Mick Hargreaves is a singer-songwriter, instrumentalist, recordist educator, and proprietor of the Lantern Sound Recording Rig (Manorville NY USA) • @mickhargreaves • https://itunes.apple.com/us/album/best/id641760944
Added custom internal shelf, mounted Mackie 1204 VLZ mixer. Currently wiring for power. Next week: Mount mic pre's, A/D I/O in top rack, fanless power amplier in bottom rackspace. (Computer gear will live outside the box.)
"Bridget" composer Gary Jude Anderson (second from left, blue suit, red shirt, white tie) in the crowd at the Elvis Show 2007, Matty T's Roadhouse USA, Deer Park, LI NY
Want to support your local music scene? By far the best thing you can do, now more than ever, is to attend live shows by the artists you like. Beat Crave Dot Com makes the compelling argument:
"Possibly the best way to actively sustain indie music is going to live performances. The live experience is irreplaceable, for it allows us a deeper appreciation of the music, comparison with studio recordings, and connection with the personalities involved. Since file-sharing exists and is here to stay, it’s logical that live concerts must take on greater importance for a band’s survival. For that to happen, not only must there be more and better live acts, but we should inform ourselves of what’s happening in our area, and not miss out on the local music scene."
Steve Lawson's Blog Entry on "Changing the balance of power by consistently supporting independent musicians" builds on this by successfully folding in the concept of "buying music directly from the artist" and whittles things down to five great action items:
• Buy music that you love
• Buy it from a source as close to the artist as you can
• Talk to them
• Share the great things you find
• Blog about it
• Go to gigs and become part of the solution
Bottom line? GO OUT. SEE LIVE MUSIC. BUY CD's AT THE SHOW. HAVE FUN. SHARE THE EXPERIENCE.
Not that I need a mobile recording rig, but... I'm building a mobile recording rig. It will mostly live at home, wherever that may be.
This very exciting looking roadcase will soon house an Edirol FA-101 FireWire A/D I/O (10 in/10 out, including 2 channel mic pre), a Mackie 1202 VLZ Pro mixer (four more mic pre's), a stereo (and hopefully fanless) power amp pushing AuraTone-type monitors. Headphone monitoring will be done in an Aux bus on the Mackie. A rack-mounted power conditioner will keep everything behaving. The whole thing will be Fire-Wired to a Mac computer, running digitial multitrack recording software and a 1TB HD backup. If more inputs are needed, additional Mic Pre's could be plugged right into the back of the I/O unit.
We had just finished a great recording session today with Caroline Doctorow when fiddler extraordinare Gary Oleyar sighted down the neck of my 1966 Fender P-Bass (which only leaves the house for recording sessions) and said,
"Oh man, this thing has FENDERITIS."
Gary was about to provide a solution to something that had been bothering me for some time about my P-Bass. Apparently, over time, the neck to a vintage Fender P-Bass (and probably some other basses, for that matter) will pull sideways to the G-string side, pivoting at the bolt-on screws... down, towards the floor as you wear the instrument. (Believe it or don't, kids, there's actually more tension on the G-string side of the neck, compared to the E-string side.) This results in the G being too close to the edge of the neck, and the E being too far away. The further up the neck, the more visibly pronounced this mis-alignment will be. Here's how the bass looked when Gary eyeballed it:
BEFORE: G string really close to neck edge
BEFORE: Too much space between E string and neck edge
Gary suggested slightly loosening the four screws that hold the neck to the body (of course, you would slacken the strings first) to permit re-alignment of the neck. Don't over-do it: Only 1 to 1.5 turns of the screws at the most should be necessary. By pushing the neck UP, in the direction of the E-String, while tightening back the screws and simultaneously tensioning the strings JUST enough (start with the E to pull the neck in that direction) to see how far to push the neck over, I was able to get an ideal symmetrical re-alignment. Side benefit... I think the action is slightly better. Ha!
AFTER: More space between G string and neck edge
AFTER: Less space between E string & neck edge
Happy owner w/ strings spaced evenly across neck
Fun, successful recording session + Fenderitis cure = A good day