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karmicfreak

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Posts posted by karmicfreak

  1. The price of the TT also is much less prohibitive - $200 vs $600!  This may be the main factor for me.  I can get the HD500 out and use it if I must, so the HD Pro offers convenience and compatibility, but no new functionality.  The TT offers the new functionality, but uses less sophisticated modeling and I can't directly transfer tones to the 500.  I can, however, use the same re-modeled gear and settings on the HD, manually, and hopefully achieve a similar result. 

  2. I also have the 69/500/25 Dream rig, and I'm looking at the Amplifi TT for my tiny studio.  I can route it through my audio interface so I can practice thru my monitors, and use it as my guitar processor to record.  Then, if I have to take a tune to a gig, I can recreate the tone on the HD500 using the settings shown in the Amplifi app.  

  3. I'm a current Dream Rig owner (JTV-69, HD500, DT25) and I'm thinking the TT is an ideal in-studio recording and practice unit. 

     

    I've got a small studio and can't leave the HD500 out all the time, and I'd like to take advantage of the tone-matching in the Amplifi unit, which I can use to inform my programming of the HD500 if I take a tune to a gig.  With the USB output (or stereo analog out to my recording unit) I can put the TT in my rack, use it for outboard effects for recording and tone matching for practicing.  

     

    I could instead get a HD Pro (expensive, no tone matching or cloud, but compatible patches with the 500), or a used XT Pro (no tone matching, same models, but less of them, can be controlled from my mac, but a legacy product.)

     

    Or, if I spent just $75 more, I could get an Amplifi 75, then have a second amp, but it wouldn't record without micing.  

     

    What would you do? 

  4. LDB - the video is from 2 sources, a tripod HD Canon Vixia HF300 up in the choir loft, and my iPhone on my music stand.  Next time around, I'm going to have the band all use their smartphones to record themselves so we can focus on each of them as they play.  Final Cut Pro X makes it super simple to import multiple sources, where it uses the audio to sync them, no matter if they start at different times or stop and start, and then click to make rough cuts, finally dragging cut edges to make fine cuts between cameras.  Then, I can use the audio from multiple sources or only one (like I did in this video). 

     

    If I designed a video recording install in my church, I'd look at capturing all the angles to SD cards, then doing my mix after the fact in FCPX.  Get your angles covered, and if you need another one added, a tripod camera can fill what you need for that service. 

     

    Dave

    • Upvote 1
  5. Thanks!  I have the pleasure of working with some great musicians in that band.  FYI, you're seeing the second time we played it.  Ever.  I'm the man at the mic, and the lead guitarist and I wrote the piece.  I notated it in Finale and let the musicians take over.  We call ourselves the "8:14 Band" because the first service begins at 8:15, and that's about when we all first look at the music :)

     

    As far as the setup, I chose the MD20 for its ability to not only deliver great sound, but be able to save the scene and re-create it each time we set up with a minimum of tweaking.  I did auto-trim each instrument, although I realized I didn't do that for the second guitar until after the first service this Sunday - he usually plays bass, and it was the first time we'd added his instrument. 

     

    We use 2 L2Ts as mains, and 2 L2M's as monitors.  There's one in front of me and one in front of the pianist.  We decided on the L2T's so we can use them as stand-alone sound systems when we do small outdoor services. 

     

    In the first service, I found my lead vocal seemed way too loud - we do have in-house mixing from an iPad as we play, but the live sound seemed to be bouncing back to me so loudly, I turned it down between services, and ended up starting that song with almost no monitor feedback for my lead vocal - hence the slightly overdriven sound of the vocal.  I did have to compress that in mix down to compensate, and it's not too bad, but I wish I had trusted and not over sung to compensate. 

     

    The workflow from the live performance to mixing the mastered track to final video was super simple: 

     

    1. Press "record" just before we begin playing.  Stop when done. 

    2. Later, with SD card in my mac, each instrument appeared as a separate file.  I dragged the files into an open Garageband new song.

    3. All instruments appeared as separate audio tracks.  I mixed, tweaked, and played until I was happy. 

    4. After exporting the stereo mix, I mastered in a new Garageband song using Ozone. 

    5. Using Final Cut Pro, I mixed the HD camera video, my iPhone on my music stand video, and the mastered track. 

     

    Dave

    • Upvote 1
  6. Last fall, thanks to some generous benefactors, my church purchased a dream stage system: MD20, 2xL2T and 2xL2M, 4 AKG wireless vocal mics, Lewitt overhead and bass drum mics, and a pair of Rode mics for our Yamaha grand.  We've used it monthly when our 5-7 piece band (drums, guitar, bass, piano, cello, backup vocals) plays a special service, performing covers and original music.  
     
    I'm sharing a video of an original song that was recorded to SD card on the MD20, and mixed just using Garageband, then mastered with Ozone 5.  I think it's a pretty good representation of what can be done with the MD20's discreet recording. 
     
    Let me know what you think! 

     

    http://youtu.be/15F4vZa1AKM

    • Upvote 1
  7. Hi there,

     

    Day 2 with my dream rig and loving it. A simple question, when sampling the acoustic sounds on the variax in addition to my VDI cable going to the POD HD500x I also ran the 1/4" jack to my L2T speaker. Wow, what an acoustic sound coming out of the L2T.

     

    My question is this, can I mute or stop the sound coming from POD and DT50 and just have the L2T for acoustic sounds?

    Here's my solution:

     

    I use my DT25 and a Marshall AS60 acoustic amp with my JTV and HD500.  I use separate patches on the HD500 to choose what guitar model is selected.  For all of my acoustic patches, I use the FX loop output before the amp, and have the 1/4" FX loop output plugged into the Acoustic amp.  If you're not using the L2T and DT50 in stereo for electric patches, this will do the job.

  8. I've been enjoying my dream rig for over a year now, and while I was looking forward to the announcement of what became the Amplifi, I'm satisfied.  However, it does weigh quite a bit less than the DT, which means it would be lighter when you slowly drag your sh!t-a$$ up the moun-tain! (We are everywhere!)

     

    The JTV Bass would likely have updates of the same models as the original Variax bass, which you can find on craigslist or ebay only.  Languedoc, heh, it would be fun to be 90s Mike!

    • Upvote 1
  9. Maybe you have assigned the volume parameter to your exp pedal? Then you need to change the max value to the right amount. Otherwise your saved setting will be overridden when you use the pedal. Just a thought...

    I wonder if this is the case... I played the gig and just had to adjust the master on the DT25 when needed.  I think the patches I needed to change did have a vol pedal in them, so I'll check that when I get it back out.  

  10. Yes, this is what I'm doing - I'm using the DT25 Master as my overall volume adjustment, and keeping it at one level while all patches are leveled to each other using the "volume" knob on the HD500.  The problem I'm having is that when I make the adjustment, click save 2x, (and I'm not using my computer right now, just as I won't when I'm rehearsing for the gig later), the volume is NOT saved when I return to the patch later.  This is really strange, because I tried eliminating a pedal from a patch just to see if it's saving at all - when I saved, went to another patch, then returned, the pedal I'd taken out of the chain was gone, but the volume notch had returned to the original position, not the position I was trying to save it at.  There is either something I'm not considering, or this is a bug.  I've used the rig for over a year and consider myself fairly adept in its' operation, but this one has thrown me.  Any other ideas (thanks for responding, BTW.)

  11. Hello all,

     

    I am tweaking patches for a church gig today, and find one of them needs the volume lowered to be leveled with the other songs in the set.  I am using my HD500 through a DT25, with a JTV 69.  On the HD500, I move the volume control to the level I want, noting that the "notch" on the LED shows the old position.  I click "Save" twice to save the settings.  I then can see that the notch has moved to the correct place.  super. 

     

    However, when I switch to another patch, then back, the notch (and volume level) have moved back to the original location.  

     

    Why can't I save over the patch?  Any ideas/suggestions?  Anyone else having this trouble?

     

    Dave

  12. I'd love ONE good bass model, optimized for guitar strings (I know I can just detune -12, but it's just ok).  

     

    Nylon string model would be cool. 

     

    I'd love to see model packs of particular artists' guitars.  For example: Dan Auerbach pack with his weird collection of old vintage Harmonies, Danos, and the like.  A Tom Petty (or Jeff Lynne!) pack with his actual axes modeled.  Jimmy Page?  George Harrison?  All of these artists we can get very close to with the onboard sounds, but it would be REALLY cool to get a collection of a particular artist's instruments.  I know it wouldn't be cheap, but who among us wouldn't like to have Eric Clapton's collection of acoustics and electrics as a downloadable pack? 

  13. I've owned a small collection of electrics: An '89 Strat Deluxe Plus, an Ibanez Artcore AS73, a couple of old Japanese imports (Teisco, etc.), and three Variaxes: 300, 600, and JTV-69.  I sold my Strat to finance purchase of an HD500 and the first Variax.  I loved the tones, but wasn't crazy about the 300's feel, fit, and finish.  I sold it for the 600 - I loved the 600's maple neck, and the instrument's quality was much better.  I still pined for my old Strat, however.  After getting my 69, I no longer look back.  I've got the amazing sounds (and 2.0 steps it up in most all cases, IMO), a beautifully constructed instrument, and yes, I even really like the neck.  I bought mine second hand, for about half price, and it was only 3 months old.  I felt a small rough patch on the neck (fine grit sand paper took that out with zero effort), the neck was a little too straight, and the frets were a bit sharp on my hand.  As with EVERY guitar, I suggest finding a luthier you like who can do set up and maintenance.  Now it plays like a dream, and most importantly, it INSPIRES me to play more and better.  

     

    In short, best guitar I ever owned, 5/5. 

  14. Likely problem 1.

     

    The patches stored at Institute of Noise are for pre-HD Workbench and will not work with HD, correct?

     

    Problem 2.

     

    I just tried to upload a .whd file to IoN, the site will not allow the file type .whd.

     

    I changed the type to .vwm and the page said the upload was successful, a user would then have to change the file type back to .whd before using it in Workbench.

     

    Unfortunately when searching for the patch I just uploaded  it does not show up and the most recent patch shown is from 2009

     

    As I recall there was a notice on that page years ago or maybe I recall reading a message from Andy Z somewhere that said IoN was no longer accepting uploads,do not see the notice now - I am giving up on it but maybe someone else here will have more success uploading new tones to that page.

    Yep, I noticed that after the fact.  Anyone going to step up and make a place for 2013 and beyond?  ... I've already "agreed" to the Ideascale proposal.  Here's the link for anyone else who would like to see this: 

     

             Customtone for JTV guitars       

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