I can’t be spending hours taking photos, and even if I did there’s no guarantee the results would be worth looking at – so here’s an awful comp/edit of two shots from the iPhone showing what I couldn’t get into one.
This place is actually reminding me more and more of the studio apartment I recorded the 1989-1990 demos in – the set up is actually quite similar, the two main differences would be that I have a family in this domicile and I do now know how most of the equipment works. Both of these could be positives or negatives…
In the photo we have – the tested guitars – Bass – Jerry Jones Longhorn, 2 acoustic – Collings OM and the new Taylor Grand Concert, 3 electric – Les Paul, 2 Telecasters (2nd tele is back in its case). Great news here – there seems to be little or no electrical interference wen recording electric guitar or bass. I was pretty much resigned to having a bunch of hums and buzzing noises to deal with (old house, old wiring , etc) in fact I dropped by the local luthier to inquire into hum canceling tele pick ups… but it seems quite workable. Mic in the foreground is the Coles ‘BBC’ ribbon mic for acoustic guitars. Just out of shot is the Neumann M147 – it’s newish and it is covering for my U67 while we figure out what that frying egg noise is.
Key signal paths established and tested OK-
Electric guitar and bass > Tech 21 Sans Amp PSA-1 > Trident s100 mic pre > Empircal labs Distressor (compressor) is inserted in the channel > Trident EQ > Apogee PSX-100 A/D> Computer
Acoustic guitar > Coles ribbon mic > API mic pre (300 series) > Distressor > API EQ > Apogee MiniMe A/D > Computer
Vocal > Neumann M 147 > API mic pre (300 series) > Distressor > API EQ > Apogee MiniMe A/D > Computer
In the computer (the old 2006 apple mac G5 I bought and pimped up – RAM, IDE dives, etc – for Antidepressent) Logic and Reason seem to be working together nicely – I plan to use Reason for all keyboards, if possible. So far the ‘Steinway’ and the ‘Wurly’ sound fine.