Carol-Ann

unix-guy said:
I used to do the same thing as you for the same reasons... but have you actually tried the way I suggested? That is supposed to be *exactly* the same. The key is in the Mix and Level settings as mentioned.
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Yes I have. All that became popular when the mix law was changed. I hear them different. Not better or worse just different. That plus not wanting verb to be delayed and vise versa is enough for me to keep things in parallel
 
FractalAudio said:
There's no difference between the way you've done it and in series. The Mix control controls the ratio of dry and wet. If you put the Reverb in parallel with a shunt it's still just dry and wet.

The purpose of parallel routing the Reverb would be, say, when you want it in parallel with a Delay so that the echoes aren't sent through the reverb.
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brokenvail said:
Yes I have. All that became popular when the mix law was changed. I hear them different. Not better or worse just different. That plus not wanting verb to be delayed and vise versa is enough for me to keep things in parallel
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Fair enough... also, I replied before I saw that Cliff had basically replied the same thing.

However, the separation of delay repeats and reverb is definitely understandable.

I thought the mix law was only for delay, I don't recall that affecting reverb... but perhaps I just forgot :)
 
brokenvail said:
Yes I have. All that became popular when the mix law was changed. I hear them different. Not better or worse just different. That plus not wanting verb to be delayed and vise versa is enough for me to keep things in parallel
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What are you talking about re. mix law... Pan law?
How Do you think this is applicable? Pan law is there to have a source being moved across the sound stage perceived as the a constant volume.
On everything else you just tuck it into the mix where it should be.
Personally I'd look at patches v using the enhance block and if they're terminating into stereo sources as a much bigger issue.
 
unix-guy said:
Fair enough... also, I replied before I saw that Cliff had basically replied the same thing.

However, the separation of delay repeats and reverb is definitely understandable.

I thought the mix law was only for delay, I don't recall that affecting reverb... but perhaps I just forgot :)
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The reverb mix law if I ram call correctly is the same or almost the same to the delay law
 
Ed DeGenaro said:
What are you talking about re. mix law... Pan law?
How Do you think this is applicable? Pan law is there to have a source being moved across the sound stage perceived as the a constant volume.
On everything else you just tuck it into the mix where it should be.
Personally I'd look at patches v using the enhance block and if they're terminating into stereo sources as a much bigger issue.
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No I am talking mix law. A few years back Cliff changed how the mix parameter affects volume and the delay (and reverb block if I recall correctly) when he made the change he referred to it as mix law
 
stm113 said:
I've found that the only way to get a good tone from the Jubilee for me is to crank the master louder than you ever would in the real life. Maybe try that. I learned this from the preset Yek provided in his series.
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Thanks stm I cranked the jubilee master to 10 and tweaked the tone, and boom instant love.
 
brokenvail said:
No I am talking mix law. A few years back Cliff changed how the mix parameter affects volume and the delay (and reverb block if I recall correctly) when he made the change he referred to it as mix law
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Yeah. Dry signal remains constant for mix values below 50%. Dry level tapers off as mix increases above 50%. Mix law
 
ibanezfreak4 said:
Just so I'm clear, is this the tone you are seeking?


Cheers!

EDIT: This tone example of the JB100 is freakin' awesome sauce. Totally obtainable in the FAS prods to be clear:

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That is indeed a killer tone. How would you build that tone? Is there somewhere a preset availabe that gets close?
 
yves vanmeenen said:
That is indeed a killer tone. How would you build that tone? Is there somewhere a preset availabe that gets close?
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Started working on one the other day for Q5.02. Haven't had time to dial it in 100% but it's getting there. Might have something before the end of the weekend if I get a chance to hit my studio...
 
How do you know that "Stop" was recorded with the JB100?

I think he sounds great both in GC and Stop - It's just one of those tones, I love to hear, but when I can't really play with it myself.
 
I was recently listening to some Steve Hillage recordings from the 70s and I was surprised to hear that Hillage's phrasing reminds me of Eric Johnson. Only Hillage was around first. This made me wonder if Hillage is one of Eric Johnson's influences .
 
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