henryrobinett
Fractal Fanatic
It sounds great the way I do it. I do NOT record at 48k. I record at 96k, so spdif is out for me I'm afraid to say.
Hi Danny,
Yeah I know my statement is brash and outrageous. I also am aware that 57s are still commonly used but I use outrageousness and shock because that persona is embedded in my name and we need to ween more people off thinking 57s are the be all and end all of guitar tone. I earlier stated that opinions are like assholes... everyone has got one and really I would further add that everyone can be an asshole & sometimes even for the betterment of mankind to push through stale traditions that are holding back progress!
ASG said:I was an asshole. However I am not solely defined by my outrageous behaviour or statements or opinions.
ASG said:I would much rather use some quality EQ for more cut off a Royer tone than add a 57 to a mix/ A 57 has cut but to me is simply a rough cheap tone. But yeah great for the money. Best bang for your buck ever and super robust!
What mics Eddie used to record for sure we may never know those guys were off their faces and partying so much I wouldn't trust what they say in interviews. I have no doubt that some engineer or assistance was around who threw another mic or two on his amps and/or what post production was done on his amp tone. Still yes 57s are great for the money.
Cheers
ASG
Must be why Satch recorded his last album with the Axe Fx! lolSo Long ago you can be certain no modeller was anywhere near it!
1987
But the principals would still work the same .... if you enhanced your tone before you enter the Axe....
The tone on that album was insane as was his playing!
The bottomline line truth is a modeller is a convenient fantastic package ... the ultimate pro recording scenario rarely involves modellers. You can never beat real tubes....
What so you start with a 48k digital signal then convert to analog using the relatively cheap Axe DA converters then return to digital land using your own more expensive AD convertors and record @ 96k and you think that's better?It sounds great the way I do it. I do NOT record at 48k. I record at 96k, so spdif is out for me I'm afraid to say.
BTW Prism is NOT better converters than the Metric Halo.
I have to disagree with you there. "Asshole" is a little too brash and outrageous. I have no problems accepting opinions. If anything, you and I talked a little shop here. You showed what you liked and didn't like, I'm doing the same and here we are. Tech talk rules!
Must be why Satch recorded his last album with the Axe Fx! lol
Danny - seems silly that people think that of you. For the record for everyone else reading this, you're the guy that introduced me to the Axe (HUGE thanks for that!) and you worked on a project of mine - going out of your way to send me a video on how you would fix my kick drum by mixing it in Sonar (which I use) and recording it as you did it and talking me through it.
Your a generous guy and a class act.
I just needed to say that.
Yeah you're really out there curing cancer, ain't ya?I would further add that everyone can be an asshole & sometimes even for the betterment of mankind to push through stale traditions that are holding back progress!
What so you start with a 48k digital signal then convert to analog using the relatively cheap Axe DA converters then return to digital land using your own more expensive AD convertors and record @ 96k and you think that's better?
I believe you believe that and feel good about it. If it makes you and your clients inspired and play and tweak better then it is better!
I know halo use very good convertors but they don't make a high end standalone convertor box do they?
Lot's of engineers with big budgets choose different convertors to MH even with an Halo in their arsenal.
Danny U R Soul!
You do realise that Santriani gets given loads of Axe FX II XL+s for free as well as cash to help lubricate his lips?
The Axe is undoubtedly the best modeller but can we trust what he says in interviews and ads under these circumstances?
He could use one effect on one phrase and say "I recorded satch & satch an album with the Axe FX!"
The Axe reverbs and chorus are nice but if space, money and time (someone else setting up and pulling the basic sounds for me) there are plenty of reverb units I would pick for my big budget album than inside a multi effects unit and I would chose my TC 1210 for chorus & flanging.
Would the average punter tell the difference? Probably not consciously, but if they were AB'd on good DA , amp & monitor setup they might go I don't know why but this one feels nicer to me. I certainly could tell the difference.
The likelihood that many of our heroes might not record their uber albums with a multi effects and/or modeller shouldn't deter us from loving the Axe, using it and recording with it. For example as I understand it the lead vocal cuts on Gary Moore's Still got the Flu album were captured in the control room using a Shure Beta 58 (original Not Beta 58A ... there is a big difference 58A is the cheap to manufacture copy. Everything is built to price performance ratio) for the simple reason that his original performance on the guide vocal was more inspired and superior than later takes using large diaphragm studio condenser mics with more detail.
At the end of the day opinions are like noses everyone's got one. Some noses are more refined than others however.
When even when I travel I take Moccona coffee with me and put the milk in first. Many people laugh and say "you wouldn't be able to taste the difference" I say blindfold me and line 'em up I will smell the difference let alone taste the difference.
Now I sound like a wanker but let me say that there will always be someone better. We are teachers the level below us, workers on the level we are on and students on the level above us.
Let's not get too technical however ... often I find
Less is MORE!
Yeah you're really out there curing cancer, ain't ya?
The more I read you, the more I luv you! (in a non-gay way of course!) I do the same thing with my French Vanilla creamer in my hazelnut coffee! Always add the creamer first!
In my extensive experience most pros record the unit from the analog outs direct into the console. Second most popular would be AES. Third would be analog into a preamp. I've never seen SPDIF or USB used in a pro studio... but then, I do know that a number of "guest solos" performed by Fractal artists I work with have been recorded via USB into a laptop on the bus or in the hotel.
In my extensive experience most pros record the unit from the analog outs direct into the console. Second most popular would be AES. Third would be analog into a preamp. I've never seen SPDIF or USB used in a pro studio... but then, I do know that a number of "guest solos" performed by Fractal artists I work with have been recorded via USB into a laptop on the bus or in the hotel.
I think the issue with USB M@, is most of the USB units suffer with latency issues. They have come a long way though. For example, though I don't use it often, the USB in my Midas console goes down to 64 (1.5ms I believe) samples with ease and allows for 32 simultaneous tracks to be recorded. But I never have to drop my buffers because the console is "live". The only time I drop it is when I record a soft synth. It's never even dropped out or broken a sweat. That said, when I've used it, it sounds as good as my really good interfaces which are getting around the same RTL. Some of my friends that use USB, can barely touch 256 samples via buffer size without drop outs and loads of latency....so my guess is, it's probably due to the manufacturer as well as the pc the unit may be running through.
Actually I am! Sadly my Dad had a very late diagnosis for stage 4 prostate and bone cancer. The good news is that he living a relatively happy life so far ten times longer that the medical experts gave him if he did chemo and mainstream therapies. I did a LOT of research and medical grade cannabis oil along with an alkaline diet is the go. Cancer can't exist in an alkaline environment.
Oh gee and I was gonna turn gay for you Danny! So sad :-(
Different batteries do change their output under load.
There is always the law of diminishing returns when it comes to gear and GAS. How inspired you are and your own potential are far more important however.
The "pros' should use a Neve RNDI as the instrument interface then run to the AxeFx then direct to an audio interface. The RNDIs are incredible I have several and will be getting more!
Hey Danny, love your videos btw, great stuff!
Just wondering if you'd know the answer to this;
If you're using the Axe FX as an interface and recording directly via USB, but monitoring out of the back output into a couple of studio monitors.
There is no latency (to me) of the direct guitar audio (unless monitoring in software at the same time), but perhaps there is some latency on the recording as it travels through the USB cable and into my DAW? I'm using Studio One 2 which I think may even automatically correct for latency on recordings...
If that is the case, is there any issue of where the latency can become apparent or create issues?
Thanks alot!