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At 12:27 AM +0100 11/21/08, Buzap Buzap wrote:
>
>> Oh, it'll do those "telephone type" effects. There's a distortion
>> block that'll allow you to re-EQ for all kinds of effects like that,
>> IIRC.
>
>did you really get any decent "telephone effect"?
Well, for the short time I was kicking it around, sounded pretty good
to me. But I was using it purely in a studio context and not live.
>I always ended up with so much feedback - I gave it up.
Ah, now that's a slightly different issue. I'm pretty sure that it's
sorta linked to the nature of the effect. Back 20 years ago when I
was mixing live sound for a friend's band, the same thing almost
drove me insane. They had a song where they wanted the same effect
(I was using a standard graphic eq for this at the time). Every time
I kicked it in, it was a complete crapshoot whether I would wind up
with howling feedback or not. Seems most of the mid-band frequencies
you accentuate for the effect are also in the sweet spot for the room
resonance of most venues.
Finally figured that, for a live effect, the most stable thing to do
is to turn it into a telephone effect before it ever gets to the
microphone. Easiest way to do this is to buy a cheap used megaphone
(the crappier the better), turn it down to a manageable level, and
have the vocalist sing through it about a foot off the microphone.
Not only did that work for us, I actually saw the singer for The Fall
(amongst others) use that same technique a few years later.
>Good point you made: it's not only for vocals. Whenever you need
>decent reverbs in you chain.
>Too bad it's only MonoIn>mono/stereoOut
Thanks! Only upside of the Mono In thing is that *most* of us would
only be mic-ing a single amp -- at least for a single effect. If
you're running a stereo pair, odds are that you want individual
control over each amp, so you'd have two Creates in your chain
anyway. :)
--m.
--
_____
"take one step outside yourself. the whole path lasts no longer than
one step..."