Fuck dude, why would you buy one of those brand new? No one wants a 65 for that much money. I would hang on to it unless you can get at least a grand for it. Gunna be tough tho.

Anyways, you should step up to a cr125.[/quote]
it was my dad when i was in like 3rd grade he got it atr the same time he got his 525.... well fuck me sideways it's better than paying three grand for it. i guess i will but fucking need the money.. i'll get another bike when i get a job and i'll buy my own. my dad might give me he 525 sx

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Figured out first hand how stressful loud, dirty singing is on one's voice.
I have never lost my voice this quick doing death metal vocals, EVER.

I just noticed my rig has a low resale value...

DIY is a double-edged sword.

Yarr, Now that you have successfully DIYed you first maplifier, you next must learn the skill of boutique marketing.

Just convince everyone that you are a genius and the amp sounds like nothing else available on the market anywhere, and you could be selling slightly modded Fender clones for 3k a pop in no time.

It will rough up your voice something fierce and right quick. When someone figures out a way around this, I would like to know. There is a reason why Chris Cornell, Phil Anselmo et al sound like they do now. I suppose one could ask Jaz Coleman, but he's probably off trying to save the environment or composing an orchestral piece when he's not being awesome fronting Killing Joke.

I have decided I will be inclined to like Every Time I Die, because I think it's funny they're famous and their rehearsals seem so aimless and undisciplined. Also, a couple of them are friends with the engineer we work with at GCR, and the few times I've run into them they are unfailingly polite. Also, the guy with the Bad Cats probably likes gear, and we/I like gear as well.

Waiting list starts at two years and starts now.

Got an email from Jim From My Metalliband. (Our guitarist/keyboardist/engineer; as Dan newholland said "total musical hoss") He comped the drums for our five drummed-on songs for our six-song EP so I can work on some total apeshit bassing and yelling. I heard a rough- very rough- mix last night of the first song. Nothing on the drums but a compressor on the snare, and it's nuts. We hadn't rehearsed in a month and a half- the last rehearsal was the last time our drummer even played; he lost his job and his ladyperson (and thus his house) so he's pretty rough on this, but they're preproduction demos. C'est la vie.

Knope Engineering offers mixing and matching of the following preamps and poweramps

Pre:
Fender Twin
Marshall JMP
Marshall JCM
Vox AC
Vox on fire
Slo

Power:
Fender 60w
Marshall 50w
Marshall 100w
Vox 15w
Vox 30w
Cathode Biased el34 30w

Effects loops suck the toanz out of the mapz

$4k

Looks like i will be recoarding another band next week. Seems like they are kind of garage rawk, mebbe with some horrorsurf vibes. Drummer is leaving and they basically want to record their recent songs in a practice/quicky style.

Don't really know how i am going to recoard them, yet. I wish i had more channels to work with. On the one hand i think they would probably sound good/authentic with minimal mics and a decent room mic, but as this will be the last thing they record with this drummer, i feel like i should get better coverage on the drums than the oldschool/2-mic type.

Three vocalists though. And they want to do it live. Vocals are going to have to be overdubs.

Anyhow, i might get paid for this one. Probably not much. But just the same. I am into the concept of getting paid for stuff.

Glyn Johns? Kick/snare + mono overhead? How many other players in the band do you have to contend with?

Two geetars, bass, drumz(4-piece), three voxalists.

Prolly just do it 'normal': GJ(1,2) + close toms(3,4) + close snare top/rim(5) + GeetarA(6) + GeetarB(7) + Bass(8). I would like one more shannelle fur to MonoRoomMic, but i also think that it is a good idea to have the close toms, as the style often uses those floortom "stomp" beats and whatnot.

I also might need to build a quick headphone amp for to maplify the geetars to the drummer.

I like the IDEA of being able to just plop some two or four mic stereo jibjab down in the room and do it oldschool. But you just never know what kind of playing ability you are walking into. I think that perhaps even *most* bands these days won't be able to sound very good recorded that way. The close mic and overdub culture is just something that everyone has grown up with, and i just feel like i should go in expecting it.

One more channel would be nice though.

Unless you'd worked with them before, it, sadly, seems too much of a risk. Stylistically, it sounds like the kind of band you could get away with that with, too. In some contexts it's just not appropriate. Good luck on the session, though!

i need to get laid

Overrated. I've done what there is to do and found people wanting, generally. But as... was it Chris or Geoff who said it, to paraphrase, this is not the place to find encouragement at life.

Also: I am still awake. I moved today, finally, but realistically I am pretending to sleep on Jen's couch and wish I knew how to call in sick at work, which I have never actually done. At my former long-term employer, I took seven days of vacation (and no sick days) in seven years.

Unless mother nature gets in the way... I'm getting laid today



thats a whole lot of not vacation

Their music is definitely odd, and what they're doing for their next album I have no fucking idea.
This last album was their lightest and poppiest, whereas their first albums were filled with nuts meter changes and Dillinger cacaphony, dissonant stabby chords (maybe they're reaching back into their roots a bit? :idk).
They're all a bunch of goofy dudes too, I wouldn't be surprised if their writing process wasn't really off-kilter and inefficient at times.

Truly, nothing says quality drunksauce making like a a plastic bottle of offbrand apple juice whose mouth is swaddled in electrical tape.

super delicious delicious drunkahol