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 91 
 on: May 07, 2017, 05:45:13 pm 
Started by J. Mike Perkins - Last post by Michael O.
What you describe is the microphone perched at the edge of the vibraphone. However, I believe the initial question concerns the strange contraption hanging from above.

I've got a copy of the album, and you can tell with the higher level of detail that the mic on the boom in front of Tjader is also a 639, like the one near Getz's sax. It's hard to recognize because it's pictured from the bottom/cable side, with the front of the mic angled downward and slightly toward the treble side of the vibe, but you can still make out the signature ribs and cross bands. Plus it has that odd-looking v-shaped baffle above it (probably to increase directionality) that makes it even less recognizable.

 92 
 on: May 07, 2017, 05:00:08 pm 
Started by Mikeyod - Last post by Mikeyod
Took a reading across R49 while playing ( No tape loaded, Spooling motor control card removed. )
2.8 volts, when it slows down it goes up to 3.2 volts. This looks right it shows 0-3 volts there on the schematic.
   Just got in some parts and am going to take to shot gunning items on the .372 card one at a time until I find it. Starting from the right side of the schematic "driver" and moving to the left.

Of course, always looking for other better ideas ! 

 93 
 on: May 07, 2017, 03:25:18 pm 
Started by AusTex64 - Last post by uwe ret
Take a look at the Sennheiser MD 421, or if the budget is an issue, the Sennheiser e835 and e935.

 94 
 on: May 07, 2017, 03:15:42 pm 
Started by J. Mike Perkins - Last post by uwe ret
What you describe is the microphone perched at the edge of the vibraphone. However, I believe the initial question concerns the strange contraption hanging from above.

 95 
 on: May 06, 2017, 04:05:54 pm 
Started by Matt C. - Last post by Matt C.
the PM2000 seems popular around here and I've a question about one of the modifications people like to do - adding a proper 2-bus summing amplifier. 

The circuit itself seems simple enough (I'll probably use one of the ACA summing boards from Classic API), but I'm wondering how people physically add the necessary parts.  Seems like each of the 8 groups would need 2 assign buttons for L/R, you'd need to add a stereo master fader somewhere, and two output jacks (or four, if you want insert points). 

Is it easiest to just cannibalize two of the matrix channels for all this?  Or is there really room to drill out the face plates and add extra parts? 

I know I could technically get by without these options (I could hardwire all odd buses left and all even right, and use a dummy resistor in place of a fader, as if the fader is always fully up), but the inflexibility of that might get frustrating.

Any tips would be great, thanks!

 96 
 on: May 06, 2017, 08:01:15 am 
Started by J. Mike Perkins - Last post by boz6906
The 639 have a warm, organic sound that works well with acoustic jazz  We have a pair of WE 639B we use in X-Y with Cloudlifter preamps, very musical results.

 97 
 on: May 06, 2017, 05:43:58 am 
Started by AusTex64 - Last post by panman
Depending on the time they used AKG D24 a lot. That would be my recommendation.

 98 
 on: May 05, 2017, 11:57:47 pm 
Started by J. Mike Perkins - Last post by Michael O.
It's also an Altec/WE, just with a weird baffle and photographed at an odd angle. That record sounds so beautiful, two geniuses of smooth

 99 
 on: May 05, 2017, 09:10:20 pm 
Started by AusTex64 - Last post by AusTex64
I have a buddy that plays Paul in a very serious Beatle tribute band. This guy got a left handed Hofner bass and is learning to play left handed (he's right handed)!

Anyway, he asked for a recommendation of a dynamic mic that would be better than an SM58 for two people singing into the same mic, a la Paul and George. Embarassingly, I don't have any good suggestions. Curious to hear what you lads think.

Thank you.

 100 
 on: May 05, 2017, 07:51:35 pm 
Started by J. Mike Perkins - Last post by soapfoot
It appears to have something baffling the back and sides that looks weird, most likely not part of the microphone.

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