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  • Birthday 01/01/1
  1. Must this absolutely involve radio broadcast? If not, here are some thoughts/ideas (however irrelevant/useless they may be, and you left it open to ‘any’… ) You could considering building the ‘radio’ as an active speaker and sending it four separate channels of audio from an audio interface, via a wireless audio sender, triggering on/off each audio signal via a potentiometer or button on a wireless controller attached to the speaker/amp unit. So if that would work, you dial the knob/button on the 'radio' which sends a command to trigger the audio software to mute/unmute a channel’s audio signal with the audio interface's output/s via a patch leading to the wireless sender with a receiver built in or attached to the ‘radio’? Sorry if I state the bleeding obvious…if you’re talking radio broadcast here, I got very little. The only thing I can suggest if it absolutely must involve separate broadband spectrums, use four different sender/receiver packs of differing broadband specs. Hope at the very least you get some ideas out of that!
  2. Yeah but there's something to be said about the elevator music vibe. It gives that quaint sense of pushing the guitars and sax into the middle ground instead of their 'insistence' of being up front with all their glorious intricacies. (Cos if I wanted that I'd record em' anyway!)
  3. I think contemporary mainstream EDM forms the appropriate sonic backdrop for the mass marketing of the technology era, and the hysteria of keeping up with it. “Buy this upgrade, be the first to get the latest miniature UFO looking thingy…†Seems to me that mums, dads and kids are getting into it, and not because the parents went to raves in the nineties, but because EDM is a style that reminds people that they are keeping up, successful, whatever fulfillment is obtained from buying crap. Whereas in the 80’s/90’s was more associated with the "naughty" underground, (those petrol sniffing junkies!!!!!). Now we’re in an era discouraged from making face-to-face contact because advertising can’t butt in. Contemporary EDM just seems like the obvious choice to compliment that.
  4. Ah, it's the best!!!!! The funnest thing ever!
  5. 'A Drowning' remix sounds great...good balance of Reznor meets socially acceptable!
  6. the way you're miking now would be good for picking up bottom end. Try an ambient mic as well - place it about a metre back (depending on your speaker cone size and amplitude). Whilst monitoring both tracks, alternate muting each one to hear the difference in bandwidth that you're picking up. You should notice more top end in the ambient mic, and a fuller sense of spatiality (gives the recording that bit of room sound.) Together, you should be able to pick up a fuller sound. Separating them also makes it easier to place effects on the different bandwidths (ie compression, reverb, delay) and gives you more options with layering them creatively. Depending on the number of cones in the cab, you could try a stereo effect. In a two or more speaker cab, sometimes it's worth auditioning them all to pick the best speaker! SM57 is a good choice.
  7. @Mark Shaw & Ryan - kind of off the topic, don't you think? High density living ain't so bad. In fact, it can be lots of fun! We have THREE bimbos in my block of flats who like to walk around on the front lawn talking on their mobiles loudly to someone (who, incidentally, talks back so loudly we can hear them as well), announcing proudly to the entire block that they are "going out", or how they can't believe Wendy didn't invite them along to pilates. My sister comes around and we drink beer and listen through the security door, laughing our non-bimbo arses off.
  8. Yer. Live recording can be less than ideal. In this scenario I've had to set up compression beforehand so we don't have to pay a second person to monitor the inputs. I don't worry about it too much until it's imported!
  9. No probs...the reason we got it was because it's compact, robust and portable (it's too much trouble dragging my laptop and interface around), and its user interface is quick and easy to read whilst your busy running your live desk. If you don't need it for location recording, you may as well look at solid state/tube preamps to get the most out of your (expensive sounding!) rig (if that is where your heart lies!) But for AUSD $500, it is a very good bundle.
  10. Oh God...you didn't make it. You must be crushed! Hope March works out better for you.
  11. Hey Josh, We recently bought the Zoom 16 for recording our live gigs and making on the spot demos at rehearsals. Although I don't think that it's the best quality ever (preamp reasonable), it's an easy solution and really simple to use... so the other band members unfamiliar with the recording process are able to take the reigns if I need to step away from it for a bit. So yeah, in terms of "pro demo quality", we're pretty happy with it for the price. Although a lot of mixing consoles in the venues we play in don't have independent outputs for each channel, there's the option of using the desk's inserts, so was def worth going multi. However, I like the X/Y pattern on the H4n's ambient microphones better than on this one.
  12. ^yeah, what he said. Simultaneous postage!
  13. Are people changing their position on stage every week? Don't discount that musicians can be stoopid and unwittingly play with their tone knobs turned down, crappy cables etc. I'd run through each sound source separately and work your way back to the desk checking all your connections. I think too that those digital settings are probably best used as a starting point and you could tweak as necessary from there to allow for all the environmental changes that will occur from week to week. And when they do come out with comments like "horrible", ask them for a more eloquent description so that you can actually solve the problem as you'll be more likely to reach a positive outcome than with insults like that. You deserve their respect!
  14. i just grabbed the first youtube clip I could find so can't guarantee the excitement factor. I don't believe that many self-professed guitar-heads are into it either. I have one, and I use it on my heavy guage string guitar which I use when the other guitarist from my band and I decide to play brutal metal for a bit of time out from our usual stuff. I use it as an alternative to long lead sections as the heavier guage strings don't lend themselves well to those. Mine came with a badge with a picture of a guitar pick on it with a red circle and strike through it (aka the Ghostbusters sign). Sometimes I wear it to work (a guitar shop) and some customers have found it offensive! Bass players think it means I'm a bassist. Great, whatever - now buy something! But when I have explained what it is, I get a blank look; so apparently the ebow ain't that popular with guitarists either. Old and young, lots of people still wanna be Jimmy Page. As a side note, I went to his holiday house in Brazil and his maid showed me around. He wasn't home. I'm not a fan of massive proportions so I did not really care all that much.