BlueMountain

Unfortunately I have an old school shitty midi keyboard. So Midi shall be required if I ever try to venture into the world of Kontakt/Native instruments products.

Next purchase shall be Toontracks EZ mix

Don't have a clue what EZ Mix is....I'll need to check it out.

By the way...Native Instruments 'Vintage Keys' and 'Vintage Organs' are cool. Damn that Rhodes and Clavinet sure kill.

Most companies are making USB compatible midi synths and controllers now though aren't they?

They sure are.

I have a couple of Arturia products like this. I think it's a great idea. The good thing about USB MIDI is that it enables multiple devices if need be (DAW dependent mind you). I just hope the manufacturers continue to include the traditional MIDI option too. If you own or come by an older model of keyboard/synth then you're beat if you don't have traditional MIDI on your interface.

For me personally. Although I like the plug and play aspect, I prefer to have the option of using traditional MIDI connections as I have a shitload of USB dongles.

There we go. Ez drummer for $49. Purchased.

Nice going Hog. You should be very happy with EZDrummer.

Just reading through the post. You mention the M-Audio Box and the Mbox. These are two 'different' interfaces which people tend to mix up with one another. I have an Mbox I use on my general purpose PC. Just plug it in and you're away. I use an RME for more serious stuff. I can say that the Mbox is a fab little interface. You could do some serious music and good demos on this. The pre amps won't handle the more gain hungry mics out there like the Shure SM7b. However, regular dynamic mics and condensers will be cool.

By the way, I advise that you 'do' get an interface which has MIDI. If you don't, you may end up kicking yourself later down the line if you wish to use a soft synths or such like. A friend of mine got the Mbox Mini (lesser version of the Mbox) which doesn't have MIDI and regrets it. Now he's away to get an Mbox.

Feck the above.

Audio Deluxe have EZDrummer on sale again for $49 (approx £30) if you create an account and add it to your cart (ignore the $79). This is a download, so no waiting for a box to be mailed.

http://audiodeluxe.com/products/toontrack-ezdrummer

You won't get it for less than this anywhere/anytime.

Actually, several others (Thomann, DV247 and Andertons etc) have them on sale too. Must be a Toontrack precipitated sale then. Take your pick.

@Hog

Just letting you know that I received an email from - http://www.rubadub.co.uk/

They have Superior Drummer 2 and EZDrummer on Special right now. £109 and £54 respectively. Although their website has Superior 2 for £54, their eBay is £109. In my opinion, I'd say the website price is an error and meant to be £109 as per their eBay below. I doubt if they'd have SD2 the same price as EZDrummer. However, if you want to take a punt and get SD2 for £54 through the website and hope they'll be good for it, then it is up to you. I might cause some transactional issues. Might be best you check with them first.

http://www.ebay.co.uk/itm/Toontrack-EZ-Drummer-Drum-Sample-Software-/261070382172?pt=UK_Sound_Vision_Other&hash=item3cc901e45c

http://www.ebay.co.uk/itm/Toontrack-Superior-Drummer-2-0-Drum-Sample-Software-/260806413468?pt=UK_Sound_Vision_Other&hash=item3cb9460c9c

Incidentally, All SDX expansion packs appear to be reduced too. I should never have bought a new SG 61 Reissue last week - NOT.

I think most DAW's will let you run the drums the way blue mountain describes, reaper can do it automatically if you tell it to. Not sure I'd go to that trouble for demos but I think it would sound awesome for full productions!

Yeh...EZDrummer for demos for defo. I think you'd be happy with it. It's a good piece of software with lots of expansion packs available. You can drag and drop grooves into your midi track just like SD2. You can split the different kit parts in EZDrummer too - if you wanted to. I'm sure it can be done, albeit a bit fiddly. I'd still be happily using EZD it if SD2 hadn't come about.

BTW you just missed the EZ Drummer download at Audio Deluxe for £18 last weekend.

Superior 2 is a great piece of software. Confuses the shit out me sometimes, so I only use it for what I need it to do for me. Mainly I piece grooves and fills together by dragging them into my DAW track.

I use Superior Drummer 2 in Pro Tools 9.

1. I create an 'Instrument Track' with SD2 on it (which eventually just gets used solely for the kick).
   
2. I then create a number of aux tracks (depending on how many kit components I need - in addition to the kick).
   
3. I then use Superior's internal routing and PT9's aux track inputs to send the snare, hi-hat etc to individual aux tracks.
   
4. Once I have a whole song's arrangement which I'm happy with, I'll bounce each kit component to individual audio tracks.
   
5. I can then put compressors and EQs on each track to suit and send the tracks to a reverb aux and then, last but not least, the drum buss.
   

The same should be possible in other DAWs. Or at least a variation of it in some way. Which Daw do you use? Perhaps someone can

I used EZ Drummer years ago. Nought wrong with it. Just less processing options than SD2. Bear in mind though, EZD already comes compressed and is 16 bit. This didn't stop me from doing stuff I enjoyed though.

BM.

Good point Bigsby.

Yeh there have been some criticisms over the finishing work on several cheaper models. I have a good LP Studio (Faded Cherry) 50s neck which has a dodgy knot on the wood where the neck binding would be on the 5th fret. Although I like it a lot, I could have kicked myself for not spotting this as I was buying it (in a shop). It's only visible to me though - and I need specs to really see it. A minor purchase spoiler at best.

As ever, buying online is a gamble between price and 'play before you buy' I guess. I've never been dissatisfied with any SG I've tried so I'm hopeful of being happy. The upper fret access and tapered neck of the 61 Reissue was a huge selling point for me, not to mention the protruding neck joint part being located two frets lower than the 2012 Standards (two more frets worth of non-obstructed neck). I'll let you all know how I get on when my 61 Reissue arrives. Should be here next week.

As the title says. Just a wee heads up

Now is a good time to score one of the 2012 Gibson SG Standards. Thomann in Germany are knocking them out for around £716, in contrast to the £799 most UK retailers have them at.

The reason they're so cheap at present is due to retailers hoping to clear the decks for the 2013 SG Standards. Why?...Well...

Gibson are replacing the current Standard SG (bat wing pick guard, 490R + 498P pickups, rounded neck.

with

What has been known up to this point as the SG 61 Reissue (smaller pick guard, 57 Classic pickups, slim tapered neck). This will be the 2o13 Standard SG so I guess they'll be retiring the 61 Reissue.

I just pulled the trigger on one of their left over (full finish) SG 61 Reissues for £890. Some places are still trying to shift these for £1200-£1350.

Recently bought the Arturia V Collection (classic analog soft synths) and have been trying to create something retro with a late '70s early '80s vibe. It's a hoot but I keep scrapping things and starting over. Also been pissing around with Native Instruments' FM8 (Dx-7 type synth). Some nice cheesy '80s sounds in this which give plenty of inspiration.

I would have to dissagree with Mr. Blue Mountain.

Even if you have access to one of the hybrid hardware-software packages, Reaper is seriously better!

The only thing that come close, is ProTools HDX, but that costs about £6k and then you still have to either get a deal on Autotune and a few of the other plugs that you need, or fork out for them. And I still prefer Reaper for editing.

BTW, the BBC is now using Reaper for its outside broadcast trucks - how's that for an endorsement!

I totally agree with Mr. Byre regarding Reaper.

However, the hybrid hardware-software package route may have gotten the OP freebie DAW software which is what they said they would like "ideally". Mind you, a freebie isn't a freebie if you have to by hardware.

My rationale was also guided by my notion that SonarX1LE came with V-Vocal which is Cakewalk's (albeit limited) autotune style plugin. However, I just checked an it doesn't.

What everyone else said.

Unless you come by a free copy of Sonar or such like which has come with a hardware product, then Reaper is your man.

Has it always been quiet or has it just started misbehaving?

Are you using its built in mic or the stereo mic line in? The former is potentially going to be iffy from the get go and latter will depend on the quality of the mic used. Or, the sensitivity setting on the Micro BR? Check p39 of the manual here for details of this setting.

Perhaps the 'Input Level' needs cranked? Or the play back device is faulty. It'd dead easy to overlook something silly like this. I do it all the time.

Failing any of the above and if using a mic, try the mic with a different cable. If it's still quiet, try a different mic using both cables you've used. If your mic has a mouled on cable which cannot be disconnected, then try the mic into an amp or something to check it's okay.

Hope some of this helps.

Nah...I was in the process of building one but I don't have the time just now to commit to what may result from anyone wanting to work with me. I was working with a solo artist from Dundee for the last 3 months of 2011 and I found it hard to fit him in at various points as I have a fairly full on full time job and other stuff to contend with.

I'd love to open a place up some day but this may be 5-10 years down the line due to me still requiring lots of gear to do this. I don't know if I ever will though. It may not be economically viable in the current and envisaged future economic climate. As the future unfolds, I reckon we're gonna see lots of professional and semi-professionals working from well equipped home based studios (with adequate space). The market is about to bugger us all up like it did in the 1980s and I think bands may struggle to afford recording costs with studio owners struggling to make ends meet - unless they're really at the top of their game.

I was in a band in the late 1980s and we were all either unemployed or in crap jobs and I think young folks in general are headed this way again nowadays. Recording in a studio was a distant dream for us. Mind you, we drank a lot and recorded to 4 track tape at home. Mind you, we eventually did record something at the Seagate Studio in 1989 when they ran a modestly priced recording course in conjunction with Dundee City Council. That was a good experience and we learned heaps about engineering.

If you can afford it, save up and get a Countryman Type 85 Active DI or a Radial Engineering J48 Active DI.

Please note that the Type 85 can run on 48v phantom power or a 9v battery, whereas the J48 only uses 48v Phantom Power. I have a type 85 and like it a lot. It was a standard for many years.

I also have a Radial Engineering JDI Passive DI which isn't that great for passive guitars but can get me by and is no slouch. Handy if there's lots of interference from other electrical sources.

I thought it was you.

You're welcome by the way. I lost the pdfs on my last PC too which I'd started backing up. I was watching streamed episodes of the Walking Dead when the hosting website cause a critical error on my hard drive (Grrrrrr). I can't recall if I backed up the pdfs though. I'll have too look through the backup DVDs when I'm off work not next week but the week after. If I find them, I'll look into uploading them for you.

I sure miss the UGS as it was a bit more Dundee ish. I like this place too though. Perhaps a Dundee music is in order. I'm not convinced social networking sites (Facebook etc) are a one-stop-shop for music things. They're good but encourage too much filtering and cherry picking of want which can prevent exposure to new things. I still favour forums like this in addition to them. Places like this are much better for discussion.

Can't believe Mr Lizard's going to Finland. Good on him. I think opening a mastering facility is great idea, expecially given his wealth of experience. It'll be a blow for Dundee and surrounding area's bands who used to work with him though. Hopefully he'll get back to do 'some work'. Is he selling his UAD cards? ha ha ha - only kidding.

I would say that what you're describing with the CAD applies to the fattys. To anyone thinking about it, I'd say save up and get a Royer and be done with it as it would always bother you about what you're missing. That's why I got my U87 instead of a TLM 103, AT4050 or AKG C414. By the way, don't let anyone tell you that the pre-1986 U87's are better. I've tried both at the same time and although there are very slight differences, anyone who can't make one sound like the other is themselves the limiting factor. The newer ones are cleaner and have more headroom. The Sm7b is a staple. You just need to compare the wave forms in your DAW to any other dynamic such as a 57/58 and see. The audio is lush.

After Hours (Scorsese film with Griffin Dunn, Rosanna Arquette and Cheech & Chong) Funny as feck '80s classic.

Trailer available here: http://www.imdb.com/title/tt0088680/

Horrible Bosses (Kevin Spacy, Jason Bateman and Colin Farrel etc)

Seeking Justice (Nicolas Cage and Guy Pierce)

How are your Fatheads? I've considered them at one point or another.

Ah just noticed from your profile you're from Dundee and possibly in Pensioner? If your the same guy who once bought one of Mr Lizards UAD cards, I'm the guy who gave you guys a shitload of pdf recording books a couple of years back on the now gone UGS forum. You might be a different dude?

Regarding the FatheadIIs. I doubt anyone would be disappointed for the money. However, I'm keen to find out what a royer would be like and my pair of fattys took me up over £700 after duty etc and I've never had to use both them together. Therefore, a few hundred more and one Royer 121 might have been a more sensible purchase. What I will say, is that the fattys require a fair bit of gain. You would have to get very up close and personal with them to do a soft vocal. Nice none-the-less.

I don't use them for vox and never really got round to doing so due to having a u87 and SM7b which always seem to be spot on for vox. Before I bought my U87ai (new) I nearly bought one of the three old U87s which 'Sound City Studios' in California were selling. However, they were wanting the same price for early '70s U87s as what the new u87ai price is. Due to this, and despite getting someone in LA who I know and trust to check their authenticity out, I swerved them in favour of a new one. The old Sound Studio u87s would have undoubtedly been used on lots of great albums by the likes of Nirvana, Neil Young and Fleetwood Mac to name a few. I've always slightly regretted not getting one of them and guess what?....Dave Grohl is currently making a documentary about Sound City Studios which would have pushed their relsale value up. Just my fecking luck !!

My current mic's need a lot of fiddling to get a good grotty sound- usually with overdrive and amping, will ribbon mic's save me time and make me happy and warm inside...?

You'd probably never know until you try one. A ribbon may be a crap choice for your voice and style of singing and genre of music etc. But then, you may end up realising they're the dog's bollocks on guitar cabs, triangles and digeridoos.

I'm not sure that what you're doing with your "overdrive and amping" describe what most think of as being desired ribbon mic characteristics. Ribbons are usually considered warm and exactly as Toiletbag described. A half decent large diaphram condenser, judicious use of EQ and a compressor (with a tubes or transformers - or both) may take you where you wanna go. Possibly a tape saturation plugin too.

I have a pair of Cascade Fathead II ribbons with the Lundahl transformer upgrade but I woudn't say they get me into the Tom Waits ball park.

Have to say...I quite like the idea of a Ravish Sitar and Harmonice Mesmerizer.

You probably should publicly shame the bad ones, to be fair...stops others receiving poor service without warning.

To be honest Adam, my bad experiences have really been on eBay. With private sellers as opposed to companies. My dealings with eBay companies have been great.

Privately, I bought an SE Reflexion Filter which stooped dreadfully (dispute) and a Dbx 160x which I had to fix the LEDS on (pissed me right off).

On the flip side on eBay. Have a wee word/inquiry with US sellers who may be prepared to be discretionary regarding the documented price of your items. I once scored an API 2500 for £1550 (all in) when the street price here is £2500. I hope you can read between the lines here.

BM

Thank you Jeid and MC Nice Andrew

I've been away a while and just noticed you posted.

BM.

I've dealt with loads over the years. I won't publicly shame the bad ones though.

Thomann (in Germany)

Great and reliable. Can often have much lower prices than most other retailers. However, their prices on several things are sometimes ridiculously higher, which I can't understand. Their carriers and delivery times vary from 4-10 days depending on if your item is in stock. I've had to return a faulty Portico 5012 preamp. They arranged pickup the following day and once it was in Germany they dispatched my replacement promptly - 5 day turnaround.

Dolphin Music (Liverpool)

Next Day Delivery if you phone your order in before 3.00pm (might be 2.00pm now). Phoning enables you to check if your item really is in stock (I don't trust website stock - except Thomman's). Had to return a faulty UAD-1 card several years ago. Due to it being the last UAD-1 card they had at the time UAD-2 was coming out, they replaced my UAD-1 with a UAD-2 solo. I got plugin vouchers for registering the dud UAD-1 (which I handed back) and then got bonus vouchers for upgrading to UAD-2 with the replacement. This equalled about £500 worth of plugins as a perk of having a dud card. Just thought I'd gloat.

BM

Cheers MC Nice Andrew

Yeh, true...the individual pads and cymbals of the TD12 do have their own outputs which generally route to the module. Some are dual output.

I'm not familiar with Drumagog although I've heard it people speak about it lots on other forums. Isn't it just a sample library like Superior 2?

I totally get what you're saying about latency in triggering midi. It sucks. Does Drumagog get around this some way? I'll need to investigate.

The way to get round the latency with my TD12 is to capture the TD12's stock audio. While input monitoring this, mix in a click track (or accompanying musicians) using some snazzt cue mixes and whilst remembering to disable the Superior 2 midi track's input monitoring in the DAW. Mind you, this means that the drummer and anyone else has to put up with the crap module sounds for the tracking, but in the knowledge that it will eventually be replaced with something better.

I found this Drumagog clip. Crazy!!!

Stewart