to dead around here too. The only guy I know is Headroom Recording but I think he's more mixing than tracking. Would be nice to hear Otek's view - but I think he's mainly getting paid for being the guy in charge of the music education up at Geijer School. I know there are a few qu...

Ah - tape flavour! I like the workflow and the physical storage. And I, uh, think it sounds more musical with minimum effort, which is good for sketching things out. Don't beat me up too hard :uhoh: Tools. Just tools. Whatever floats the boat and gets the ideas across. :drinks: It boils down to WHY...

upstairs wrote: ↑July 17th, 2017, 5:51 pm Ok, good enough for my songwriting den then I guess. As long as it doesn't completely ruin the output of a cassette multitrack

Ah - tape flavour!

Bin there - done Ladin.

In a few silly songs - they most certainly do.

I actually kinda liked the vid he did on a song where he played all instruments. And his cello contrib in the CaPe was NBAA. I'm also guilty of spotting an EnVoice Mindprint in a mic pre shoot-out. Not knowing there was one present, that is. I owned one (two) and just hated it (them) and that stuck*...

Go search the Womb for Eth... HEY, wait!

There are 3 kinds. Sucks, Works and Excels. I know records made on a Soundblaster 16 bit that still captures me. And, no - my middle name is not Ethan. Hope I didn't Goodwin the thread. :-)

What coil material in the tweeters are best suited for dubstep anecdotal Icelandic polka?

Darn. Oh, snap. Oodles!

I have no use for different pres. I just was able to pick some up and gather intelligence from them. And since my fundings never were indefinite I had to make use to what I got. So a few stuck around. What I settled with were 16 D-pres from Steinberg MR816 and two AMEK CIB via Lucid A/D for vocal du...

Not a lava lamp kinda guy. The UR22 is ok. Not blowing up my skirt like the MR816. It's running on USB-power only so it is a starved design for the pre's. Wouldn't base an entire album around it. More like tracking things where there is no electricity.

Hönor, som sitter på pinnar.

Since the main studio now resides in the campervan I decided to make a smaller keyboard based tracking station in the tiny apartment. I got the iPad and decided to run the Apogee Jam 6 and BIAS Positive Grid on it through a Steinberg UR22 for practice and composing. The Positive Grid clownfucker is ...

I realized during my journey that some of the "cheaper" pres were not bad if you just used them for special duties. The GAP PRE-73 for instance was way too thick for vocals but did a great job on bass when loaded from a SansAmp DI. Other than that - good pres are good pres.

Even in Hell you'll find quite a few interesting dudes and dudettes!

Bob Olhsson wrote: ↑July 6th, 2017, 2:21 am Not much to say yet.

Can't argue with that...