EliasMooseblaster
-
Posts
2,318 -
Joined
-
Last visited
-
Days Won
1
EliasMooseblaster's Achievements
-
Video/Audio sync issue - sampling rates?
EliasMooseblaster replied to EliasMooseblaster's topic in Recording
OK, so it looks like the phone camera may be the culprit: I popped open the metadata for the video file, and it looks like it's nominally "supposed to be" 30fps, but the decoders on my computer are reporting this weird 28.7fps. I wonder if this is some kind of space-saving shenanigans in the Google Camera app. Might be time to try some different software which offers more control over the video settings... -
Video/Audio sync issue - sampling rates?
EliasMooseblaster replied to EliasMooseblaster's topic in Recording
Thank you, this is all useful to know. To answer your questions, all the audio and video processing are being done on Linux (Ubuntu Studio, specifically). Video is typically shot on an Android phone, audio is going through a Focusrite into the DAW. To sync, I usually hit a muted chord at the beginning - something which will go through to the DAW, but also make a loud enough 'click' to show up on the camera's audio track. Makes me wonder if I should do one afterwards as well, to make sure things are in sync at both ends! Popping open a recent video edit, I've checked the sampling frequencies, and both the audio and video tracks are 48kHz...so no problem there. The video has a frame rate of 28.7 fps (as does the project) - should there be a similar metric for the audio? -
I've noticed, when I try to film and record separately, I end up with a weird syncing issue: I can get the video to sync with the start of the audio track, but they seem to get more out-of-sync as the video goes on. Am I just two or three frames out when I line them up, and that lag snowballs through the video? Or could it be something to do with sampling rates (my phone camera typically does 25fps; DAW is recording at 44.1 or 48 kHz)? Anyone else found this problem? (If it helps diagnose: I record in Ardour or Audacity; audio and video are edited together in KdenLive.)
-
The devil on my shoulder is telling me to post something about how a good 12" speaker really helps bring out the difference the flamed maple cap is making to my core tone...
-
I've always been quite minimal: I had an overdrive for solos, and a fuzz for the odd song that needed it. The "signature sound," such as it was, was a Gibson-style bass into a valve head. And since you asked for clips - this one features the OD (Ibanez Bass Tubescreamer - skip to 1.55 for the bass solo): https://youtu.be/WsWxzQfo_1s?si=x5iqbWaKD2cdhyd2 ...and this one features the fuzz (EHX Bass Big Muff): https://youtu.be/6SBOchDGZ7E?si=nxHp5-vvcLm6IbQI
-
Cheers! Yeah, if I were still gigging regularly, I'd be clinging on to this amp. But I'll be keeping my Little B*ast*rd 30 for recording - probably my joint favourite with the CTM-100! - so I can't really justify keeping both of them. -
MARSHALL BB-2 Not to be confused with the original Bluesbreaker pedal, which was essentially a preamp-in-a-box - this is a dedicated, dual-mode overdrive pedal. "Boost" mode is a transparent-sounding clean boost, designed to push the front end of your amp harder, while "Blues" mode gives a much more shaped (and saturated!) tone, reminiscent of the original Bluesbreaker amps being dimed. I bought this pedal back in something like 2010. It was my main distortion effect for a while, and did a handful of gigs with me, but as I've experimented with new effects and different amps, I find myself using it less and less. I still have the original box and user's manual, which are a little worn in places (see pictures); the pedal itself is in excellent condition. Only one thing: the controls originally had black position indicators painted on them, which have mostly rubbed off over the years. Up to you whether you leave them as is, or paint some new ones on! Price includes postage to mainland UK. If you'd like it sent to a different country, drop me a PM. Open to sensible offers! -
Looks (and sounds) like an absolute beast! I had to stop and admire that bridge design - very clever way to get that many strings into that space.
-
Bass not cutting through? Loudness could be the answer
EliasMooseblaster replied to Phil Starr's topic in Amps and Cabs
^ hard to understate how important this is! In my experience, most branches of physics an undergrad might go on to specialise in would require some understanding of how light and/or radio waves work, because they're both part of the electromagnetic spectrum, and find one way or another to come into play! Sound waves? Well, they're pressure waves, and then you're getting into fluid dynamic territory...I've noticed there's nothing like that "F" word to scare off an awful lot of otherwise very able physicists! -
Bass not cutting through? Loudness could be the answer
EliasMooseblaster replied to Phil Starr's topic in Amps and Cabs
This tallies with my experience: when I mostly played live, I quickly realised the mids were key to the bass having any presence in the mix. If it was a shared/house bass amp, my first order of business was to find any kind of pre-shape/contour/enhance control and turn it right off! Otherwise it was all clacky treble frequencies and deep bass that got in the way of the kick drum. Conversely, as I shifted more to recording music, I realised I could take a lot more mids out without losing the "detail" of the bass tone - and actually get back some clarity. (And believe me, after all those gigs, it took quite a leap of faith for me to turn the mid controls down!) -
Happy Jack made the very good point about the people who just mumble into the mic between songs - those cases may as well just be "dead air" between songs, for all the good they do! Whoever gets the job needs to lean into the role, become a bit of a circus ringmaster, if you like. Loud, clear voice, as if you're doing theatre (dahling!), and if you keep it short and punchy, you keep the audience engaged. Have some good lines planned ahead of time if it helps. If you can nail it, I can't imagine the band would sustain their objections. If you need inspiration, Pete Townshend did it very well around The Who's creative peak. Look up one of their (better) live recordings (Isle of Wight 1970 is a good starting place) and skip to the breaks between the songs. It's often daft, even a bit camp, but it helps to maintain the energy.
-
Sold an active PA speaker to Tim at the end of last week. Thoroughly nice bloke to do business with!
-
For me, it's The Who's live performance of Pinball Wizard from their IoW 1970 set: https://www.youtube.com/watch?v=-J03yCE15rg Listen to the buildup; it's only 20 seconds in. But that moment where The Ox's bass blasts in (filling in for the distorted guitar stings from the studio version) rarely fails to raise the hairs on the back of my neck. They also have an entertaining effect if you put it on for unsuspecting friends who usually looked shocked and exclaim, "holy s**t, is that the bass?!"
-
"Long Road Home" - dark blues / gothic americana
EliasMooseblaster replied to EliasMooseblaster's topic in Share Your Music
Ooh, I'll happily take that comparison - thank you most kindly! -
So I popped a new single out today, and you can hear it here, if you're so inclined:
