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Building A Dream Recording Studio (Page 6)
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subego  (op)
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Apr 27, 2014, 09:10 PM
 
I'm not 100% sure I want to pin this all on Logic, but something keeps shitting the bed.

Everything is fine, and then all of a sudden things decide to stop doing what they had just been doing flawlessly.

Today, I had outputs drop for absolutely no discernible reason, and MIDI instruments which were clearly playing a fraction of the sample. Still also have imports just pick random audio files.

I was originally thinking Logic is just quirky. This is verging on broken, if not past that point. I can't have it stop working in the middle of a session, like it has on every single one so far.

Seriously. The producer had to tell me to calm down at one point.

FCPX is annoying, but at least it does what you ****ing tell it to.
( Last edited by subego; Apr 27, 2014 at 09:25 PM. )
     
subego  (op)
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Apr 28, 2014, 11:04 PM
 
OTOH, Logic Remote for the iPad is friggin indispensable. Just that feature alone almost makes the shit it's giving me worth it.

Almost.
     
subego  (op)
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Apr 30, 2014, 01:11 AM
 
I think I have to pin the last ****up completely on Logic, and again, this isn't a quirk, it's flat-out broken.

Other projects, I route audio to where I want it to go, and that's where it goes.

This project? No. Route audio to the same place where it just worked on the other project and you get dick. Both projects were generated off the same template, so they both have my routing matrix baked in. IOW, I didn't accidentally **** that up on one project. They're both using the exact same routing scheme.

Logic even helpfully claims the audio is going to where it should be by making the meter on the output move, the only thing is no signal is actually being output.
     
subego  (op)
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May 1, 2014, 05:05 AM
 
Glass half-full says today was the first day Logic didn't trash a session.

Glass half-empty says that's because we spent three hours beforehand coming up with bailing wire and spit workarounds to what it would have ****ed up.
     
subego  (op)
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May 8, 2014, 02:02 AM
 
Things have been going surprisingly well. Logic hasn't thrown any curves lately, so I can be happy again with how cool Logic Remote for iPad is. It's so nice to be able to take it with me to the racks.

One thing which has surprised me is how useless the analog VU meters are on some instruments. They're too slow for the drums, and 0 on the guitar amp was making the mic crack. I needed to keep most guitar activity in the -5 to -7 range.

Overall though, what's been most satisfying is so far the instruments I've recorded sound the way they're supposed to.

The Mojave LDC tube has really shined. It's now been dubbed the "Mojo mic". Likewise with the Martech preamps. I'm ordering up another pair. Just what the hype says. Clean, but not sterile.


Edit: I guess it had to be the preamp cracking. It sounded like the mic getting overloaded, but that doesn't really make sense from a physics standpoint.
( Last edited by subego; May 8, 2014 at 05:24 AM. )
     
subego  (op)
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May 8, 2014, 11:50 PM
 
@Spheric

I have so stolen the "sewage treatment plant" metaphor and have taken all the credit for myself.
     
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May 11, 2014, 01:50 PM
 
Even with my limited knowledge of music theory, I can understand this.

BBC Proms 2011: Tim Minchin - F Sharp (Comedy Prom) - YouTube
     
subego  (op)
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May 11, 2014, 03:18 PM
 
Also, I was propositioned to be a foot model while waiting outside of a sex shop.

We were costume shopping for the band, so I guess it goes here.

Made me totally self conscious about my ratty, het toenails.
     
subego  (op)
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May 11, 2014, 04:17 PM
 
Quickie review of Chicago sex shops:


Taboo-Tabou: good selection, but usually an aloof attitude from the salespeople. We were spared that because it was clear we were "performers". They even gave us the discount.

Lover's Lane: too much in the opposite direction. This is not the place where I need the hard sell.

Cupid's Treasure: always had kind of a crummy atmosphere, but also had an excellent leather shop connected to it. That's been consolidated into a tiny section of Cupid's Treasure. Overall, I'd say this place is sliding, and it wasn't that good to begin with, but this is where I got the offer to touch my feet be a foot model.

Pleasure Chest: still the best. Their attitude can be summed up by them having the most impressive display of strap-on harnesses I've ever seen. Lots of lesbians go to sex shops, but this is the only one I've been to outside "lesbian exclusive" places which goes out of their way to cater to them directly, while also trying to avoid more of the unpleasant patriarchal themes which go with the sex shop industry (like, "we're the store for all your slut needs!").

Egor's Mistress: brand new. Run by the most delightfully bitchy drag queen. As classy as you can get in this type of place with it still being overtly about ****ing.

Leather 64Ten: if you need a custom leather corset, gimp mask, or a really big dildo. They'll hook you up.
( Last edited by subego; May 11, 2014 at 10:36 PM. )
     
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May 11, 2014, 05:41 PM
 
My, you are serious about the recording scene. Music, sex, and drugs. Only the one item left to go.
     
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May 13, 2014, 12:11 AM
 
sub, reading material for thee:

The Audeze LCD-X, Fazor, and a Fresh Listen to the Current LCD-2 and LCD-3 | InnerFidelity

Non-electrostat, the LCD-X is my favorite headphone right now. If you call them (Audeze), they'll probably send you a set to eval for a while (they did that for me).
"Those who expect to reap the blessings of freedom must, like men, undergo the fatigue of supporting it."
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subego  (op)
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May 13, 2014, 01:28 AM
 
Thank you, sir! I will check them out.

I'm still a little thrown by places willing to send you demo models of ridiculously expensive gear, but it seems standard.
     
subego  (op)
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May 13, 2014, 01:42 AM
 
Originally Posted by reader50 View Post
My, you are serious about the recording scene. Music, sex, and drugs. Only the one item left to go.
Ironically, that one item appears to be sex.
     
subego  (op)
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May 13, 2014, 02:13 AM
 
Not counting my feet.
     
subego  (op)
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May 17, 2014, 11:44 PM
 
Today was clarinet. Mojo mic pretty close in, from underneath the music stand pointed at the finger holes, its little SDC brother, the MA-100, over the music stand. Neither sound quite right on their own, but the combo sounds nice and full, though if I had to pick one it'd be the LDC. I spent most of the day listening to that mic with just a touch of the SDC.

Fair amount of clicking and breathing though, especially after 9 hours of playing. I also think I may have some phasing issues, but I'm hoping that can be "fixed in post".
( Last edited by subego; May 18, 2014 at 12:48 AM. )
     
subego  (op)
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May 18, 2014, 09:50 PM
 
More guitars today. I was pretty stressed about the mic cracking. The guitarist's amp was cracking, which made the job more difficult.

When it comes down to it though, the problem seems to lie in the VU meters not being fast enough to register even close to the peak. Just as with the drums.

What threw me though, were the VU meters on the Martech pre didn't come close either. That was a surprise. I've already complained upthread about how jumpy they are. I used different pres for the drums, so I hadn't seen them react, and likely do the same, on blow your brains out loud percussive noises.



As a side note, much thanks to Spheric for recommending the Ultrasones. I grumble about headphones, but these are quite the shit.
     
subego  (op)
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May 22, 2014, 02:12 AM
 
On the one hand, I feel privileged to be in this situation where I'm building a dream studio. I have food, a roof over my head, and people who love me. There's no place for me to get off complaining about anything.

On the other hand, mics approaching five figures should come with a ****ing dustcover.
     
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May 22, 2014, 07:16 AM
 
^^ An AC adapter or power cord with FX modules and the like would be appreciated as well.

When do we get, but a taste of what you've produced in this formerly-rat infested paradise?
ebuddy
     
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May 22, 2014, 07:29 AM
 
That's a question I'd love to see answered, as well.

As for dust covers: As a keyboard player I say "Boo hoo. Suck it up, brother."
     
subego  (op)
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May 22, 2014, 01:50 PM
 
I'll definitely hook everybody up ASAP.

However, I'd say we're about halfway through tracking, so if you extrapolate that out, AP may not be particularly S.
( Last edited by subego; May 22, 2014 at 02:00 PM. )
     
subego  (op)
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May 22, 2014, 01:59 PM
 
Originally Posted by ebuddy View Post
^^ An AC adapter or power cord with FX modules and the like would be appreciated as well.
I know it's wasteful, but most of the time, if something comes with an AC cord, I pitch it.

The main issue for me is pack-in cords almost always come wrapped in a tight figure-8. Once that's been done to a cable it's close to hopeless to get it to behave.

I'm assuming the rationale is space, and not forming an induction coil if you plug it in straight out of the box without unwrapping it.

Luckily for my OCD, Tripp-Lite sells nice, 14-gauge power cables which come coiled properly.
( Last edited by subego; May 22, 2014 at 03:07 PM. )
     
subego  (op)
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May 24, 2014, 06:53 PM
 
Today was cello, which excited me because it's one of my favorite instruments.

Same mics as the clarinet. Mojave SDC overhead and Mojave LDC pointed at around the bridge area. We split the difference between bright sounding above the bridge and bassy below it. I'm really liking this mic combo. Her pickup wasn't that great, but it'll add some extra bass if we need it.

Some pretty epic breathing noises from the SDC. Not really sure what to do about that.
( Last edited by subego; May 24, 2014 at 07:10 PM. )
     
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May 25, 2014, 09:09 AM
 
Originally Posted by subego View Post
Today was cello, which excited me because it's one of my favorite instruments.

Same mics as the clarinet. Mojave SDC overhead and Mojave LDC pointed at around the bridge area. We split the difference between bright sounding above the bridge and bassy below it. I'm really liking this mic combo. Her pickup wasn't that great, but it'll add some extra bass if we need it.

Some pretty epic breathing noises from the SDC. Not really sure what to do about that.
You know we men, we're "fixers" ... while you're likely just thinking out loud, I might try a single, large-diaphragm condenser mic positioned low, (about parallel to the bottom of the fret board just above the bridge), approx. 2.5 - 3' away from the instrument and angled slightly downward at the bridge. If you're really not getting enough of the high end with this technique, perhaps incorporate her pickup in a different way, rolling off the low end. Just spit-balling.

Half the fun is putting the musician through an hour of mic'ing techniques. CELLO SONATA NO. 4 IN B FLAT MAJOR AGAIN, MONKEY BOY!
ebuddy
     
subego  (op)
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May 25, 2014, 10:34 AM
 
IIUC that's close to what I had. The capsule for the LDC was just above the bridge, about two feet away. The only difference is I went with the mic being vertical. That placement more or less made the cello sound like it did to my ear.

Adding the SDC then made it sound "better" than real. Not surprisingly, it has a solid high-end. I assume not just from the small capsule, but from being pointed higher up on cello. Alone, that mic sounded good, but lacked bass, and had a lot of (our janky) room tone in it.

Together, it's some beautiful chemistry. Just a touch of the SDC brings out the high-end, and makes the whole recording more spacious sounding.

The main issue is the SDC is more or less pointed at her face. I floated the idea of holding her breath for five minutes, but diva over here wasn't having it.
( Last edited by subego; May 25, 2014 at 11:09 AM. )
     
subego  (op)
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May 25, 2014, 10:54 AM
 
One of the few downsides to this project however, other than rodents eating my gear, is getting time out of the band is like pulling teeth. I had to quickly adapt my mic fetish to "pick one, put it close to where it should be, and go". The producer gives me time, and he sings lead vocals, so I've been able to do some extensive testing with him (and plan to do more), but the precedent was set when I needed to pick an overhead for the drums. I picked the current vocal winner. That sounded good, so it was the neck mic for the upright bass. That sounded good... shit, we'll use it on everything, or as Mojave says in their ad copy "suitable for wherever you'd use an expensive LDC". I picked the SDC to pair with it based on it being built by the same guy, so I imagined I'd get a vaguely similar tone out of it.

It's worked so far.
     
subego  (op)
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May 25, 2014, 11:04 AM
 
I should add in Mojave's "defense", their LDC is not exactly cheap, but compared to what you normally pay for Neumann tube clones (it's based on a U67), it's very reasonably priced. This isn't the "approaching five figures" U47 clone I picked up

That said, the Mojaves don't come with dustcovers either.
( Last edited by subego; May 25, 2014 at 11:20 AM. )
     
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May 25, 2014, 11:41 AM
 
If you're spending $25,000 on microphones, get a cabinet.
     
subego  (op)
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May 25, 2014, 12:05 PM
 
Oh... I've got things covered (ha!) long-term. Everything which doesn't come in a case gets a Pelican case. The dust cover is for times like this weekend. Back to back sessions with the cellist. I left the mics out but popped on a pair of those Sea to Summit bags to keep the filth at bay.
( Last edited by subego; May 25, 2014 at 12:25 PM. )
     
subego  (op)
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May 25, 2014, 09:38 PM
 
I called the bass traps "bass traipse" today.

As in "Big Mouth Billy Bass Traipse".
     
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May 26, 2014, 01:31 PM
 
Finally getting around to building my own recording studio! (Instead of co-opting my study/library.) I'm using a part of the basement that was, at one time, segregated for firearm storage (I have another place for most of those now). I'm going to shamelessly raid your thread for ideas, so as to avoid the problems you had. (I don't have rodent issues, the benefit of owning many feline serial killers).
"Those who expect to reap the blessings of freedom must, like men, undergo the fatigue of supporting it."
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subego  (op)
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May 26, 2014, 03:04 PM
 
Good deal! Music, or voiceover?
     
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May 26, 2014, 03:47 PM
 
Largely voiceover, I'm launching a spoken word label, but I'm planning to record some local music as well, eventually. We have a wealth of untapped Bluegrass/Folk talent around here that deserves to see some recognition.
"Those who expect to reap the blessings of freedom must, like men, undergo the fatigue of supporting it."
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May 26, 2014, 03:52 PM
 
You guys could practice up your recording studios by doing some audiobooks. I believe a number of sources accept recordings of readings. You could add amateur dramatic music in the background, tied to story plot.

It wouldn't pay the bills. But it would develop the vocal work, music recording, and most of the timing / mixing / noise control aspects of recording. And let you work out the audio side of movie production. All while doing something good.
     
subego  (op)
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May 26, 2014, 03:59 PM
 
     
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May 28, 2014, 07:07 PM
 
More drums today...

Is it possible micing drums isn't particularly difficult, just a ****in' pain in the ass?
     
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May 28, 2014, 07:39 PM
 
Originally Posted by subego View Post
More drums today...

Is it possible micing drums isn't particularly difficult, just a ****in' pain in the ass?
Would it offend your analog senses if I were to tell you that this is precisely why I've gone all Roland V?
ebuddy
     
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May 28, 2014, 07:46 PM
 
Not at all!

Doofy was still around when the seeds of this idea started to germinate.

His two pieces of advice were:

1) Get the most ****hueg Mac Pro possible.
2) Get a Roland.
     
subego  (op)
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May 28, 2014, 08:04 PM
 
Today was actually the first day I had a little twinge of "I'm not looking forward to this" when it came to re-micing the kit.

They're a load of fun to listen to though. They "talk" in a way I haven't heard other instruments do. I was never was able to hear that aspect in a finished piece.

In theory though, this was the last of the drums for the album. We had a few overdubs, and one track which needed to be redone due to timing issues between the drummer and the metronome.
( Last edited by subego; May 28, 2014 at 08:21 PM. )
     
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May 28, 2014, 08:51 PM
 
Originally Posted by subego View Post
Not at all!

Doofy was still around when the seeds of this idea started to germinate.

His two pieces of advice were:

1) Get the most ****hueg Mac Pro possible.
2) Get a Roland.
Good ol' Doofy. I don't think I'll ever go back, but it takes some getting used to. I've got two kits combined as a 16-piece; one kit producing the on-board sounds and the other kit triggering sounds I've loaded into Logic running on an i7 MBA. When you consider that you'd not only be micing the drums themselves, but bongos, chimes, blocks, bells, etc... you're talking about what would otherwise be your basic nightmare. Not to mention the ability to throw on some cans and beat the snot out of 'em without bothering a soul.
ebuddy
     
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May 28, 2014, 08:54 PM
 
Originally Posted by subego View Post
Today was actually the first day I had a little twinge of "I'm not looking forward to this" when it came to re-micing the kit.

They're a load of fun to listen to though. They "talk" in a way I haven't heard other instruments do. I was never was able to hear that aspect in a finished piece.
I witnessed this phenomena listening to Stewart Copeland.
ebuddy
     
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May 28, 2014, 09:23 PM
 
For a second I thought you were saying you weren't looking forward to listening to Stewart Copeland.

I was like, "Jesus, ebuddy... what's wrong with you?"
     
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May 28, 2014, 09:50 PM
 
Are vintage Telefunken ELA M 251s worth pursuing? I see there are reissues that are about the same price, generally less, but aren't as highly regarded. Is that nostalgia playing tricks on people?
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May 29, 2014, 12:11 AM
 
From my perspective, it's a question of whether you know what it's supposed to sound like, so you know whether that particular one has been put through the ringer. I don't, so I've gone with "well respected" clones, which seem to get higher marks than reissues.

A secondary consideration is whether you can get your hands on the proper tubes for when the time to replace comes. Some just aren't made anymore. I don't know what the status is WRT what the 251 uses, but that's something to check into first. Edit: to be clear, usually you can get a tube for whatever, the question is whether you can get the tube it was originally speced with.

I haven't filled the 251 gap yet, but my plan is to do it with a Bock 507.
( Last edited by subego; May 29, 2014 at 01:29 AM. )
     
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May 29, 2014, 12:15 AM
 
Originally Posted by Spheric Harlot View Post
If you're spending $25,000 on microphones, get a cabinet.
The mic "cabinet".

( Last edited by subego; May 29, 2014 at 01:24 AM. )
     
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May 29, 2014, 03:13 AM
 
That's by no means my whole collection, but they're the ones which made it in to this project.

Pair of Mojave MA-100s (big black and silver case)
Pair of Mojave MA-200s (smaller black and silver case)
Pair of Shure SM-7Bs (close olive drab case)
Pair of Heil PR-40s (far olive drab case in the shadows)
Six Heil PR-30s (tan case)
Three Heil PR-28s (black case)
And an AEA KU4 (red case)

The yellow cases are either for the Martech pres (big yellow) and a pair of Martech DIs (small yellow). There's also a sextuplet of Pauly Ton pop filters under the PR-40s, which I really like.

Somehow, I was able to get every type of mic I put in a Pelican case to have a unique size and color combo, with the colors having a (rough) meaning. Black is drums, tan is other instruments, green is broadcast, yellow and orange are more sensitive mics, or actual electronics, which I'd rather wouldn't bake if out in the sun.

The KU4 is actually a cardioid ribbon. I'm hoping I can get something less roomy with it than I have the other ribbons.
     
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May 29, 2014, 08:04 AM
 
Originally Posted by subego View Post
From my perspective, it's a question of whether you know what it's supposed to sound like, so you know whether that particular one has been put through the ringer. I don't, so I've gone with "well respected" clones, which seem to get higher marks than reissues.

A secondary consideration is whether you can get your hands on the proper tubes for when the time to replace comes. Some just aren't made anymore. I don't know what the status is WRT what the 251 uses, but that's something to check into first. Edit: to be clear, usually you can get a tube for whatever, the question is whether you can get the tube it was originally speced with.

I haven't filled the 251 gap yet, but my plan is to do it with a Bock 507.
My "consultant" told me that professionally rebuilt original 251s are the way to go (but @$15k a pop). Get those for vocals and not worry about upgrades again. To me, their timbre and texture is spot-on, I used one for voice-over at his studio and they suit me to a T. As for tubes, which is a great question, they're still being made by TF and there's a vibrant market of NOS and alternate "flavors", for those into rolling and matching. I do that with my old McIntosh amps all the time. I think of good tubes as an investment (ex. my NOS Genalex/TF "Gold Lion" KT88s), and properly handled and stored they'll last a lifetime. Put it this way, my `62 MC75s have already gone through one "sympathetic" rebuild since I've had them, but I've not lost a good set of tubes yet.
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subego  (op)
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May 30, 2014, 05:54 PM
 
Definitely go with it then!



Today is violin. Sounds like shit. Whenever an open string resonates it sounds like we're in an echo chamber.

I kinda get the impression this is the worst candidate for close-micing in a shit room
     
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Join Date: Apr 2014
Location: 3rd Rock from the Sun
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Jun 2, 2014, 12:07 AM
 
Originally Posted by subego View Post
Not at all!

Doofy was still around when the seeds of this idea started to germinate.

His two pieces of advice were:

1) Get the most ****hueg Mac Pro possible.
2) Get a Roland.
What happened to Doofy?
If you have Ghosts, you have Everything!
     
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Join Date: Apr 2007
Location: Iowa, how long can this be? Does it really ruin the left column spacing?
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Jun 2, 2014, 09:10 AM
 
Are you going to mention your old username?
     
subego  (op)
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Jun 2, 2014, 11:08 AM
 
What was it? I felt it was unseemly to ask when he was around.
     
 
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