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The Muso Equipment Nerdery Thread 🎸

I have a small tax refund and have become possessed by the desire to buy a baritone guitar, despite not being very good at normal guitars. If I were to do so, is a normal amp going to cut it or do I need something fancier? I'd potentially be going as low as G# though probably A or B as I like thinking in round numbers.
My amp's fine with mine.
Any particular baritone? Really love my Squier
 
Got one of these going if anyone wants it. Free, like. Just cover the postage.
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Gone.
 
I visited Abbey Road and went into some of their 'reverb rooms'. The plate reverb was just a big room with a couple of large flat metal plates down the middle. . . the signal went into a speaker in the room, then another microphone in the room would pick the reverberated sound up. . . you couldn't mix it, there was only one channel. Reverb or no reverb.

The above pic must be of a more modern desk than the ones I was looking at.
 
I visited Abbey Road and went into some of their 'reverb rooms'. The plate reverb was just a big room with a couple of large flat metal plates down the middle. . . the signal went into a speaker in the room, then another microphone in the room would pick the reverberated sound up. . . you couldn't mix it, there was only one channel. Reverb or no reverb.

The above pic must be of a more modern desk than the ones I was looking at.
“Reverb” in this case is a second hand gear auction site. Like eBay for music gear.

The desk for sale is not a plate reverb system. It’s the Abbey Road console from the late 60s.
 
This sound engineer and his gear is so advanced I struggle to understand what he's talking about


I don't know the 1975, but I guess they are a full theatrical orchestra with every instrument fully mic'd up and the whole world's life depending on recording it all 100% correctly, just in case north Korea invade.
There are so many things that he goes on about that are barely used/useful that I just wouldn't even consider bothering with. . . But I guess that's why he's got that job. Couple of really nice ideas too though. I have to assume I just don't know anywhere near enough about what is needed in shows like this (even though he does explain a bit) because it really does sound a bit like overkill, and not the easiest set up to bring to every venue.
 
I don't know the 1975, but I guess they are a full theatrical orchestra with every instrument fully mic'd up and the whole world's life depending on recording it all 100% correctly, just in case north Korea invade.
There are so many things that he goes on about that are barely used/useful that I just wouldn't even consider bothering with. . . But I guess that's why he's got that job. Couple of really nice ideas too though. I have to assume I just don't know anywhere near enough about what is needed in shows like this (even though he does explain a bit) because it really does sound a bit like overkill, and not the easiest set up to bring to every venue.
No they don't have a big orchestra but they do have loads of samples, instruments, timecoded stuff and a big stage set which I guess would involve loads of extra input. Still can't work out how they end up with over a 100 though!

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They're a great live band, mind:

 
No they don't have a big orchestra but they do have loads of samples, instruments, timecoded stuff and a big stage set which I guess would involve loads of extra input.
Well I was joking about the orchestra obviously. . . . But triggering loads of samples live, yeah I guess that will take a few channels and maybe loads channels for different guitar amps, busses, returns (even a small time nobody like me uses six channels for one guitar signal) . . And that guy isn't even dealing with the monitor mixes.
. . . But I can't help thinking this would all be easier on a computer with a relatively simple mixer . . .
Actually the more I think about it, that's probably what they have got, I think it just looks waaaay more complicated than it is. Pro tools connected to a desk with certain strips he can control. Hes obviously flipping some strips for different songs /parts with the shortcuts and macros he was talking about. The outboard is actually probably not that exsessive, I guess it all adds up.
As I said before though, I can't pretend to know whats needed in stuations like these.
 
I'm not sure 200 channels in a live environment can be controlled with a computer and a relatively simple mixer tbh
 

Meh. There will always be stupidly expensive versions of simple products for people who like spending money for the sake of it. You can buy a fender strat for 600 quid or 6,000 quid. Both will sound equally shit, because they're strats.

I love my no-name chinese distortion pedal. I got it the same place I got nearly all my pedals, someone left it behind at the venue I used to run and never bothered to come back to collect it.
 
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