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i use the Rolls MX28 (stereo mini mix VI). Three mono/stereo inputs, headphone and master output. It works for my situation and I run the master out to FOH. It requries an external power supply (no batts).

This is a good point. When playing saxophone, earplugs (or IEMs) did not work. The bone conduction sound of the buzzing mouthpiece altered the tone-in-my-head too much. Very kazoo like.

IME, if the cans have a good noise rejection rating, they can be run at a low non-fatiguing volume. When I use them I do not use a limiter. This is going to sound like an IEM vs cans thing, but it is just my experience. I've have both IEMs (1964 Ears quads) and cans (David Clark 10S/DC ). For my use, the cans are superior. With IEMs, a limiter should be used. Due the small volume of the air column between the transducers and the eardrum, they deliver a much more impactful (scary) impulse due to a transient from a dropped mic' or power glitch somewhere in the chain. Though they were custom molds, they would sometimes leak ambient sound. This can be annoying on stage because you have to stop and fiddle with it. Comply Soft Wraps helped with this. Because of their superior sound rejection capability (DCs have a certified noise reduction rating), over-ears can be run at a very low, non-fatiguing volume. They have a much larger volume between tranducer and ear drum than IEMs and create less impact to the ear due to transients. Regarding appearance, when wearing cans on stage, I've never had one comment about it. (There could be other reasons for that too ).

I have another kind of a gutiar player problem. I'm playing with a person I've known a long time and for whom I have immense respect in more ways than music. He has a really good ear, has lots of chops, is always prepared and is very easy to work with. He does not read, though he did plod his way through a chart note-by-note without complaint to learn a part (which I will never ask him to do again). The thing is, when he solos, he will often not alter his line to follow a chord change. I wince a little bit everytime it happens and I'm dissapointed that it's the kind of thing that would make me not want to record with him (or else write tunes that don't have interesting chord changes over the solo section). I've wanted to bring this up with him for some time but don't want to risk our friendship and/or alter our working relationship because of what could come off as condescending, etc. Has anyone any suggestions on how to do this? Here's a YT link of what he was doing in 1983. This is not blues or the usual rock fare. Sometimes it sounds like Dixie Dregs, sometimes Yes, sometimes Eric Johnson. BTW, we don't play anything like this. (horn band, Soulive, Stanton Moore, Maceo, etc.)

Good memories John. Like others, my mother was my first piano teacher. I was about five I guess. I remember her getting frustrated with me because I couldn't figure out what triplets were. Then she hired a teacher. In your case, you asked her to listen to Peter Gabriel or Rush or something, In my case it was something from the Hendrix era. She said it was boring. I was nonplussed. She passed a couple of years ago at 94 in a "memory care unit". I'm lifting a glass here to our musical moms.

Also regarding ventilation - if you do plan on recording with microphones, design the ventilation system for the recording area to be free of any fan motor sounds, AC vent duct noise and the like. Othewise, you will be forced to disable these while recording. In Florida, a room with no ventilation heats up pretty quickly. I imagine it does so in Brazil as well.

It reminds me of tinnitus masking sounds. I also have several of these.

Am a satisfied Transcribe! user.

Thus the nickname 'round these parts, "Flame Linear." Speaking of amp abuse, a local sound tech decided that the DC clamping circuit on the output of a Peavey CS800 power amp affected the sound in a bad way. I don't know the actual problem with them but he removed them from all his CS-800s. This was a Bad Thing. On a gig, one of his Peavey FH-1 folded W horns started smoking. A lot. He had to flip it on its back and run a garden hose in there to put out the fire!

Ah yes, the "Universal Tiger"... I think I built two of these. ...I too built a couple of those Tigers, and also the SWTP preamp. Those pieces and four large Advents were the heart of my system for years.

Audacity has multiple pull-downs to select input and output sources. I've had to fiddle with these from time-to-time, depending on what source I was using. This might help: Tutorial - Selecting Your Recording Device

Thanks for this. I just finished it on Prime and I"ll be recommending it to some friends. There are a few albums I need to get.

Tonight I watched Sound City (2013). Mr. Neve had a cameo.

I have a relative with a set of vibraphones tuned to A442. i guess this is a standard. He told me they can be retuned to A440. The resonators generally do not have to be tuned. It's not crazy expensive to have it done. Gary Burton posting to the Vibes Workshop forum on retuning. You can intonate saxophone to a non-standard tuning note at one fingering. However, it throws out the intonation for the other fingerings. Otherwise, it would be possible to create a bari sax by putting a really long neck pipe on an alto sax. It would be perfectly in tune at one note.

I don't know if there is an upgrade to the Leslie simulation in the 5 or 6 compared to the 4. I would hope so. My opinion about Nord built-in Leslie simulations: I have both an Electro 4 and a C2D, and also a Vent II. I use a C2D through a Leslie on the gig when I can and through the Vent if I can't. But for practice it's the Nord alone, AFAIK, both Nords have the same thin-sounding Leslie simulation. The simulation really messes with the frequency response right in the fatness region of the tone. All one has to do to hear this, is to turn the sim' on and off while listening to the Nord through some decent near field monitors or headphones.* This is evident even when listening to only the L or R channel. It sounds so much better with the sim' off that, if it is the only simulation available, I prefer going without. The Vent does not alter the frequency response like the Nords do. * this would be a good test for any Leslie simulation.

Notice the split in the case. Is it a Super B?

When the drawbar slides over the ratchet bump the tone drops out, which prevents one from making tonal changes by grabbing and manipulating a handful of drawbars mid-note à la John Medeski.

I rebuilt the one in my A100 following a guide from Bob Schleicher in the original Hammond-Leslie FAQ. How to Rebuild the Vibrato Scanner. I have repaired and rebuilt Hammonds and Leslies and even rebuilt scanners, but this is the only one I did by removing it from an otherwise functioning organ to fix a motorboating problem. So for me, the trickiest part was the actual removal of the motor/scanner assembly. The rest was very straight forward.

Finding Forrester Searching for Bobby Fischer The Battered Bastards of Baseball

How I wrap depends on the flexibility of the cable. I used to wrap all cables with over-under but got tired of dealing with the occasional string-of-knots. If the cable is not very flexible then I use over-under and just deal with the knots if they occur. If the cable is flexible, I use the divide-by-two method and secure the bundle with a velcro in the middle. It is by far the quickest method to stow and the cable unstows with no twisting and no knots. it works great for mic' cables too.

We used to call that "working the crowd".

Thanks for this. He expresses rather pointedly that live music creation is a shared experience between the musician and another, whether audience, student, the band, etc., This shared experience is a big part of his musical self identitiy and his disconsolation at not being able to have this shared experience is as you say, sobering.

Oh - so sad to hear that. I met Bob through the ZK3 Hammond mailing list in the mid 90s. I was the first FAQ author. Bob gave freely of his expert knowledge and advice, which could be trusted to be accurate. One day he emailed me and asked me to review a design he had done for a solid-state Leslie relay. He was selling one he had already designed, but this one had something different, a stop feature with a brake. It worked, of course. Remarkably, it was implemented with CMOS logic devices. I replied with something like "These days, it would probably be done with a uP." This resulted in some phone conversations leading to me designing and building his EIS SSR. For several years he would drop ship a batch of 12C671 uPs to me which I would program and ship to him. IME, he was the nicest and most honest fellow I've had the pleasure of dealing with. BTW, the handle "ChoppedHam" actually came from one of Bob's email addresses.

You says it doesn't work, but what does it actually do when toggling the switch between the three positions? Stopped in all positions or what? Have you tried diagnosing by hooking it all up and checking the voltages of tip and ring relative to sleeve in all three positions. According to one drawing I saw, Vent_one has 10k internal pullups to +5 V.

Abandoned/shelved projects. I have had a few. Here is one: Leslie Simulator Some time in the 90's, being dissatified with any simulator I had heard, I decided to build one using a time-varying FIR filter using the measured impulse reponses of a real Leslie for coefficients. I recorded a set of impulse responses of my Leslie 122 (in my living room). The set for each rotor were measured at fixed azimuth angles of 22.5 degrees, giving a set of sixteen for each rotor. I came up with an algorithm that would work, but that would be too computationally intensive for any single DSP available at the time, and probably even now. That project and those coefficients were shelved until 2017 when I did an Octave simulation of a Hammond chorus/vibrato that sounded pretty decent to me. Could the same algorithmic approach work for the Leslie sim? I retired from the day job in Jan 2018 and worked for three months on it. I modeled it in Octave, then I ported the algorithm to a TI TMS320C1648 low cost development kit. It worked well, but the audio output of the LCDK had some buzzing artifacts. To fix that, I started laying out a DAC board with some peripheral inputs to attach to the LCDK. Then I bought a Ventilator II. Hey! The Vent sounds like my sim! But the Vent has nice hardware and lights and multiple I/O and lots of options and customer support. In general, I don't build things I can buy. So far, I haven't thrown the sim out but it has been shelved indefinitely. Though, maybe an FPGA solution with the original algorithm...