Yeah the sounds great, damn.

Guitar toan is pretty snazzy- I assume that's all going down live (save for the vocals), what with the snare rattle and all. Sounds like a proper loudband. And yeah- the major-key djent-ish riff is a little unusual. Good work, yo. Did you play bass on this?



Gear-related: my father is lending me money to get into the gear flipping business. Also, fixing up brokenshit and reselling. Actually his idea, not mine. (Also, I'd have access to various useful implemints.) Not gonna argue. Enough stuff turns up on the 'bay, in local shops and CL. Not a ton, but enough.

Fuck. My guitar playing has seriously been neglected since getting my own place, just had too much shit to sort out so haven't had enough time to play. Got 2 gigs with my old cover band at the weekend (filling in for their current lead guitarist who's an absolute perfectionist), had a practice tonight and it was dreadful. I'm really not looking forward to these gigs but I need the money Can't wait to get everything sorted so I can get on it again, I hate struggling with songs I used to be able to play with my eyes shut. I have tomorrow to try and get back up to speed as I'm working all day thurs/fri/sat.

Just went to see Bayside and Four Year Strong. FYS kicked a ton of ass and sounded awesome. Bayside was meh.

I kind of want a LP and a high gain amp. I don't think that has ever happened before.

Someone on facebook is selling this for cheap. I don't have the money and my p-bass is fine, but fuck this looks like a fun instrument!

I also have gas for an offset. I do need to find one with a sensible scale length though. I can't jive with a 24" neck. The J Mascis sig might be an option if ones comes up at a good price.

The bass player in my sister's cover band has that. I didn't expect it to have active electronics.

Huh. I wouldn't expect that either. Looks spiffy though!

We sell those basses a bunch in the shop. Not bad for the money.

I did not bass, everything but the drums was Colin. The constant mono guitar was indeed tracked live with the drums.

Last night I saw the supremely mighty Old Man Gloom. I never thought I'd see this day. Ah the problems that come with one of your favourite bands not actually being a real band

So did I mention I am playing in a pop-punk band now? It's as awesome as I am sure you imagine it to be.

Been working ever so slightly too much.

It feels weird/wrong, not to have to go in for another 11 hours today.

It is really funny, through a strange turn of social media events my music came to the attention of the vocalist from Weekend Nachos and he likes my music. It is very strange to think about. I put up the old demo stuff before Landon and I were jamming on bandcamp and that is what he heard, and he still liked it.

Question: what should an AC15C1 go for? Excellent condition- close to NIB, actually, with box and whatnot? Also: what would I be able to ask for one if I stuck a Blue in there?

think they are getting listed around $500 and sold around $400. Not sure how much more you would get with a blue. A gearhead would pay more, but not sure, realistically, if most people buying equipment are gearheads. I think it's more likely buyers are casual players and have seen the Beatles play Vox so they will play just like Ringo if they have a vox..

Depends where you list for resale also. TGP is great for getting rid of real gear and also Reverb. They take much less money out, no listing fee and so far, I have seen more gearheads seem to buy on there. I have sold 5 things there and always people that actually know gear.

The Raid 2 isn't showing anywhere locally, I'm absolutely gutted

Noted. The guy's asking 4 for the AC15. To really make anything off it, I'd have to get the Blue reconed, which I'm doing anyway, put that in there and hope it increases the value enough, and flip the Greenback separately. Don't know if I could make enough off it to be worth my time. I do have a lead on a '68 Gibson that I could probably turn around for a good chunk of change. Pickups aren't original and it's been refinished, though the refinish looks to be period-accurate for that model. Not a collector's piece with that work done, but still valuable as a player. Sucks I won't be able to keep most of this stuff for very long, but still, if someone is going to lend me money to engage in gear horsetrading and I can pocket the profits, I am not going to argue.

Man, I have hit a real fucking wall here with this guitar recording thing. I got Colin's LP into my Marshall to sound pretty awesome, but I am having a real hard time getting good results with either of my teles. The tone in the room sounds fucking great, but I am just not really getting into the mics it seems. For 3 or 4 days I have been swapping out all kinds of mics, trying all different kinds of combinations and trying singular mic setups, messing with preamps/their settings, etc. I haven't been able to nail down a town that I think sounds righteous. I have gotten sort of close to as good as the other tone, but even that took serious time.

Granted, I am trying to do all of this before doing much of any EQ on the mics. How much of this shit is going to a result of EQ'ing to make the two mics work with each other? I am trying to get a good result dry, so that I can then go ahead and further refine that sound. Should I not be thinking like that?

How much of the two mics do you dudes typically use? Is it an even blend or a radically larger amount of the other tone?

Honestly, it varies completely from track to track. Sometimes I'll wind up dumping everything but one mic, sometimes it'll be a pretty even blend of multiple sources. Proportions vary. EQ varies dependent on context- sometimes none at all, sometimes ginormous amounts. And I'm just as likely to buss the guitar mics together and EQ them as a group than the individual tracks. This sounds to me like the sort of situation where having a nice hardware EQ (or a mixer of some sort) could come in real handy. Nothing wrong with EQing on the way in.

If it's happening in the room, trying to capture that would be my starting point. One thing that worked for me in the past was to put the KSM27 up close at the edge of the dustcap- about a shockmount's distance from the grillecloth, and a Beta 58 coming in at about a 45º angle next to it. The Beta 57 would probably be an adequate substitute. It may take a bit of tampering with, but I found this adequate at capturing something that sounded more-or-less like the amp.