Thursday, September 4, 2014
well, i lost the day, but i gained a guitar and a vacuum. there's still a touch of rust on the pickups, but i'm going to leave it there. i'll get the spring, nut and strings on tomorrow - for around $10 total. but i'm going to lose most of the day tomorrow, too. for the moment, i'm hungry and sleepy....
haven't vacuumed the phones yet, will wait until tomorrow.
haven't vacuumed the phones yet, will wait until tomorrow.
caulking gun
jessica
hi,
i'm just wondering if i could borrow a caulking gun. there's no urgency to this, and i'm going to want to wait until we get a dry day with low humidity so i can caulk with the windows open.
it's september now, so the weather is going to be cooling down a little. i didn't have to turn the heat on last year until very late in the fall, so i'm not planning on turning it on any time soon. but, last year you sort of explicitly told me to just turn the heat up to whatever i wanted - and i did. i'm going to be a little more aware of the electricity costs this year, for obvious reasons.
there was really a substantial draft heading under the window in the kitchen last year, and all the hammering upstairs has crumbled the plaster a little so i'd expect it to be even worse this year. i really think it's an easy thing to do that will make a big difference.
i still have some of your caulk under the sink but i don't have a gun, so i'm wondering if you'll let me borrow yours. the bedroom and bathroom aren't drafty, but i really think the two windows in the kitchen should be sealed around the cracks to try. it'll both keep costs down and make the air a little less dry, due to the heaters not needing to work as hard.
the landlord
I have a caulking gun there, I will be around and I will check in with you
hi,
i'm just wondering if i could borrow a caulking gun. there's no urgency to this, and i'm going to want to wait until we get a dry day with low humidity so i can caulk with the windows open.
it's september now, so the weather is going to be cooling down a little. i didn't have to turn the heat on last year until very late in the fall, so i'm not planning on turning it on any time soon. but, last year you sort of explicitly told me to just turn the heat up to whatever i wanted - and i did. i'm going to be a little more aware of the electricity costs this year, for obvious reasons.
there was really a substantial draft heading under the window in the kitchen last year, and all the hammering upstairs has crumbled the plaster a little so i'd expect it to be even worse this year. i really think it's an easy thing to do that will make a big difference.
i still have some of your caulk under the sink but i don't have a gun, so i'm wondering if you'll let me borrow yours. the bedroom and bathroom aren't drafty, but i really think the two windows in the kitchen should be sealed around the cracks to try. it'll both keep costs down and make the air a little less dry, due to the heaters not needing to work as hard.
the landlord
I have a caulking gun there, I will be around and I will check in with you
yeah, so the loose pickup was a triviality.
you see that spring? it was gone.
well, one of them was gone. the other was under the pick guard.
i'm going to put 9s on this (which is very skinny for me, but it's a strat), so i'll head down to long & mcquade's tomorrow.
current estimated projected cost to fix the "broken" guitar:
one washer - $0.50
one spring - $0.50
total: $1.
how does that even happen? well, clearly somebody tried to swap out some humbuckers. either they couldn't figure it out and fucked it up or they swapped something more expensive out before they sold it and didn't bother to connect it properly.
the pickups appear to be unmarked.
i had a washer around. it's keeping the jack in place, but it could benefit from a nut to lock it in.
there's nothing else wrong with this guitar...
actually, i should just go with 10s. i have 12s on my jazz guitar and 11s on my punk guitar. this is going to be my alt/gaze guitar - no need to go that far down. if i ever get a three sss strat or a jazzmaster or a tele, i can go to nine there. i can't see myself wanting less chunk, though.
the jazzmaster is a beast of it's own, and i'll probably never be able to afford one.
access to single coils is really closing a hole in my arsenal that i've, up to this point, used all kinds of effects processing and equalization tricks to try and get around. believe it or not, i've never had a single coil guitar - since i started playing in about 1990. and this is actually my first new (electric) guitar in almost fifteen years.
actually, that's not true - some of the garage sale pickups i've been through over the years have been single coil, and i guess that means i have bought new guitars over the last fifteen years, but they were all under $10 and never used for anything besides ridiculous tunings and noise generations. which i guess produces some continuity. but i plan to hang on to this one, it's a more serious addition.
you see that spring? it was gone.
well, one of them was gone. the other was under the pick guard.
i'm going to put 9s on this (which is very skinny for me, but it's a strat), so i'll head down to long & mcquade's tomorrow.
current estimated projected cost to fix the "broken" guitar:
one washer - $0.50
one spring - $0.50
total: $1.
how does that even happen? well, clearly somebody tried to swap out some humbuckers. either they couldn't figure it out and fucked it up or they swapped something more expensive out before they sold it and didn't bother to connect it properly.
the pickups appear to be unmarked.
i had a washer around. it's keeping the jack in place, but it could benefit from a nut to lock it in.
there's nothing else wrong with this guitar...
actually, i should just go with 10s. i have 12s on my jazz guitar and 11s on my punk guitar. this is going to be my alt/gaze guitar - no need to go that far down. if i ever get a three sss strat or a jazzmaster or a tele, i can go to nine there. i can't see myself wanting less chunk, though.
the jazzmaster is a beast of it's own, and i'll probably never be able to afford one.
access to single coils is really closing a hole in my arsenal that i've, up to this point, used all kinds of effects processing and equalization tricks to try and get around. believe it or not, i've never had a single coil guitar - since i started playing in about 1990. and this is actually my first new (electric) guitar in almost fifteen years.
actually, that's not true - some of the garage sale pickups i've been through over the years have been single coil, and i guess that means i have bought new guitars over the last fifteen years, but they were all under $10 and never used for anything besides ridiculous tunings and noise generations. which i guess produces some continuity. but i plan to hang on to this one, it's a more serious addition.
so, i went searching through the streets of windsor for an affordable vacuum, and came back with a beat to shit strat.
i couldn't resist. i've been meaning to pick up something with single coils (this is an h-s-s "fat strat") for a long time, but haven't run into the opportunity. it's a lower end ibanez copy, but it's solidly constructed. i focus almost entirely on necks and body shapes when i'm evaluating guitars. the rest can be modified. but, the truth is i never do, because the main sound source for what i do is the computer. i'm going to plug a $3000 strat through the same effects loop, and it's not going to be all that easy to tell the difference in sound. it's honestly not worth the cash. if i was more interested in gigging and i wanted a better connection to the amp, maybe....but i don't....
what's important is playability. ibanez are known for their "fast necks", which work well with the strat design.
but it's the single coils i wanted, and that i will put to good use in open chord passages.
it needs some work. it's full of rust. while i was able to verify that all of the pickups work, one of them is very loose and the jack needs a washer. but i honestly think it's a ten minute job.
for the price ($40, including a case), i can't complain much - even if i end up ripping the pickups out altogether. the neck is good enough to build up with.
i did get a vacuum, as well. the first shop i went to had a nice little unit for $25, but it was missing the carpet head. after taking a look around, it's the best choice immediately available. i can probably pick up a head one day on ebay or something.
i couldn't resist. i've been meaning to pick up something with single coils (this is an h-s-s "fat strat") for a long time, but haven't run into the opportunity. it's a lower end ibanez copy, but it's solidly constructed. i focus almost entirely on necks and body shapes when i'm evaluating guitars. the rest can be modified. but, the truth is i never do, because the main sound source for what i do is the computer. i'm going to plug a $3000 strat through the same effects loop, and it's not going to be all that easy to tell the difference in sound. it's honestly not worth the cash. if i was more interested in gigging and i wanted a better connection to the amp, maybe....but i don't....
what's important is playability. ibanez are known for their "fast necks", which work well with the strat design.
but it's the single coils i wanted, and that i will put to good use in open chord passages.
it needs some work. it's full of rust. while i was able to verify that all of the pickups work, one of them is very loose and the jack needs a washer. but i honestly think it's a ten minute job.
for the price ($40, including a case), i can't complain much - even if i end up ripping the pickups out altogether. the neck is good enough to build up with.
i did get a vacuum, as well. the first shop i went to had a nice little unit for $25, but it was missing the carpet head. after taking a look around, it's the best choice immediately available. i can probably pick up a head one day on ebay or something.
gah.....
buzz is in the phones. in the back of my mind i knew it all along. i've been fighting with dirt in there for months, and i know there's a hair deep in the drivers because i can see it and can't reach it. i've been putting it off because the rattle was so much weaker on the other tracks and i was just mentally compensating...i couldn't imagine it was really the dirt....
but my cheaper phones aren't rattling. here's the thing: i'm not 100% certain it's rattling due to the dirt, it could be rattling because the studio phones are reproducing it properly and the non-studio phones are squishing the fuck out of it.
at least i know now that the track actually sounds good through consumer grade equipment.
the thing is i need the deep compression, and it's rattling it to the point that i can't mix it because i can't tell if the compression is actually distorting or the speaker is rattling.
so, i need to find a vacuum as a top priority this morning. i tossed the one i brought down here - it was older than my mother is, and just wasn't working.i can't mix with the other phones, it sounds like i'm wearing earplugs...but if i can't get the hair out, i may have to mix the bass separately through them...
see, the phone is sealed. it's probably why the phones have lasted 30 years. but it means i can't get the hair out with tweezers because i can't reach it...
you just can't overstate the value of high end phones like this. it would cost upwards of $500 to replace them with something comparable, and i don't have that. and i WILL tell, because i've been using them so long that my ears just won't accept anything less.
so, these basically have to last forever, sort of thing. the vacuum worked last time.
buzz is in the phones. in the back of my mind i knew it all along. i've been fighting with dirt in there for months, and i know there's a hair deep in the drivers because i can see it and can't reach it. i've been putting it off because the rattle was so much weaker on the other tracks and i was just mentally compensating...i couldn't imagine it was really the dirt....
but my cheaper phones aren't rattling. here's the thing: i'm not 100% certain it's rattling due to the dirt, it could be rattling because the studio phones are reproducing it properly and the non-studio phones are squishing the fuck out of it.
at least i know now that the track actually sounds good through consumer grade equipment.
the thing is i need the deep compression, and it's rattling it to the point that i can't mix it because i can't tell if the compression is actually distorting or the speaker is rattling.
so, i need to find a vacuum as a top priority this morning. i tossed the one i brought down here - it was older than my mother is, and just wasn't working.i can't mix with the other phones, it sounds like i'm wearing earplugs...but if i can't get the hair out, i may have to mix the bass separately through them...
see, the phone is sealed. it's probably why the phones have lasted 30 years. but it means i can't get the hair out with tweezers because i can't reach it...
you just can't overstate the value of high end phones like this. it would cost upwards of $500 to replace them with something comparable, and i don't have that. and i WILL tell, because i've been using them so long that my ears just won't accept anything less.
so, these basically have to last forever, sort of thing. the vacuum worked last time.
Wednesday, September 3, 2014
digitech bass squeeze
this pedal is actually great for recording through the mixer out - i use it as a di box, with a lmb-3 in front for extra limiting, and then run it through tape simulation and reverb effects when it gets in. the caveat is you have to want a smooth, sustained tone (i play a lot of bass parts with half or full notes and i want them to last) with basically zero dynamics, meaning it works better for orchestral styles or electronic music than for rock or funk, excluding punk - it also works well for fast punk picking...
http://www.youtube.com/watch?v=uzb_Lrj3-O4
http://www.youtube.com/watch?v=uzb_Lrj3-O4
ok, these parts sound considerably better. i think the compression pedal is buffering the signal a little, which is helping the limiter even when it's off. i also plugged it into a regulated power supply, which may have minimized any background. and i turned the low eq pot down a bit on the way in. it's still buzzing mildly, but the clippiness is gone.
i'm sleepy. but i have every reason to think this'll be done tomorrow.
i'm sleepy. but i have every reason to think this'll be done tomorrow.
two things to take note of.
first, boogeyman just became #2 to hit 1000 hits.
https://www.youtube.com/watch?v=1gTfycvt1VU
second, evil just became #2 to hit 300 (which remains youtube's designation of "popular") without being featured on the front page.
https://www.youtube.com/watch?v=haUlXmRA-A0
first, boogeyman just became #2 to hit 1000 hits.
https://www.youtube.com/watch?v=1gTfycvt1VU
second, evil just became #2 to hit 300 (which remains youtube's designation of "popular") without being featured on the front page.
https://www.youtube.com/watch?v=haUlXmRA-A0
gah. no.
just a little out of tune, bloody microtone, so i need to redo the bass parts. but i have a better understanding of how to lay them out, now, and what i want them to sound like when they get in, so that's going to guide the input signal.
i'm going to want to route the pick parts one way, with heavy limiting, and the finger parts another, with heavy compression. that should minimize noise on the way in, and give me what i need to process.
gonna eat first...
just a little out of tune, bloody microtone, so i need to redo the bass parts. but i have a better understanding of how to lay them out, now, and what i want them to sound like when they get in, so that's going to guide the input signal.
i'm going to want to route the pick parts one way, with heavy limiting, and the finger parts another, with heavy compression. that should minimize noise on the way in, and give me what i need to process.
gonna eat first...
ok...
neurotic bass freakout transcended. you want it to drive anyways, jess. relax.
that means i could very conceivably have this finished before i sleep next, or at least have the first section of about 6:40 finished. i'm thinking it's going to be around 20 minutes in final form, with the twenty minute version appearing only on the single and a roughly ten minute version on the disc.
but i'm also thinking doubles again, with the length of this. we'll see how that goes....two or three more tracks before that's done, and then i sit down and figure it out....
i mean, i do want the full version on the record.
but i don't want a 90 minute double. if it's going to be a double, it's going to be at least 140 minutes.
i've got that guitarland stuff, too, which sort of fits the theme.
i wasn't initially planning on doing a single for the choir, but now i'm thinking i want at least two versions. that's a possible level of thematic unity.
i'm also kind of thinking of sequencing the 2001 midi files into a separate record. the idea of splitting out the vst mixes is completely redundant because they're just the final versions minus overdubbed guitars and minor rearrangements (i didn't realize the differences would be so minimal when i started), but those old midi files have a chiptune vibe and consequently offer something a little different.
i mean, i could see a specialized market for the raw midi arrangements, specifically.
yeah. but if i do that, i'm going to want to push it forward to early 2003 to encompass some further midi tracks.
the jjjjjjjjjjjjjjjjjjj thing really closes at the end of 2001, but the midi approach carried on to further ideas.
so.
1) jjjjjjjjjjjjjjjjjjjj double record, maybe, end of 2001.
2) thru single record, probably, early 2003.
again: i'll have to see how much there is and how it sequences. for now, i want to finish this song....
i should note that the flurry of mostly completed tracks ends around 2003. from 2003 to 2007, there's a lot of very big ideas that are barely demoed out and they're going to require a large amount of recording to finish. the three or four hours i have down for that period is going to balloon to ten times that, at least. after 2007, it's even more sparse, as all i really have to show between 2007-2011 (when i lost my studio) is that 18 minute proverbs track (which took two years to record) and a few barely articulated ideas. between work and school i just didn't have the time. but, the proverbs symphony will be the length of a full record when it's finally done. from 2011-2013, i was basically homeless and focusing more on rethinking my life than writing, and i may end up homeless again in mid-2015 if things don't work out. that's why i'm doing this: however long i'm able to sustain current conditions is probably going to be my last chance to finish things, so i want to make sure as much gets finished as i can get finished. wherever i leave off is likely going to be where i leave off. forever...
as much as the social conditions may be less than enviable, i admit i'm in the enviable position of having a lot of material that was written in the height of my creative years (my 20s) and that i'm finishing in a more reflective and mature age. so, it combines the immediacy of youth with the reflection of age. composers used to have that ability to look back and reinterpret, nowadays everything is pumped out and finalized when it's first thought up. i think it's going to create a lot of more substantial sound than i would have been able to create at the time, and than i may be able to create entirely now.
if i can find a way to keep the studio up until i'm done my old work, i'm going to be pushing 40 by the time i write new material. and i'm sure it will be quite different...
i mean, i'm not going to be one of these old people trying to hang on to their 20s. i'm going to mature into writing styles that are more reflective of my age.
i always want to take these aging pop stars and grab them by the neck and ask them "have you ever contemplated the idea of writing music for people in your own age and peer group?".
as much shit as i give the boomers, it's best talents - the gabriels and the bowies and the fripps - mostly figured that out. some of them died before they got old. some of them tried to deny reality. but they'll be forgotten, while the ones that matured won't be.
gen x musicians have seemed hopelessly unable to keep up with their audience. reznor has shown flashes of maturity. he's really the *only* one that has.
(actually, i think you can put sonic youth and swans in the "aged gracefully" category (minus thurston moore's recent midlife crisis), and the mt zions are a late gen x band that was already a cut above and has kept growing, but the overriding theme of gen x musicians is "arrested development". and i shudder to predict the future....)
i have every intent to learn from that.
neurotic bass freakout transcended. you want it to drive anyways, jess. relax.
that means i could very conceivably have this finished before i sleep next, or at least have the first section of about 6:40 finished. i'm thinking it's going to be around 20 minutes in final form, with the twenty minute version appearing only on the single and a roughly ten minute version on the disc.
but i'm also thinking doubles again, with the length of this. we'll see how that goes....two or three more tracks before that's done, and then i sit down and figure it out....
i mean, i do want the full version on the record.
but i don't want a 90 minute double. if it's going to be a double, it's going to be at least 140 minutes.
i've got that guitarland stuff, too, which sort of fits the theme.
i wasn't initially planning on doing a single for the choir, but now i'm thinking i want at least two versions. that's a possible level of thematic unity.
i'm also kind of thinking of sequencing the 2001 midi files into a separate record. the idea of splitting out the vst mixes is completely redundant because they're just the final versions minus overdubbed guitars and minor rearrangements (i didn't realize the differences would be so minimal when i started), but those old midi files have a chiptune vibe and consequently offer something a little different.
i mean, i could see a specialized market for the raw midi arrangements, specifically.
yeah. but if i do that, i'm going to want to push it forward to early 2003 to encompass some further midi tracks.
the jjjjjjjjjjjjjjjjjjj thing really closes at the end of 2001, but the midi approach carried on to further ideas.
so.
1) jjjjjjjjjjjjjjjjjjjj double record, maybe, end of 2001.
2) thru single record, probably, early 2003.
again: i'll have to see how much there is and how it sequences. for now, i want to finish this song....
i should note that the flurry of mostly completed tracks ends around 2003. from 2003 to 2007, there's a lot of very big ideas that are barely demoed out and they're going to require a large amount of recording to finish. the three or four hours i have down for that period is going to balloon to ten times that, at least. after 2007, it's even more sparse, as all i really have to show between 2007-2011 (when i lost my studio) is that 18 minute proverbs track (which took two years to record) and a few barely articulated ideas. between work and school i just didn't have the time. but, the proverbs symphony will be the length of a full record when it's finally done. from 2011-2013, i was basically homeless and focusing more on rethinking my life than writing, and i may end up homeless again in mid-2015 if things don't work out. that's why i'm doing this: however long i'm able to sustain current conditions is probably going to be my last chance to finish things, so i want to make sure as much gets finished as i can get finished. wherever i leave off is likely going to be where i leave off. forever...
as much as the social conditions may be less than enviable, i admit i'm in the enviable position of having a lot of material that was written in the height of my creative years (my 20s) and that i'm finishing in a more reflective and mature age. so, it combines the immediacy of youth with the reflection of age. composers used to have that ability to look back and reinterpret, nowadays everything is pumped out and finalized when it's first thought up. i think it's going to create a lot of more substantial sound than i would have been able to create at the time, and than i may be able to create entirely now.
if i can find a way to keep the studio up until i'm done my old work, i'm going to be pushing 40 by the time i write new material. and i'm sure it will be quite different...
i mean, i'm not going to be one of these old people trying to hang on to their 20s. i'm going to mature into writing styles that are more reflective of my age.
i always want to take these aging pop stars and grab them by the neck and ask them "have you ever contemplated the idea of writing music for people in your own age and peer group?".
as much shit as i give the boomers, it's best talents - the gabriels and the bowies and the fripps - mostly figured that out. some of them died before they got old. some of them tried to deny reality. but they'll be forgotten, while the ones that matured won't be.
gen x musicians have seemed hopelessly unable to keep up with their audience. reznor has shown flashes of maturity. he's really the *only* one that has.
(actually, i think you can put sonic youth and swans in the "aged gracefully" category (minus thurston moore's recent midlife crisis), and the mt zions are a late gen x band that was already a cut above and has kept growing, but the overriding theme of gen x musicians is "arrested development". and i shudder to predict the future....)
i have every intent to learn from that.
Tuesday, September 2, 2014
proverbs (first movement)
i was just sorting through the source files for this (which is 40 gb, yes, it is THAT intricately constructed.), which is the last thing i did with live bass, to see if the source on the bass buzzes, and sure enough it does. i guess i just dealt with it.
but, you know, every time i listen to this i'm overwhelmed with pride over how elaborate it is. my symphony of psilocybin induced madness is really something else in the way it merges romantic music with electronica, but it's always been more of a proof of concept. this is only the first part of an incomplete work, but it's really my opus.
and it is a legit opus. headphones, please.
https://jasonparent.bandcamp.com/album/proverbs
it's really an electric guitar concerto when you break it down.
but, you know, every time i listen to this i'm overwhelmed with pride over how elaborate it is. my symphony of psilocybin induced madness is really something else in the way it merges romantic music with electronica, but it's always been more of a proof of concept. this is only the first part of an incomplete work, but it's really my opus.
and it is a legit opus. headphones, please.
https://jasonparent.bandcamp.com/album/proverbs
it's really an electric guitar concerto when you break it down.
uploading bass fx jam to soundcloud
this is actually a bass guitar. it's through a high octave pitch shift guitar effect that i initially programmed as a noisy grunge fill, but the bass takes it down to a more acceptable octave range and, due to the thickness of the strings, allows for the creation of reedy, woody and brassy sounds. then there's that ghastly reverb. dunno what i'll do with this (it may end up in the crash symphony), but it needs gongs and spooky synths and stuff...
https://soundcloud.com/deathtokoalas/02-09-2014a
as an aside, that means i've isolated the buzz to a frequency issue, as the bass sounds fine when pitch shifted up a bit...
https://soundcloud.com/deathtokoalas/02-09-2014a
as an aside, that means i've isolated the buzz to a frequency issue, as the bass sounds fine when pitch shifted up a bit...
switching
the active switch on the pod seems to have helped enough. i'm sort of
being silly in looking for a crystal clear pick tone, because it's
coming up against a wall of fuzz and i'm probably going to end up
fuzzing it as well. that makes sense for the pod - it's designed to take
a passive guitar in, so plugging an active bass into it is a very loud
signal. that should have been obvious from the start.
it makes less sense to me from the mixer, though. the things i've read have suggested to me that the extra power from the active pickups should minimize that kind of noise because you don't need to turn the volume up as high. i mean, i get it - it's more power, and it's overdriving it. it should be connected to a di. but the gain is at 75% just to pick the signal up at a decent level. the only other approach would be to take it in at like 50% and floor it when it gets in, but then...
...well, maybe that's just it. maybe you'd have to turn the passive down so far to get the same results that you'd be losing it. maybe you still need the active low, but not as low, so you can get more of the performance.
i think i'm happy with the pod with the pad on through the pre-amp. i'm going to try mixing a bit of it and see if i can get it to sound right....
it makes less sense to me from the mixer, though. the things i've read have suggested to me that the extra power from the active pickups should minimize that kind of noise because you don't need to turn the volume up as high. i mean, i get it - it's more power, and it's overdriving it. it should be connected to a di. but the gain is at 75% just to pick the signal up at a decent level. the only other approach would be to take it in at like 50% and floor it when it gets in, but then...
...well, maybe that's just it. maybe you'd have to turn the passive down so far to get the same results that you'd be losing it. maybe you still need the active low, but not as low, so you can get more of the performance.
i think i'm happy with the pod with the pad on through the pre-amp. i'm going to try mixing a bit of it and see if i can get it to sound right....
yup.
no improvement with the mixer.
dramatic improvement with the soundblaster.
so, if it's humming, the soundblaster is getting around it. good enough...
...but i think it's asio. let's see if i can find evidence of that...
i know i can get around it by compressing the hell out of it because i did it once before, which is fine for finger parts, but i need a pick attack for this and don't want to compress it out.
the only other thing i can think of is that the active pickups are too loud. maybe if i try recording at a very, very low volume.
actually, i have a switch on the pod to try for that, too.
no improvement with the mixer.
dramatic improvement with the soundblaster.
so, if it's humming, the soundblaster is getting around it. good enough...
...but i think it's asio. let's see if i can find evidence of that...
i know i can get around it by compressing the hell out of it because i did it once before, which is fine for finger parts, but i need a pick attack for this and don't want to compress it out.
the only other thing i can think of is that the active pickups are too loud. maybe if i try recording at a very, very low volume.
actually, i have a switch on the pod to try for that, too.
the
limiter didn't help either, indicating it's not actually clipping. it's
buzzing around 100 hz, and there doesn't seem to be a way to deal with
it except dropping the eq - which is no good, because that's where i
want the bass to be.
next thing i'm going to try is directly plugging it into the mixer. those active pups might be pissing off the pod...
if the mixer clears it up, i know it's the drivers on the pod - which, to be fair, are made for guitar frequencies. guitar starts at e2. i'm playing between e1 and f#2.
if the mixer doesn't clear it up, it's either an asio thing (which i suspect is true) or neither input can deal with the pickups.
step three will be testing it with the soundblaster to see if i can create the same problem or not, determining if it's really asio or just the bass.
i need to be clear that it isn't buzzing on the monitor, so it's a capture/driver issue with the pod. but i think it's asio because the initial line in was through the pod to the mixer. i'll find out in a few minutes...
of course, i could also be getting a hum at 100hz that the di box would in theory resolve, but you'd think i'd hear it on the monitor....
next thing i'm going to try is directly plugging it into the mixer. those active pups might be pissing off the pod...
if the mixer clears it up, i know it's the drivers on the pod - which, to be fair, are made for guitar frequencies. guitar starts at e2. i'm playing between e1 and f#2.
if the mixer doesn't clear it up, it's either an asio thing (which i suspect is true) or neither input can deal with the pickups.
step three will be testing it with the soundblaster to see if i can create the same problem or not, determining if it's really asio or just the bass.
i need to be clear that it isn't buzzing on the monitor, so it's a capture/driver issue with the pod. but i think it's asio because the initial line in was through the pod to the mixer. i'll find out in a few minutes...
of course, i could also be getting a hum at 100hz that the di box would in theory resolve, but you'd think i'd hear it on the monitor....
actually, the sample rate idea is
not going to work unless i reroute it to my maudio card. the mixer and
pod both have 48 max. it's only the maudio that can go up to 192, but i
never use it for recording because it only has one old-fashioned
red/white in. it's purely for playback. it's an idea, but it would be
easier to just use the soundblaster. still, i'm curious as to how much
better it is through 48, just for the bass.
i should just use the pod through a bassman. if i direct usb it in, i can't overload it.
easy.
i wanted to avoid that because i wanted to shape it in the daw, but i don't think the clips are otherwise avoidable without killing the dynamics. i'll have to experiment to see if it's workable, but i think this is the best approach.
i should just use the pod through a bassman. if i direct usb it in, i can't overload it.
easy.
i wanted to avoid that because i wanted to shape it in the daw, but i don't think the clips are otherwise avoidable without killing the dynamics. i'll have to experiment to see if it's workable, but i think this is the best approach.
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