From what I understand the dudes can play a few things each. The dude from Black Breath switches between keys and bass and the other couple of dudes double or triple on horn stuff. I am not proper entirely sure yet what all is going on in terms of the instrumentation because he was fairly shithoused the whole time we were chatting. I might him up tomorrow though asking him what all I will have to expect.

And noted, I was kinda wondering about that myself. I see the close mic thing a lot in live contexts for horns, but I don't think I am going to even try anything like that. I mean, that has it's obvious purposes in that particular situation but that's clearly a bit different. I will be trying something a couple feet out front or so for each deal and probably have a lot of fun things to mess with room mic-wise. What would you recommend in terms of stereo room mic techniques..? I realize this is a vague question, but thrown into that sitch what would you see yourself trying considering the microphones I possess and 8 channels? Of course, granted I have no idea what this room will be like. And that goes for all of you, I am curious. It would also give me some ideas.

Fucking car is making its battle of the bulge/tet offensive stand here, it seems.

I am not convinced it doesn't want to go to the fucking junkyard. Usually with a car you get the feeling that they don't want to go out like that. Not getting that vibe yet, from this one.

Hrmmm... how 'bout this for the room? With the KSM27s. This would be cool if you had matched figure-8s. I suppose they don't really need to be matched to get the effect, but the frequency balance could be wonky. Possibly really wonky. (Think M179 + ribbon wonky.) But you could potentially exploit that by posistioning the players around the room.

I'm betting the ribbon is probably pretty sweet on horns. Especially something like trumpet or alto sax. No idea how the PR40s would sound

Bass... Depends on if he's playing electric or upright. Upright is a totally different animal and probably wants multiple mics. I'd probably aim something at the fretboard for attack and something big sounding farther out from the body for the proper bass-ness of it. I wouldn't jam something all up in its f-hole- that would probably be boom city and less-than-useless. That is a physically very large, resonant instrument.

You may have to do some mic swapping depending on the instrumentation unless you want to bring your rack pres with you.

Mr. newholland should chime in on this. He's probably done more acoustic instrumentation than the rest of us.

I fell out of bed this morning and now I have carpet burnt knees like some sort of cheap skank

It could have been worse. You could have woken up with a sore arse and £50 on the dresser.

That Blumlein setup looks gnar, Eric. I think I am going to mess with that and see which mics work with which. I got two ribbons after all.. Maybe the RSM-5 (which is pretty nicely bright for what it is) would match up well with the M179 if the darkness of the R40 is too odd. My thoughts have been telling me I should do one of those deals where I split one of the ribbons into a stereo mic in conjunction with whatever other dual mic setup I do. I am thinking I might want to save the KSM27s for the more close mic duties on horns? But really, who fucking knows just yet. I will definitely throw up a PR40 though and see how it sounds for that. Also, I am fairly certain it will be electric bass so there will be some PR40 action going on there. I agree with Dan, those things sound really nice on bass.

Pretty sweet, it looks like I am going to be quite busy this winter. Busy doing the sort of shit I like to do.

Who wants to guess what part of my car has a sketchily cut chunk of stolen One Way sign holding it together now?

Very true

I made the mistake of picking up a Guitarist mag to flick through in my lunch break today. I now have a raging GAS-on for one of these badboys. Apologies in advance for the large pic, but fuck.

Hnnnnnggggggggg

Shityes, Tom, that looks awesome.

I won't even bother to guess and end up wrong. BUT. I gotta know, what sketchy shit are you up to?

Yoooooo, this world has got a lot of dumb people in it. One of the more baffling accounts in my experience so far, which occurred today: Someone who completely and utterly lacks good social skills talking shit about people with Aspberger's Syndrome and Aspberger's-like behavioral traits. When I say this dumb motherfucker has no good social skills, I mean that he is fully capable of expressing exactly what he feels and thinks, just not in a way that will ever inspire any sort of endearing feelings toward him in any way.

That shit is super gross to hear, dawg.

Oh, nothing, just a matter of when rage takes over and improvised solutions kick in.

Thing is, i intend to be taking this car 100% apart next year for some rust fixes, full steering/suspension refreshings, a new engine(the car came with a nice, built one), and probably transmission(i have a better one(different gearing) in one of my other cars than the one in this one).

At this stage in the game, being just about out of warm enough days to do automotive surgery, other courses are being set. The aim is to get it workable through the winter and into next summer.

As it is, i still have to replace the front calipers with ones that a previous owner hasn't broken off the bleed screws of, whenever the new calipers get here.

Theoretically, if what i stuck together yesterday holds, as i expect it to, the brakejob will be the last thing i need to address this year/winter.

Yeah man, the world is just full of motherfuckers who should be shot from cannons.

Frankly, we are going to need more cannons.

In the most general sense, We Need More Cannons.

I haven't really played any instruments in like, months.

So why is it exactly, that i just bought this?

Man, just listened back on some old tone tests I did. How in the fuck was I not aware that I was rushing tempo in such an ungodly manner? Bizarre stuff.

Because that pedal fucking rocks, that's why.

Go ahead and nail this tone.

Yeah, i have wanted one for a while. A friend of mine recently mentioned it, and i suddenly decided that now had become the time to acquire it.

The EQ is surprisingly flexible. Nice mids cut/boost sweep, and the lows knob controls some sort of fantastic near-sub sort of band. The treble control is almost useless(essentially must leave it as in the picture), at least with the no-gain-control thing, but all in all it is a pretty great pedal for heavy guitar sounds.

Some later time, i will have to play with it some more to see how it does at higher volumes. At lowish ones though, it is a lot of fun. Holds its own, IMO, even with the massive newish crop of heavy distortions from more boutique-y sources.

No, use the highs though. Get really obnoxious and scoopy. It's fun.