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Gear Buying Burnout
Old 30th January 2019
  #1
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Rockabilly69's Avatar
Gear Buying Burnout

Just wondering if many other people here have gone through a similar phase.

It used to be I would look at ads daily, to build up my mic collection, get a new preamp, find some new plug-ins, etc. But now, I typically just like to read about other peoples new gear. I just like to record with what I have, and although I have many mics, the only time I bring out a majority of them is when I'm recording others. I run a small project studio and record just enough bands to pay my rent on the studio space. But when I'm recording myself I typically use the same 5 or 6 microphones that I stick too, and about as many preamps. I think it's just because I really like what I have, and spending any more money to "upgrade" wouldn't really make me sound any better because I'm already getting the tones I envision when I write my songs.

I started thinking like this when I compared recordings that I made in my house to the ones I made in my studio.

Both the house and the studio have identically equipped computers (HP Elitebooks with the same processors and RAM), with the same DAW, and the same plug-ins. Both the studio (UCX and ADI8DS), and house (Babyface) run RME interfaces. And surprisingly, the rooms are similar sounding, as my house and studio building were both built in the era (1910-1920), and both a high ceilings and plaster walls.

Yet at my house I have totally different preamps (Langevin DVC, Drawmer 1960, Focusrite ISA one) as opposed to the preamps I have in my studio (Manley Voxbox, BAE 1073MPF, NEVE Portico 5012, Sebatron VMP4000, UA LA610, Presonus ADL600). And at my house I only have a few microphones (Rode Classic II, a pair of modded Rode NTKs, a Sennheiser MD421, a pair of AT 4041s, and a few Shure dynamics), which are the mics I learned on (other than the Classic II which I bought recently), while at my studio I have quite a few more mics (Neumann U87ai/ U89i/M147/TLM103/KM184, Lawson L251/L47, Blue Cactus/Kiwi/Blueberry/ Dragonfly, Violet Flamingo Standard/Globe-Vintage/Amethyst-Vintage, Cloud JRS34, Peluso 2247, Shure SM7, and a many more.

But what I feel is, I can adapt to either place, by positioning microphones and turning knobs on preamps, to I get a sound that will work for what I'm doing. So maybe I was chasing gear to see if I would get logarithmically better recordings. I also notice that when I'm in my house I get to work way faster because, I have so few choices that I just get to recording with less distraction. And the biggest surprise is that if play back one of my own songs for people that know my sound well they can never guess where it was recorded or with what microphones.

I still LOVE to record and write songs I just think I went a bit overboard on buying equipment

And I still love having the studio because it's a great place to record bands and store a lot of my gear that would just normally clutter up my house. And with all the mics there and all the channels of preamps, I can record full bands.

I just think I'm done buying gear until something breaks that I use regularly!
Old 30th January 2019
  #2
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swafford's Avatar
 

Sorry, this is Gear Slutz. I'm sure there are other forums dedicated to where to stick your microphone, as if that's even important.
Old 30th January 2019
  #3
Dot
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I think there's a difference between dicking around and playing with gear time, and show time - when it's on and you're doing an actual recording project. Same thing as having your kitchen stocked and wanting to knock out a great meal. You're not going to use all of it, and many cases use just what you need. And you gain the experience to be able to do that by trying a lot of things out over time.

I've had racks full of preamps and a closet full of mics, and ended up recording a project with a 414 plugged into an ISA preamp on 90% of the tracks. It just worked, and I wanted a fast workflow that didn't get in the way of the music.

In the mid 90's I was working at a full-fledged studio with a large-format console and racks full of anything you could use. I was also working in a small project studio we'd built in another location, running a Mackie 8 bus with Akai DR16 and some TLA preamp and comp and a 4050 mic. When I was in the project studio, I didn't miss anything from the bigger studio - because if I had, I could have brought over some things for sessions. But I didn't even think about it, really.

It was exciting to be in a new smaller studio that the total wasn't much over $12K. That was a big deal back then for that much power and autonomy - away from high hourly studio rates.

All the experience you get on all the gear you can get your hands on and use - goes into the recordings you make, regardless of the gear you use. Your ears and brain have made all those connections, and instinctively know what to do.
Old 30th January 2019
  #4
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Studio gear isn't only mics and some pre.

You need guitars, a lot (Strat, Tele, Les Paul, ESP Japan, Ibanez with floyd, 7 strings, 8 strings, Semiacoustics, Acoustics..)
You need guitar heads... with tubes vintage (Fender,Vox, Dumble clones) or modern like (Mesa,Engl;Marshall), some good solidstate heads with fast response Randall like, some modern digital preamps (Kemper, Fractal), digital processors and tons of pedals.
And a collection of speaker (1x10,4x10,1x12,2x12,4x12... V30, creambacks....)

Then you need basses (Precision, Jazz, 5 string, 6 string, fretless, a stick).
Bass amps. Bass DI boxes. Cabinets...

Then you need drums... snares,kicks,cymbals. A lot of different woods, diameters, alloys type.
Vintage Gretch, a Tama, a Ludwig, a Drum Workshop. A collection of Zildjian and Meinl.

Then you need synths... dx7,d50,jupiter,arp2600,moog,rhodes,some Oberheim,vox continental, some modular kit
Something modern like a Yamaha Genos, Korg Kronos and Haken Continuum

An maybe some vintage piece of all the above thing, bought in a private auction.
For example a guitar used by Clapton in a concert... or a fuzz that was of Jimi Hendrix

Maybe also a concert Steinway

Some ethnic instruments? Oh yeah, at least a Sitar, some indian flutes and some african percussions

Then a room with a Neve 8078, a full rack of analog compressors, equalizers and reverb units behind the chair.
Another room with a full analog mastering chain and full range speakers

Are you happy? I've just made a list to spend 1Million of dollars
Old 31st January 2019
  #5
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Rockabilly69's Avatar
Quote:
Originally Posted by Kimi777 View Post
Studio gear isn't only mics and some pre.

You need guitars, a lot (Strat, Tele, Les Paul, ESP Japan, Ibanez with floyd, 7 strings, 8 strings, Semiacoustics, Acoustics..)
You need guitar heads... with tubes vintage (Fender,Vox, Dumble clones) or modern like (Mesa,Engl;Marshall), some good solidstate heads with fast response Randall like, some modern digital preamps (Kemper, Fractal), digital processors and tons of pedals.
And a collection of speaker (1x10,4x10,1x12,2x12,4x12... V30, creambacks....)

Then you need basses (Precision, Jazz, 5 string, 6 string, fretless, a stick).
Bass amps. Bass DI boxes. Cabinets...

Then you need drums... snares,kicks,cymbals. A lot of different woods, diameters, alloys type.
Vintage Gretch, a Tama, a Ludwig, a Drum Workshop. A collection of Zildjian and Meinl.

Then you need synths... dx7,d50,jupiter,arp2600,moog,rhodes,some Oberheim,vox continental, some modular kit
Something modern like a Yamaha Genos, Korg Kronos and Haken Continuum

An maybe some vintage piece of all the above thing, bought in a private auction.
For example a guitar used by Clapton in a concert... or a fuzz that was of Jimi Hendrix

Maybe also a concert Steinway

Some ethnic instruments? Oh yeah, at least a Sitar, some indian flutes and some african percussions

Then a room with a Neve 8078, a full rack of analog compressors, equalizers and reverb units behind the chair.
Another room with a full analog mastering chain and full range speakers

Are you happy? I've just made a list to spend 1Million of dollars
Okay that made me laugh, but in a way I feel I'm guilty of this behavior as I own about 40 guitars. I kept on buying things I rarely use. And now I'm their caretaker!
Old 31st January 2019
  #6
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Rockabilly69's Avatar
Quote:
Originally Posted by Dot View Post
I think there's a difference between dicking around and playing with gear time, and show time - when it's on and you're doing an actual recording project. Same thing as having your kitchen stocked and wanting to knock out a great meal. You're not going to use all of it, and many cases use just what you need. And you gain the experience to be able to do that by trying a lot of things out over time.

I've had racks full of preamps and a closet full of mics, and ended up recording a project with a 414 plugged into an ISA preamp on 90% of the tracks. It just worked, and I wanted a fast workflow that didn't get in the way of the music.

In the mid 90's I was working at a full-fledged studio with a large-format console and racks full of anything you could use. I was also working in a small project studio we'd built in another location, running a Mackie 8 bus with Akai DR16 and some TLA preamp and comp and a 4050 mic. When I was in the project studio, I didn't miss anything from the bigger studio - because if I had, I could have brought over some things for sessions. But I didn't even think about it, really.

It was exciting to be in a new smaller studio that the total wasn't much over $12K. That was a big deal back then for that much power and autonomy - away from high hourly studio rates.

All the experience you get on all the gear you can get your hands on and use - goes into the recordings you make, regardless of the gear you use. Your ears and brain have made all those connections, and instinctively know what to do.
This is exactly what I'm saying! And a lot of your experience parallels with mine.

I do appreciate that I've got to use a lot of mics and pres just to learn what I like, but now I feel "lets not get bogged down with searching for that next piece of gear, let's just get to work". To reinstate my point, I'm burned out only on chasing gear, not recording or writing songs.
Old 31st January 2019
  #7
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Quote:
Originally Posted by Rockabilly69 View Post
I own about 40 guitars. I kept on buying things I rarely use. And now I'm their caretaker!
If they are of a good brand, it's an investment for the future.
Reselling them in the year 2050 for example, could give you a lot of money back.
Old 31st January 2019
  #8
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Rockabilly69's Avatar
Quote:
Originally Posted by Kimi777 View Post
If they are of a good brand, it's an investment for the future.
Reselling them in the year 2050 for example, could give you a lot of money back.
Most of them are. But I doubt I'll make it 2050. I'm already 60 and no male in my family, that I'm directly related to anyway, has ever lived past 81 that I know of

Here's a list of my current guitars..

Gibson 1950's BR-9 Lapsteel
Gibson 1964 J45 Acoustic
Gibson 1966 ES-125
Gibson 1974 L5S
Gibson 1978 L5S
Gibson 1979 Gospel Acoustic
Gibson Historic 1960 Reissue Les Paul
Gibson Historic 1957 Reissue Les Paul
Gibson Historic 1956 Reissue Les Paul
Gibson Historic SG Special
Gibson USA 2015 Firebird
Gibson Custom Shop 50's Reissue J45 Triburst Acoustic
Gibson J100 Xtra Acoustic

Martin SP000-16TR
Martin OM-15 Gloss
Martin 000-15S
Martin D-17M
Martin HD-28

National Western D Resonator
National Polychrome Tricone Resonator
National Artist Triolian Resonator
National Artist M2 Resonator

Fender 1962 Musicmaster
Fender 1984 Squier Series Stratocaster
Fender Custom Shop Deluxe Telecaster
Fender MIM 50's Reissue Telecaster

Heritage H150
Heritage H150

G&L Legacy (Limited Edition Lacquer Finish)

Zemaitis/Greco Gen I GZ 3200 DF
Zemaitis Gen II A24MF

Gretsch G6118T SGR Player's Edition Anniversary
Gretsch G6128T Limited Edition Flametop DuoJet

Parkwood LE061 Acoustic
Parkwood 320M Acoustic

Nowland "James" Acoustic

Weber "Roundbody" Acoustic

Supro 1965 Lexington
Truetone 1962 Red Devil
Harmony 1962 model 1420 (has Alden branded neck and Firebird pickups)

Harnden Switchblade

Epiphone Century Olympic Reissue
Airline Folkstar Reso Reissue
Johnson Style O Reso With Custom John Walsh Neck
Old 31st January 2019
  #9
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Quote:
Originally Posted by Rockabilly69 View Post
Most of them are. But I doubt I'll make it 2050. I'm already 60 and no male in my family, that I'm directly related to anyway, has ever lived past 81 that I know of
Nice collection.

If don't decide to monetize in the next years, however your sons and nephews would be happy, if you have some.

At the same time if you are bored of some of them, you can maybe leave 4 or 5 around to make happy some guys in a orphanage residence or to a church.

So when you free some space, you can then buy some others
Old 31st January 2019
  #10
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Rockabilly69's Avatar
Quote:
Originally Posted by Kimi777 View Post
So when you free some space, you can then buy some others
that's the spirit

Seriously, I have certain instruments earmarked for my son and grandsons! But I am contemplating selling a bunch off just to simplify my life and put a little money away for the future. And I've already donated some instruments to some people in need!
Old 31st January 2019
  #11
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Quote:
Originally Posted by Rockabilly69 View Post
that's the spirit

Seriously, I have certain instruments earmarked for my son and grandsons! But I am contemplating selling a bunch off just to simplify my life and put a little money away for the future. And I've already donated some instruments to some people in need!
I agree.

Next time you do some shopping take a look to Mayones Master Builder series and french Vigier guitars.
Old 31st January 2019
  #12
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Rockabilly69's Avatar
Quote:
Originally Posted by Kimi777 View Post
I agree.

Next time you do some shopping take a look to Mayones Master Builder series and french Vigier guitars.
Both of those companies build some nice guitars! But, myself, I like vintage style instruments in the Gibson vein, so I've thought about selling off most of my high end Gibson reissues and having a good Burst Replica made by someone like Gil Yaron or Tom Bartlett who build with vintage correct materials and techniques, or better yet, find a deal on a players condition 1954 or 55 Les Paul Goldtop. That sure would make it easier for me!
Old 31st January 2019
  #13
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Helge's Avatar
 

Quote:
Originally Posted by Rockabilly69 View Post
Here's a list of my current guitars..

Gibson 1950's BR-9 Lapsteel
Gibson 1964 J45 Acoustic
Gibson 1966 ES-125
Gibson 1974 L5S
Gibson 1978 L5S
Gibson 1979 Gospel Acoustic
Gibson Historic 1960 Reissue Les Paul
Gibson Historic 1957 Reissue Les Paul
Gibson Historic 1956 Reissue Les Paul
Gibson Historic SG Special
Gibson USA 2015 Firebird
Gibson Custom Shop 50's Reissue J45 Triburst Acoustic
Gibson J100 Xtra Acoustic

Martin SP000-16TR
Martin OM-15 Gloss
Martin 000-15S
Martin D-17M
Martin HD-28

National Western D Resonator
National Polychrome Tricone Resonator
National Artist Triolian Resonator
National Artist M2 Resonator

Fender 1962 Musicmaster
Fender 1984 Squier Series Stratocaster
Fender Custom Shop Deluxe Telecaster
Fender MIM 50's Reissue Telecaster

Heritage H150
Heritage H150

G&L Legacy (Limited Edition Lacquer Finish)

Zemaitis/Greco Gen I GZ 3200 DF
Zemaitis Gen II A24MF

Gretsch G6118T SGR Player's Edition Anniversary
Gretsch G6128T Limited Edition Flametop DuoJet

Parkwood LE061 Acoustic
Parkwood 320M Acoustic

Nowland "James" Acoustic

Weber "Roundbody" Acoustic

Supro 1965 Lexington
Truetone 1962 Red Devil
Harmony 1962 model 1420 (has Alden branded neck and Firebird pickups)

Harnden Switchblade

Epiphone Century Olympic Reissue
Airline Folkstar Reso Reissue
Johnson Style O Reso With Custom John Walsh Neck
Well - if your Mic-Locker in the studio is of equal quality and quantity I start to understand your burnout symptons.
Get well soon!
Old 31st January 2019
  #14
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Rockabilly69's Avatar
Quote:
Originally Posted by Helge View Post
Well - if your Mic-Locker in the studio is of equal quality and quantity I start to understand your burnout symptons.
Get well soon!
It's not anywhere near my guitar collection as I've been playing guitar for a living for most of my whole adult life,

Neumann M147
Neumann U87ai
Neumann U89
Neumann KM184 pair
Neumann TLM103 pair
Neumann KMS105

Violet Flamingo Standard
Violet Globe Vintage
Violet Amethyst Vintage Pair

Blue Cactus
Blue Kiwi
Blue Blueberry
Blue Dragonfly pair
Blue Bluebird

Lawson L251
Lawson L47

Peluso 2247

MXL Revelation
MXL Revelation X/Y

Rode Classic II
Rode K2
Rode NTK pair (modded by John Bonell)

AT 4041 pair

CAD E200 pair (made in USA)

Cloud JRS 34
Shinybox Model 23 pair
Cascade Fathead II with Lundahl X-formers pair

Sennheiser MD421 II (3)

AKG D3900

Shure SM7
Shure Super 55
Shure SM57 (3)
Shure SM58 (3)

Last edited by Rockabilly69; 31st January 2019 at 01:11 PM..
Old 31st January 2019
  #15
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na na na! you don't have the Audix D6
Just kiddin eh
Old 31st January 2019
  #16
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Rockabilly69's Avatar
Quote:
Originally Posted by Kimi777 View Post
na na na! you don't have the Audix D6
Just kiddin eh
no, but I do have a Audix D1 and D2 in my PA bag I rarely use them
Old 31st January 2019
  #17
I start to feel kind of dirty if I buy too much. I like to think over the last 4 or 5 years I've collected what I need to kick back for the rest of my days recording my attempts at songs, unencumbered by 9-5 full time work. I've got some good stuff...not too much...but enough for a home recording hack.

Old 31st January 2019
  #18
I had a project studio in Nashville and experienced this. I used to search Nashville Craigslist weekly (you would be amazed what ends up for sale in Music City.
In the end, where I live now, I had to pare down to what I REALLY need - I sold my Apogee Ensemble TB and got an Element, - I sold my GIK stuff and got the little 242 squares for my room here.

The "what would you take if you moved to a small beach cottage thing helped me focus more on music again
Old 31st January 2019
  #19
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Quote:
Originally Posted by Rockabilly69 View Post
Just wondering if many other people here have gone through a similar phase.

It used to be I would look at ads daily, to build up my mic collection, get a new preamp, find some new plug-ins, etc. But now, I typically just like to read about other peoples new gear. I just like to record with what I have, and although I have many mics, the only time I bring out a majority of them is when I'm recording others. I run a small project studio and record just enough bands to pay my rent on the studio space. But when I'm recording myself I typically use the same 5 or 6 microphones that I stick too, and about as many preamps. I think it's just because I really like what I have, and spending any more money to "upgrade" wouldn't really make me sound any better because I'm already getting the tones I envision when I write my songs.

I started thinking like this when I compared recordings that I made in my house to the ones I made in my studio.

Both the house and the studio have identically equipped computers (HP Elitebooks with the same processors and RAM), with the same DAW, and the same plug-ins. Both the studio (UCX and ADI8DS), and house (Babyface) run RME interfaces. And surprisingly, the rooms are similar sounding, as my house and studio building were both built in the era (1910-1920), and both a high ceilings and plaster walls.

Yet at my house I have totally different preamps (Langevin DVC, Drawmer 1960, Focusrite ISA one) as opposed to the preamps I have in my studio (Manley Voxbox, BAE 1073MPF, NEVE Portico 5012, Sebatron VMP4000, UA LA610, Presonus ADL600). And at my house I only have a few microphones (Rode Classic II, a pair of modded Rode NTKs, a Sennheiser MD421, a pair of AT 4041s, and a few Shure dynamics), which are the mics I learned on (other than the Classic II which I bought recently), while at my studio I have quite a few more mics (Neumann U87ai/ U89i/M147/TLM103/KM184, Lawson L251/L47, Blue Cactus/Kiwi/Blueberry/ Dragonfly, Violet Flamingo Standard/Globe-Vintage/Amethyst-Vintage, Cloud JRS34, Peluso 2247, Shure SM7, and a many more.

But what I feel is, I can adapt to either place, by positioning microphones and turning knobs on preamps, to I get a sound that will work for what I'm doing. So maybe I was chasing gear to see if I would get logarithmically better recordings. I also notice that when I'm in my house I get to work way faster because, I have so few choices that I just get to recording with less distraction. And the biggest surprise is that if play back one of my own songs for people that know my sound well they can never guess where it was recorded or with what microphones.

I still LOVE to record and write songs I just think I went a bit overboard on buying equipment

And I still love having the studio because it's a great place to record bands and store a lot of my gear that would just normally clutter up my house. And with all the mics there and all the channels of preamps, I can record full bands.

I just think I'm done buying gear until something breaks that I use regularly!
Off topic but how do the ADL600 and Sebatron compare?
Old 31st January 2019
  #20
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There is a huge difference between a compulsive collector habit and a gear centric journey to find your sound. There is no destination for the first and the second can be very elusive.
The basement scene with Paul Newman and Burl Ives in the movie "Cat on a Hot Tin Roof" said about all there is to say about obsessive collecting, however the ability to quantify the primary elements of "your sound" as a starting point in your search is highly advisable if not absolutely necessary. "I'll know it when I hear it" is a piss poor plan of action to find anything.
The digital revolution has been a wonderful experience for old timers like me that have spent 5 decades chasing our sound. 15 years ago I had 1 tube mic, a 4060, and a year later met and became friends with John Peluso that led to purchasing a 2247SE, P12, P67 and P 28. Last year I bought a Flea 47 next that finished up my tube & transformer mic locker that I have available for my acoustic Americana genre work. 20 channels of world class Digico 'D" pres when paired with my tube and transformer mics are exactly the sound I had been looking for since 1968. A Yamaha stage piano and a suite of Nashville drum loops replaced my biggest studio headaches and a magnificent W.C Henderson retro 1936 herringbone guitar finished up my instrument bucket list.
My point is if you do not know what you are looking for, you certainly will never find it.
Hugh
Old 31st January 2019
  #21
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monkeyxx's Avatar
I was just thinking if I had a 4X bigger budget, it would make no difference. Instead of lusting after a pair of Oktavas I'd be lusting after a vintage pair of KM84 or some Schoeps or something. Effectively, there would be no difference in my cravings and desires for the next thing.

The thing comes, then you're happy for a few days or weeks, then the craving starts over again on cue. I think it's great that you (OP) have found a place to stop. It gives me hope that there could be an end to it, someday, for me too.

I try to toe the line between gear hoarder and studio owner with useful tools. If something is not up to par, it's gone, no mercy. I also like to think about a gear collection as a part of studio design, sort of like making a luxury hotel that I get to live in. The fancy things really do help me be creative. It's good to be a little bit spoiled. Especially if you do it every day.

I think there's that Buddhist idea about attachment and craving really being suffering. It's important to keep one's goals of the creative and productive nature. It's funny that we sometimes have to remind ourselves that we make music, not excuses.
Old 31st January 2019
  #22
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kennybro's Avatar
Quote:
Originally Posted by monkeyxx View Post
I was just thinking if I had a 4X bigger budget, it would make no difference...

The thing comes, then you're happy for a few days or weeks, then the craving starts over again on cue...

I try to toe the line between gear hoarder and studio owner with useful tools...

I think there's that Buddhist idea about attachment and craving really being suffering...
Good thoughts. Advertising and people talking about the "magic" of this or that gear is mind-bending and sexy. I work regularly three studios, and there is not a single piece in any one of them that would be a devastating loss.

Like Rockabilly, I do have guitars; probably still about 30 after selling off more than that past 15 years, but I accept and own that obsession. And, it was a profitable obsession up until about 2007. Not so much since then. The days of picking up a 60's triple PU Res-O-Glass Airline, OHSC, at a flea market for $50, or a '56 Goldtop for $5k are long gone. To much American Pickers and Antiques Roadshow on TV. Every crap old Silvertone is "worth" $1k today, and the bottom fell out of the higher end, excepting maybe '58 to '60 Bursts. But are people buying at $300k? Maybe not, and I suspect that asking prices get negotiated down these days.

Happily, I've managed the obsession with studio gear. Get a good variety and stop. I'm like a mechanic. What mechanic owns 20 sets of socket wrenches?
Old 31st January 2019
  #23
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Rockabilly69's Avatar
Quote:
Originally Posted by BrentA View Post
Off topic but how do the ADL600 and Sebatron compare?
They are both great sounding preamps, with a slight edge given to the flexibility of the ADL600, and an edge given to the VMP4000 for straightforward get-to-work useability. I have the ADL600 patched straight into a DBX160s comp and that combination is stellar for pianos, acoustic guitars, etc.
I would say the ADL is a bit more colored, in a good way. When I'm getting ready to record, I make a clean test recording of an instrument. Then I send it through the various preamps in my rack, and listen for which one sounds best with that source. In those tests, I've found that when I want a clean representation of that instrument, I generally like the VMP4000 the best, but if I'm looking to beef it up a bit I go with the ADL600 or a Neve Portico. If I want to dirty it up, I go with the LA610 or the BAE 1073MPF. I've used these preamps so much though now I have a very good idea of where I'll start and most of the time I get on the page pretty quick!

For example, If I'm using a brighter mic like the KM184, I like the ADL600. For a darker mic like the Amethyst Vintage, I prefer the Sebatron.
Old 31st January 2019
  #24
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Rockabilly69's Avatar
Quote:
Originally Posted by kennybro View Post
Good thoughts. Advertising and people talking about the "magic" of this or that gear is mind-bending and sexy. I work regularly three studios, and there is not a single piece in any one of them that would be a devastating loss.

Like Rockabilly, I do have guitars; probably still about 30 after selling off more than that past 15 years, but I accept and own that obsession. And, it was a profitable obsession up until about 2007. Not so much since then. The days of picking up a 60's triple PU Res-O-Glass Airline, OHSC, at a flea market for $50, or a '56 Goldtop for $5k are long gone. To much American Pickers and Antiques Roadshow on TV. Every crap old Silvertone is "worth" $1k today, and the bottom fell out of the higher end, excepting maybe '58 to '60 Bursts. But are people buying at $300k? Maybe not, and I suspect that asking prices get negotiated down these days.

Happily, I've managed the obsession with studio gear. Get a good variety and stop. I'm like a mechanic. What mechanic owns 20 sets of socket wrenches?
Good thoughts. Advertising and people talking about the "magic" of this or that gear is mind-bending and sexy. I work regularly three studios, and there is not a single piece in any one of them that would be a devastating loss.

This is exactly how I feel, the only piece of gear in my studio that I would instantly replace if gone would be my Manley Voxbox as it get's used more for my vocals than any preamp I own.

Happily, I've managed the obsession with studio gear. Get a good variety and stop. I'm like a mechanic. What mechanic owns 20 sets of socket wrenches?

I have come to regret my obsession with guitar and amp collecting, because that equipment takes up a lot of room. I have gear in storage spaces, my studio, and my home. I never really wanted to COLLECT guitars. I'm a performing musician first, who gigs typically 250 gigs a year, ranging from fairly big concerts to house gigs at resorts, and those gigs paid for ALL of my studio gear. I'm always looking for ways to present myself live that keep me interested. That's how I ended it with so many guitars, amps, and even pedal boards. And many times my main instrument would go in for repair (fret jobs, pickup replacements, etc), and I would buy a backup. I'm sure that's why I have so many acoustic guitars which is my main performing instrument. But being in the studio actually help me curb the obsession of guitars and amps because I starting realizing I was dialing each one of those guitars into these target tones in my head. I could easily get by in my studio with one humbucker-ed Gibson, one P90'd Gibson, one Telecaster, one Strat, and one Gretsch for electrics, a J45 and D28 for acoustics, and one biscuit reso, one spider-cone reso, and one tricone reso for resonators. That would eliminate many of my guitars.

Here is a song that features my typical tones (one acoustic, one reso, one Les Paul, and my voice)...



As I said earlier it's time for me to start selling off some guitars!
Old 31st January 2019
  #25
Lives for gear
 
Rockabilly69's Avatar
Quote:
Originally Posted by monkeyxx View Post
I think there's that Buddhist idea about attachment and craving really being suffering. It's important to keep one's goals of the creative and productive nature. It's funny that we sometimes have to remind ourselves that we make music, not excuses.
And this is where I am at right now!
Old 31st January 2019
  #26
Lives for gear
 
Rockabilly69's Avatar
Quote:
Originally Posted by babydaddymusic View Post
The "what would you take if you moved to a small beach cottage thing helped me focus more on music again
Funny you say this, because every year for vacation I go to a little house in Montauk Long Island NY, where I spent my childhood every summer, and it's by the beach I with typically bring one guitar, a few microphones, a RME babyface, and laptop. And that's where I write the most songs!

Here's the house...



Here's a little studio I set up in the garage...

Last edited by Rockabilly69; 31st January 2019 at 10:22 PM..
Old 1st February 2019
  #27
Lives for gear
 
kennybro's Avatar
Quote:
Originally Posted by Rockabilly69 View Post
[I]I have come to regret my obsession with guitar and amp collecting, because that equipment takes up a lot of room. I have gear in storage spaces, my studio, and my home. I never really wanted to COLLECT guitars. I'm a performing musician first, who gigs typically 250 gigs a year...
Nice tune, performance, recording! Thanks for posting. Love to hear what other people are doing with their gear. Nice groove that carries the song forward.

Can't say that I regret the guitar obsession. I've always turned a profit. From mid 70's to about 2007, I was something of an unofficial small-time dealer, always looking for the bump.

Also, I've enjoyed an amazing number of great guitars over the years and built a nice stable of great axes. And best of all, I've made so many great friends. Vintage guitar culture was a big, close-knit society, unlike the recording gear trade. Shows used to be the cultural hubs that brought people together from all over the world.

That's gone, and they suck now; nearly all overpriced junk. I quit attending a few years back. Anything remotely nice is two or three times retail, and buyers (95% are dealers) want your stuff for 30% of market value, or they walk. There were always sharks, but we all knew them and avoided. Now, it's all sharks.

Vintage recording gear culture never enjoyed that kind of camaraderie; not that I've seen anyway. And there never really was the opportunity to buy reasonable and sell for profit. A very few pieces hold value, but none of it offers the artistic value of guitars, except maybe a few microphones. I do have a bunch of nice old mics, and love those things! Not selling those.
Old 1st February 2019
  #28
Lives for gear
 
deuc647's Avatar
 

Quote:
Originally Posted by Rockabilly69 View Post
They are both great sounding preamps, with a slight edge given to the flexibility of the ADL600, and an edge given to the VMP4000 for straightforward get-to-work useability. I have the ADL600 patched straight into a DBX160s comp and that combination is stellar for pianos, acoustic guitars, etc.
I would say the ADL is a bit more colored, in a good way. When I'm getting ready to record, I make a clean test recording of an instrument. Then I send it through the various preamps in my rack, and listen for which one sounds best with that source. In those tests, I've found that when I want a clean representation of that instrument, I generally like the VMP4000 the best, but if I'm looking to beef it up a bit I go with the ADL600 or a Neve Portico. If I want to dirty it up, I go with the LA610 or the BAE 1073MPF. I've used these preamps so much though now I have a very good idea of where I'll start and most of the time I get on the page pretty quick!

For example, If I'm using a brighter mic like the KM184, I like the ADL600. For a darker mic like the Amethyst Vintage, I prefer the Sebatron.
This is why i love gearslutz, i feel the complete polar opposite of this. Th ADL is really clean with a clear sound with some low mid bump, where the sebatron(when i had it) was just great on everything I put thru it. Pianos, strings, drums, it just worked. I currently have the ADL which is good but if i could trade it for a sebatron I probably would, I loved that preamp.
Old 1st February 2019
  #29
Lives for gear
 
Rockabilly69's Avatar
Quote:
Originally Posted by deuc647 View Post
This is why i love gearslutz, i feel the complete polar opposite of this. Th ADL is really clean with a clear sound with some low mid bump, where the sebatron(when i had it) was just great on everything I put thru it. Pianos, strings, drums, it just worked. I currently have the ADL which is good but if i could trade it for a sebatron I probably would, I loved that preamp.
Actually Duece we kind of agree I think the ADL and Sebatron are both clean, but I said the ADL adds a little beef and that is the low mid bump you are referring to. And yes the VMP does sound great on pretty much everything that goes through it, it's probably the most used preamp in my studio, and if you search my posts you'll find that I've said that in the past.

Look at post #2 on this thread... you can keep only ONE outboard piece
Old 1st February 2019
  #30
Lives for gear
 
Rockabilly69's Avatar
Quote:
Originally Posted by kennybro View Post
Nice tune, performance, recording! Thanks for posting. Love to hear what other people are doing with their gear. Nice groove that carries the song forward.

Can't say that I regret the guitar obsession. I've always turned a profit. From mid 70's to about 2007, I was something of an unofficial small-time dealer, always looking for the bump.

Also, I've enjoyed an amazing number of great guitars over the years and built a nice stable of great axes. And best of all, I've made so many great friends. Vintage guitar culture was a big, close-knit society, unlike the recording gear trade. Shows used to be the cultural hubs that brought people together from all over the world.

That's gone, and they suck now; nearly all overpriced junk. I quit attending a few years back. Anything remotely nice is two or three times retail, and buyers (95% are dealers) want your stuff for 30% of market value, or they walk. There were always sharks, but we all knew them and avoided. Now, it's all sharks.

Vintage recording gear culture never enjoyed that kind of camaraderie; not that I've seen anyway. And there never really was the opportunity to buy reasonable and sell for profit. A very few pieces hold value, but none of it offers the artistic value of guitars, except maybe a few microphones. I do have a bunch of nice old mics, and love those things! Not selling those.
I've never been to any guitar show, but I bet those old shows were fun! I was just always looking for a certain sound and feel. With all of the guitars I've bought I've really learned what I like in a guitar, but now I really need to sell off what I'm not using as I need the room
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