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Fair Hallion posted:guy in the back is wearing camos & black shirt as well. They look like they are having a good time.
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Mar 25, 2015 22:02
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Ferroque posted:
That picture is perfect.
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Mar 25, 2015 22:25
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fyodor posted:is he wearing a kangol lol I think it's the scumbag Steve hat
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Mar 25, 2015 22:29
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http://www.martinguitar.com/new/item/3586-d-28-louvin-brothers.html
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Mar 26, 2015 05:52
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Why you posting great guitars in this thread.
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Mar 26, 2015 05:57
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quote:List Price: $4,666.00
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Mar 26, 2015 06:41
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For that much money they could have at least rotated the picture the right way up.
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Mar 26, 2015 12:21
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Fumble posted:For that much money they could have at least rotated the picture the right way up. You seem to be under the impression that people who pay that much for it will actually play it. 99% of the time it will probably be a display piece, so the art is in the correct orientation for the lifetime it will spend on a wall/on a stand.
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Mar 26, 2015 12:33
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quote:The late country and gospel duo, the Louvin Brothers quote:List price $4666.00
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Mar 26, 2015 13:08
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what do you guys think about bbe sonic maximizers? gimmicky bullshit? considering getting one for my bass rig for cheap (from a friend).
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Mar 27, 2015 03:14
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Ferroque posted:what do you guys think about bbe sonic maximizers? gimmicky bullshit? considering getting one for my bass rig for cheap (from a friend). Okay, I'd like to note first that I haven't personally handled one, but I have poked through the schematic and the surrounding literature....It looks like voodoo gimmicky bullshit. It looks like an EQ, and with sound demos, it sounds like an EQ. Might as well save the money and get an EQ, which will be damned handy at any rate.
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Mar 27, 2015 03:40
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Ferroque posted:what do you guys think about bbe sonic maximizers? gimmicky bullshit? considering getting one for my bass rig for cheap (from a friend). lol........https://www.youtube.com/watch?v=LosL-gdHLpk TLDR; Basically it's a smiley face EQ, which would be fine, except for the fact that it's not true bypass and with it in the chain but in the off position, it had HUGE low end scoop, like several db up to 300Hz. Then magically brings all the low end back when you engage the effect.
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Mar 27, 2015 04:03
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Hollis Brownsound posted:lol........https://www.youtube.com/watch?v=LosL-gdHLpk holy poo poo
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Mar 27, 2015 04:28
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Ferroque posted:what do you guys think about bbe sonic maximizers? gimmicky bullshit? considering getting one for my bass rig for cheap (from a friend). It looks like a pretty nice piece of kit really. Do you feel like you are losing some low end or high end definition though? All these do is boost and clarify the adjusted frequencies. It's just mud reduction. If you're going to buy something get a sansamp bassdriver. If you've got a couple of combo amps you can set up a sweet stereo rig. ONe handling bass gets the no FX line and the one handling mid and high end gets the dirt and fx line. It's fantastic. You can use it in a single amp setup too but combo amps are cheap enough and it improves the sound considerably more than a sonic maximizer is going to.
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Mar 27, 2015 04:47
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Hollis Brownsound posted:lol........https://www.youtube.com/watch?v=LosL-gdHLpk Yeah when I posted about BBE SM in the effects thread and I saw this video I laughed and laughed. I cannot believe they do that.
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Mar 27, 2015 05:05
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[disclaimer] I don't know if the 822i is supposed to work the way my 422A does, but the documentation for the 422A does not describe the function of the Lo and Hi contour knobs the way the guy in this video does. He starts with them all the way off, which on my 422A would produce a gigantic bass cut and reduce the highs in comparison to the mids by as much as the unit is able. "Zero" or "neutral" on those knobs is at 12 O'Clock, not "all the way off." Also, this guy's video does little to address the effect of the actual phase-correction of the frequency bands which are delayed by this unit. I don't understand why he didn't mic something up and record samples with the unit out of the signal chain, in the signal chain but bypassed, and in the signal chain with various settings? I think that would be a better demonstration of the effect of the process that the graphic output of some signal analysis software. Obviously if you were to put it in the signal chain of your guitar rig (taking into account description I present here); you'd install it, dial it in, and never bypass it. You'd only adjust the contour knobs based on what you hear depending on the amp and venue, assuming the information I am presenting is accurate. I can't argue with lines on a display. I don't think they tell the whole story, in any case. Lastly, I never used a BBE on the main bus of any mixer, as I've only used the hardware in the effects loops of my tube amps, and the software plugin on vocals. I don't think I would ever want to apply the BBE Process to an entire mix because I think it's meant to be applied specifically to one instrument at a time. Full disclosure: I've never played with an 822i. I don't know if it's different than my old 422A. So, I'll just share my experience and you can take it or leave it, and if you're interested there are other videos and reviews of the BBE process on YouTube and elsewhere. The following is my anecdotal experience and my memory of the process from the manual that came with the 422A that I bought in the early 90's. Everyone I knew bought one, and we used them as described below. [/disclaimer] This is how I've understood it: Back in the day sound engineers who set up the large PA systems for very large live shows figured a trick out and used speaker-spacing to create an effect, based on the speed of sound. BBE just does it with a combination of crossovers, miniscule delays, and voltage-matching amps. There is the addition of the lo-contour knob which is merely described as a bass boost at 60Hz, so that part is really just an EQ which you can turn off by setting the knob to 12 O'Clock (zero cut/zero boost). I will explain the Hi-Contour knob's function in a moment: The basic concept behind the speaker placement is that your ear can distinguish the timbre and other characteristics of an instrument's sound when the highest-order harmonics reach your ear first, ahead of the mids, the lows, and ultimately, the fundamental sine wave last. Loudspeakers (like the ones in guitar amps) have a way of pumping out your sound (sorry, your tone) with all the frequencies/harmonics bunched up together. In essence, I am saying that loudspeakers (like the ones in your amp) can cause the fundamental sine wave of your instrument's timbre/harmonic content to reach your ear at the same time as the mid and upper-level harmonics and frequencies. This can muddy the sound a little, taking away some of the distinction of the sound of your performance by affecting important things like your pick-attack (for example). The aforementioned sound engineers, setting up large PAs, would counter this effect by placing the different kinds of speakers at different distances from the audience. It works like this: The tweeters are closest to the crowd. This ensures the high-order harmonics and frequencies reach their ears first. The midrange speakers are back a bit further. This allows the tweeters output to reach their ears first, delaying the arrival of the mids by a very, very short time, due to the speed of sound. Then, the subwoofers are the farthest back. This ensures the fundamentals reach their ears last, so the fundamental and lows can't interfere with the highs or the mids (again, just due to distance from the audience and the speed of sound through air), and the effect was a much clearer mix. A little  will take you to some examples. This requires no EQ, it is separate from EQ. It's strictly based on delaying certain frequency ranges so they reach your ears in a way that subtly but noticeably improves the clarity of the soundstage. It really works, and it's exactly what the BBE does (or my 422A claims to do in the documentation), except the BBE uses actual delays. This is what is being referred to in the video as "phase-matching." The BBE process, at its core, purportedly splits the signal into three bands. Just lows, mids, and highs. If I recall correctly, the cutoffs are "lows" = below 100Hz, "Mids" = 100Hz to 1,500Hz, and "Highs" = 1,500Hz and above. After separating the signal into these three bands, the unit applies a very short delay to the lows. It applies a much shorter (about an order of magnitude, if I remember correctly) delay to the mids. It does not delay the high band at all. That's the basic function of the unit, but it does do two other things and they are controlled by the two knobs for each channel: 1) The Hi-Contour knob controls a Voltage-Controlled Amplifier which is constantly comparing the level of the mid-band to the level of the high-band. Should the level of the midrange band ever exceed the level of the High range band, this knob allows you to control how much the BBE boosts the High band to match or exceed the Mids. I think if you leave it at 12 O'Clock it keeps them at parity (unity?) with each other. In essence, a transient jump in the mids is compensated by a comparable transient jump in the highs. I keep it around 12 O'Clock, in my rig. 2) The Lo-Contour knob merely dials in (or out) bass frequencies based around 60Hz. That really is just an EQ. It does not take any other signal processing into account, it's simply an active bass cut/boost knob. If you feel like the cabinet or the room needs more lows, it's available by turning up the knob. If there's too much low end, turn the knob left to dial it down. You can choose to leave this neutral by setting the knob at 12 O'clock. Use too much and you will likely encounter dangerous transients in some speakers and possibly damage them. I found it very useful to beef up my open-back combos, but my buddies with closed-back 4x12s didn't need to use it. They often had outboard EQs as well, for other kinds of venue-specific EQ. I used the software EQ in my effects processors for that, specifically for when you needed a crazy notch filter or AM radio sound or huge mid scoop for some effect. I'm know I'm going to get beaten up for this post, especially after you've watched that video; but I swear I've never come across a guitar amp, no matter how amazing it sounds, that didn't sound even better with judicious and gentle use of the BBE Process (either in the effects loop of the amp(s) or, barring that, placed in series on the channel strip of the cabinet mic on the mixer.) VVV Gentlemen, I implore you: I had already written the post when I saw that this video had been posted and I wanted to share my experience but... the video  ...VVV
Dr. Faustus fucked around with this message at 05:28 on Mar 27, 2015 |
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Mar 27, 2015 05:19
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Holy poo poo
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Mar 27, 2015 05:26
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I don't know what to believe anymore.
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Mar 27, 2015 05:27
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I want to believe Dr. Faustus. I want to believe.
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Mar 27, 2015 05:32
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Please remember that I have no reason to lie except for the checks that I receive from the fine, honest people at BBE Sonic Maximizer™!
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Mar 27, 2015 06:55
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bbe stuff is pretty cool because only a genius could get people to spend $160 or whatever to make their badass rig sound like a crate practice amp
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Mar 27, 2015 14:34
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Weird BIAS posted:I want to believe Dr. Faustus.
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Mar 27, 2015 14:40
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comes along bort posted:bbe stuff is pretty cool because only a genius could get people to spend $160 or whatever to make their badass rig sound like a crate practice amp Sonic Maximizers were for recording back when we used multi-track tapes and poo poo. both low and high frequency take a beating on magnetic tape so you'd boost them with a sonic maximizer to get a good sounding demo. Completely unnecessary now with digital recording.
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Mar 27, 2015 14:56
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1268 videos of this dude "playing" bass. https://www.youtube.com/watch?v=ThcOh6bTZY8
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Mar 27, 2015 15:16
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Harry in Rio posted:1268 videos of this dude "playing" bass. Jesus, why? Why keep going when almost none of them have more than 200 views? How do you get like that? I can't fathom the psychology behind it, and it's freaking me out a little.
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Mar 27, 2015 16:44
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Dr. Faustus posted:Also, this guy's video does little to address the effect of the actual phase-correction of the frequency bands which are delayed by this unit. I don't understand why he didn't mic something up and record samples with the unit out of the signal chain, in the signal chain but bypassed, and in the signal chain with various settings? I think that would be a better demonstration of the effect of the process that the graphic output of some signal analysis software. It is much easier to show what exactly an effect is doing with a visualization over audio. Also, putting anything else into the signal chain would then cause more changes, when he's just trying to show what one thing does. It's a perfect demonstration of what's going on if you can read FFTs (which is like DSP101). The guy took the engineer's approach, not the musician's. And the phase correction is shown on the top plot. Notice how the slope of the phase offset changes? There's your "delay in time". However, these times are so minuscule and I honestly doubt many people can even hear these small delays to make up for a few meter's difference in location of speakers when gigging. It just feels like they are trying to compensate for an issue that, well, is a non-issue. Sub-ms delays aren't even noticeable to people, usually it's up around 25 where some people can start noticing some delay. I've never gigged/been to a gig where "the highs are leaving the speakers first omg!" was an issue. It's an over-glorified EQ, and that video is getting passed around our music engineering group right now.
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Mar 27, 2015 17:07
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Harry in Rio posted:1268 videos of this dude "playing" bass. I'll fully admit I'm no good at improvisation, but this just seems to make no sense.
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Mar 27, 2015 17:13
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sout posted:I'll fully admit I'm no good at improvisation, but this just seems to make no sense. lol get on his level bro
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Mar 27, 2015 17:27
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Well it turns out I'm just gonna trade for the sonic maximizer this acoustic guitar that I never use and originally bought used, so eh. If I don't like it I'll just sell it and make some money back I guess. Thanks for the posts though, I know people are pretty divided on whether this thing is useful or gimmicky bullshit. Do I put this before or after my compressor in fx loop? anyone used the pedal version? I know a guy who does ferroque fucked around with this message at 17:45 on Mar 27, 2015 |
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Mar 27, 2015 17:38
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Pondex posted:Jesus, why? Why keep going when almost none of them have more than 200 views? How do you get like that? he's clearly nuts. what's really going to gently caress with your head is that in a lot of the videos there's a person holding the camera. someone willingly put themselves through that.
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Mar 27, 2015 17:50
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Harry in Rio posted:he's clearly nuts. wow so many levels... feeling dizzy... need to lie down.
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Mar 27, 2015 18:44
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Ferroque posted:Well it turns out I'm just gonna trade for the sonic maximizer this acoustic guitar that I never use and originally bought used, so eh. If I don't like it I'll just sell it and make some money back I guess. sell it to some dope and get an eq pedal
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Mar 27, 2015 21:00
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Harry in Rio posted:1268 videos of this dude "playing" bass. Bluesdad sunglasses look, named 'ricky republican', playing over 80s pop. This video has it all.
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Mar 27, 2015 21:53
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unlawfulsoup posted:Bluesdad sunglasses look, named 'ricky republican', playing over 80s pop. This video has it all. Either it's my ears or his bass is so drat low in the mix you can barely hear it. Which is probably for the best because when you can actually hear what he is playing...well ugh.
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Mar 27, 2015 22:56
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Ferroque posted:what do you guys think about bbe sonic maximizers? gimmicky bullshit? considering getting one for my bass rig for cheap (from a friend). I used one the last time I was gigging, which was ages ago. I had no idea that it worked the way Dr. Faustus described, but that makes sense. To me, it made the sound warmer and more rounded. Big chords sounded bigger and rang out more evenly. For soloing, it evened out the sound so my sloppy picking was less noticeable  I came into it for free, so if cheap is cheap enough for you, then I'd say grab it and experiment. I have no idea what my settings were, since I just sorta turned the knobs til it sounded good to my ear. At the risk of attracting trolls, here's an example of the TOOOOOOOOONE I got in the studio with it. Setup: Peavy V120 or somethin like that, I don't remember. 4 speaker Peavy cab, and the BBE. Double mic'd-- one close up, and one about 15 feet away, in a big room, spread left and right. http://woodch.info/Music/FeelinInside.mp3 http://woodch.info/Music/LittleMissWicked.mp3 Edit: Oh, I see you passed on it. Oh well. Like I said... worth it for free or close to. Sounds like you got a better deal.
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Mar 28, 2015 04:17
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booshi posted:It's a perfect demonstration of what's going on if you can read FFTs (which is like DSP101). The guy took the engineer's approach, not the musician's. BTW, here's the PDF of the manual that came with my 422A with the exact crossover freq's and delay times, etc.; since the numbers I provided weren't right: http://www.bbesound.com/products/manuals/422a_manual.pdf
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Mar 28, 2015 05:31
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woodch posted:I used one the last time I was gigging, which was ages ago. I had no idea that it worked the way Dr. Faustus described, but that makes sense. To me, it made the sound warmer and more rounded. Big chords sounded bigger and rang out more evenly. For soloing, it evened out the sound so my sloppy picking was less noticeable No I got it! It's in my rack right now. traded a guitar i didn't use for it. Dr. Faustus posted:Thanks for the clarification. Obviously, I don't know how to read that thing. I got the 362. Here is the pdf of the manual.
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Mar 28, 2015 13:49
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Some instruments only seem at home in the hands of a Tool On A Stool™
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Mar 28, 2015 18:05
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That looks like a bass guitar that really let itself go. 
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Mar 28, 2015 18:36
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tacodaemon posted:Some instruments only seem at home in the hands of a Tool On A Stool™ "This is a joke right? What the gently caress do you expect me to do with this thing?"
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Mar 28, 2015 18:44
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