Originally Posted by MichaelPatrick
BobF, sounds like you've got some great projects ahead.
I think having a long row of identical mic pres isn't a good use of money unless you really plan to use them simultaneously, like for drums. If you plan to track multiple live gigs, a small mixer that doesn't cost too much might be more useful, you can use the direct or inserts for recording.
If you're going to layer tracks, having just a few good mic pres are better, IMO, than having many lesser ones. There are lots of good opinions around here about mic pres. My money, if I were you, would go on a Sytek 4ch or a DAV BG1 with 2ch. Both of these deliver a lot of preamp for the money. The DAV is legendary, clean, clear and musical, and very good on anything from rock to classical.
Hey, take a picture of that Tele!
Thank you for your input. (No pun intended :-) No seriously I appreciate the information. You have me thinking. I don't really need additional inputs right now. I really plan on being a one man production. The 4 that come with the UFX are sufficient at the moment.
I have a 16 channel with 6 microphone XLR inputs Mackie CR1604 mixing board from years back that hasn't seen too much use, it appears like new. Is that what you mean by a small mixer for example? I was thinking if I got stuck and really needed the additional microphone inputs I could use that and then use the line outs into the line ins on the RME. I really don't think I will need to bother with that for now though.
I'm in complete agreement with you on one of your other points as well, "I'd rather have a little bit of something good, rather than a whole lot of cr@p. I'll have to check out the Sytek, and the DAV. I appreciate the tip.
Here are some photos of the tele. It originally came with a butterscotch finish, I naturalized it and placed a P90 in the new middle position for doing high gain lead work with a distortion pedal without feedback. The two switches on the leg enabled me to use the original tele with no changes, as in just the two pickups, or by flipping up the other small switch I could use the humbucker in conjunction with the tele selector as in any combo of pickups, or the humbucker alone.
I don't want to run too far astray from the main subject of this thread but I have to quickly add that when I bought this new in 66, I had just looked at an old Gibson Les Paul that the guy was asking $200 for in the paper and I decided to get the new Tele instead. That meant the "Old" Les Paul had to be in the 50's somewhere. The worth of that one alone would nicely equip a studio.
The teles are worth a lot too but not like that. This one in order to return it to collector quality original would require me buying an orignal tele body since I refinished the one that is on there. They do have them for that year, I see them on eBay from time to time, and a new pick guard. I have everything else including the ashtray cover for the bridge pickup like new. The hardware is all original except the one pickup which I still have after replacing it, and can be rewound. I would never sell it though. It got a good workout in high school and college with the bands I was in, but after that it was retired to the case only brought out occasionally and that is why it is in such incredible condition. The neck stamp when you remove it says "Sept 1966".
I bought the Fender Vintage Noiseless pickups for it. I also picked up a DiMarzio DP162BK to replace the soapbar P90 because it drops right in the slot, no alterations, and it has 4 wires so you can use a dual push pull pot with it so you can toggle between just a single coil original tele type sound in the middle pickup as well, or in the other position it becomes a noise cancelling humbucker. My 1993 Strat is getting the noiseless pickup install being done right now tying up my kitchen table. I hope to be sending in some sample clips of these being pushed through the RME UFX real soon. It will take me a little time to get everything setup. I have a Fender Blues Deluxe Tweed Tube amp that I play them through which really creates that Fender old bluesy tubular sound. With the P90 it even almost imitates a jazz semi-hollow body when you set it a certain way.
Anyhow the RME is going to be getting a workout. My Strat also has the Roland GR-20 pickup on it controlling over 500 synth sounds built in. I also have a Yamaha MM6 keyboard synth. Boss ME70 guitar effects which is a sweetheart, but I am eyeballing its even bigger brother the GT10. Both of these models have an array of cabinet emulations. The list goes on...
The RME is coming this week, and the Strat will be ready. Thank you for your interest, and for taking the time to read all of this.
UPDATE: The GT10 I was eyeballing I decided to get, so I ordered it on Wednesday, it already shipped and will arrive on Friday, BUT unforunately, RME backordered the UFX and now I won't get it until the middle of March. I guess some things are worth waiting for. A quick note about the Boss GT10. How do you create presets that take into consideration every guitars particular set of pickups, and wood type, playing ability etc.? Answer: you can't. So along comes this behemoth floor pedal with a price tag to match that gives you complete adjustablity in every parameter, some take 4 hours or more tweaking the perfect sound, and then provide a built in DSP chip, and a USB port as wel as MIDI, and enable storage of user presets, and even downloadable capabilities to share patches, so the guitar player using one can bring along his custom sounds to the studio. You may say but they want to bring their cabinets along as well for their "sound". The problem is that instead of using the GT10, with not only cabinet emulations, but also stackable emulations, and every nuance of tone fully adjustable, with ten or twenty different parameters, you have the advantage of not limiting yourself to the limitations of the microphone, and ampifier; every device can for example add noise, reduce the frequency range etc. Every great guitar player develops his signature sound, and you can exactly emulate that with the GT10. I would include links to patches for example of Stevie Ray Vaughan, or Led Zeppelin, etc. but that is getting away from the essential core of this thread. The GT10 even has it's own converter built in, but not one that will give you the sound quality of the RME UFX. I was advised to just plug the GT10 into 2 of the line inputs of the RME for the cleanest sound, but the temptation to utilize the MIDI via USB or MIDI and be able to change the patches later on in the final mixes is a real temptation.
RME UFX in 4 weeks.