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Post by Cruachan on Jul 10, 2015 14:30:01 GMT
"Really, Dad? You know I've tried ever so hard to achieve 'those sounds' yet I'm still not quite there. Yes, you got me the Vox Mini5, which is great, but I want to hear those same sounds enhanced by my fabulous Roxlut using Charlie and John's amazing Hall & Collins Signature Echo unit (H&CSE). It's close, but it just ain't happening." "Okay, okay Son, give it a rest, I think I may have found a way. You know I've been experimenting with your Roxlut in combination with the Caline CP-24 10 Band Equalizer and also, more recently, the Joyo ACTone. Each delivers in its own way: the Caline CP-24 works quite well with the H&CSE and the Roxlut. Likewise the ACTone does a good job when used with the H&CSE and the Vox Mini5, but for some reason performs less well with the Roxlut. However, the downside will always be that irresistible temptation to keep twiddling knobs and moving sliders. So, I decided to adopt a more logical approach and this I have outlined below. I hope you will agree that this could be a much more satisfactory solution." Signal Chain:Guitar -> Boss FV-500H -> Tc Electronic Polytune -> Hall & Collins Signature Echo -> Caline CP-24 10 Band Equalizer -> Joyo ACTone -> ROXLUT Settings:Caline 10 Band EQGain ................... 0dB 31.25 Hz ............ -12dB 62.5 Hz .............. -12dB 125 Hz ............... 0dB 250 Hz ............... 0dB 500 Hz ............... 0dB 1 KHz ................ 0dB 2 KHz ................ 0dB 4 KHz ................ 0dB 8 KHz ................ -12dB 16 KHz .............. -12dB Joyo ACToneLow: 9 o'clock Mid: 3 o'clock High: 9 o'clock Level: 12 o'clock Voice : 12 o'clock Drive: 9 o'clock "Wow, Dad, that's definitely the core sound I've been searching for! I'm using the Roxlut's Normal Channel Input 1 (full sensitivity), set the Tone control to 10 (Max treble - on the Roxlut the tonal range 10-12 works similar to Vox treble cut) and Volume at 2 which is plenty high enough (i.e. quite loud) for my music room." "You're welcome, Son. Can you see what has been done?" "Yep, sure can. You've used the Caline for Bass and Treble cut and the ACTone to boost the Mids with some additional tickling of the lower and higher frequencies. I find lifting the Drive control above 9 o'clock is not really desirable as some distortion is introduced. Others using this configuration may have to adjust the Level control to suit their playing environment. Oh, and one final thing: there does still appear to be subtle but important differences to the tonal quality of sound as dictated by my choice of guitar and their pickups. The core sound is always there using this arrangement but instrument selection is likely to assist in determining how close you want to be to those original, some say, magical sounds." "Yes, Son, I think you are probably right. Also Amps with Bass and Middle controls may have to be set up in such a way to avoid destroying the emulated VOX signal. The best positions may be the 'sweet' spots arrived at by sweeping each control back and forth until you home in on a point where a played note just starts to take on some tonal colour. I confess I'm not sure about this, but seems reasonable. Others reading this may care to comment." "Thanks Dad, much appreciated" Note: This conversation was 'overheard' and 'transcribed' by me, Mike. Thought you might enjoy reading it
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Post by Cruachan on Jul 8, 2015 11:51:22 GMT
When I looked at Tony's Profile at the Sydney Shadows Music website I got this: Tony Kiek Administrator Username: admin Last Online: Feb 12, 2010 at 5:02amAlso, I couldn't find any Shadows related material at www.turningpointcd.comDoesn't look very promising. I do hope Tony is okay. Mike
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Post by Cruachan on Jul 1, 2015 15:29:52 GMT
Hi,
I've checked the link under the 'Provider List' and can confirm that all is well.
Regards, Mike
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Post by Cruachan on Jun 29, 2015 23:57:00 GMT
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Post by Cruachan on Jun 29, 2015 15:46:06 GMT
It has always struck me that it all depends on how you HEARD "That Sound" that you are chasing. Is it "That Sound" as you heard it on your tiny, tinny transistor radio from Radio Luxembourg, as you heard it from your 7" vinyl on your Dansette record player with its 5" elliptical speaker, or your Gran's all valve sideboard sized wooden cabinet Radiogram, even "Live" - and so on? Ian Hi Ian, I too have fond memories off building a crystal set and a short wave radio and listening to Radio Luxembourg in bed late at night. Where has all the excitement gone? However, in my case, the real introduction to those sounds of the 60s came while hearing them through my parent's Dynatron Radiogram. I forget which model, but it looked very like the Windsor RG22/23 which boasted 6 speakers in two banks - 2 Woofers, 2 Mid Range and two tweeters. Vinyl discs were played on an integrated Garrard SP25 Record Deck which had auto change capabilities - my father was a wise man and this feature was seldom used, if at all. The model was similar in appearance to this one: www.radiomuseum.org/r/dynatron_windsor_rg22.html#bHowever, I am sure the output of our Dynatron was 20+20W RMS and, as I said, it had 6 speakers. I remember the sound produced by this model was very good indeed. However, I cannot recall any specifics and certainly nothing that would influence the search for 'That Sound' as heard today on modern equipment. I suggest that, for most of us, accurate memories for such musical sounds does not in fact extend that far back and, as you have hinted, would, if taken in isolation, likely have a negative impact on any attempts to recreate the experience. Nowadays I think our memories for those sounds are based on hearing original recordings, often remastered, played back on contemporary equipment, performances at live concerts and audio files created by folk like Charlie who, having lived through those years and as a result of their intimate involvement, have cultivated the unique skills and knowledge necessary to analyse and reproduce those now familiar sounds. Regards, Mike
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Post by Cruachan on Jun 28, 2015 11:54:48 GMT
Hi everyone,
Well, despite this thread having strayed somewhat from the questions asked in the original post, it appears to be evolving into areas which are just as interesting, so please carry on!
I think analogue is written into our DNA. Basically we, as humans, seem to derive much greater pleasure from music recorded using what many would regard as being imperfect technology. Digital is fine, but for audiophiles lacks the subtle nuances introduced by the equipment of old. This certainly is part of the explanation as to why we are witnessing a strong comeback for tracks cut in Vinyl and why it is we can appreciate the lasting contribution made by valves over transistors. It also has given birth to many poetic obfuscations which are used to describe what we are hearing. Instead, perhaps the most important terms in fact are:
Distortion Signal to Noise Dynamic Range Frequency Response Digital Artifacting Channel Separation Reverb Compression
With Analogue you might add:
Pitch Harmonics Wow and Flutter Acoustic Feedback Ground Loop Dropouts
A few years back, after nearly 40 years, my Sony HMK 70 Music Centre finally gave up the ghost. I have quite a decent collection of good quality Vinyl recordings and it was then I discovered that in recent times there is an increasing resurgence of interest in the medium. I needed a good replacement for my beloved belt driven Sony turntable, but most of what was available at that time, and still in production, seemed almost prohibitively expensive. Further research revealed an active market for secondhand decks and soon I made the decision to purchase a little used Technics SL -1210M3D Quartz Direct Drive Turntable System. Several weeks of obsessive behaviour followed by which time the deck and tracking had been thoroughly checked out. I fitted a Sumiko headshell with a Denon DL110 Moving Coil Cartridge and a KAB Electro Acoustics Tonearm Fluid Damper. A Marantz PM6004 Amp and CD6004 CD Player along with a pre-existing set of Bose Speakers with Sub Woofer completed the setup. To say that the resultant sound production was and is glorious is somewhat of an understatement! There really is no comparison with my old system. My only regret has been missing this experience for so many years.
There can be no doubt that the accuracy of the Direct Driven Turntable is contributing greatly towards the faithful reproduction of the complex analogue information carefully cut in those vinyl grooves. The Amp and CD player are both solid state and yet Marantz have succeeded in injecting a certain magic which has made all the difference to the sound stage heard in our living room. To my ears, and those of others, it is quite extraordinary! And yes, the fidelity of CD reproduction is almost as good as Vinyl...but still not quite!
Regards, Mike
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Post by Cruachan on Jun 27, 2015 20:23:06 GMT
I think we are all agreed that achieving accurate reproductions of what is being constantly referred to as 'that sound' presents a huge challenge and depends on the presence of the correct mix of so many variables. The 'Hall & Collins Signature Echo' +/- some appropriate EQ tickling has suddenly brought us within a whisker of scoring that goal. For the vast majority I am guessing that this is proving now to be close enough and making many players, myself included, very happy indeed!
There is, however, one significant variable which has not really been discussed in any great depth and that is the recording setups used back in the 60's and later to capture those sounds we all remember and love. In particular, the microphones used and the position of those mics in relation to the speaker cone of the chosen amp. Nowadays many have come to rely on the ubiquitous Shure SM57 or are bypassing the physical amp by capturing into software, possibly amp modelling software, by using the line input on a laptop or PC. The latter, of course, obviates the requirement of micing an amp but, arguably, may make it harder to arrive at 'that magical sound'.
Back in the 60's sound engineers did not have the luxury of modern computing capabilities, but their skillful use of the hardware available at that time produced something very special nonetheless.
It would be interesting to hear what the members are now using, if anything, along with the 'Hall & Collins Signature Echo'. If you are micing an amp where do you place the microphone and is the position being dictated by the tune? Do you compromise by maintaining an optimal position as is the case, presumably, with stage setups. Are similar compromises regarded as being acceptable to you in a studio/home setting?
Mike
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Post by Cruachan on Jun 25, 2015 21:24:01 GMT
Hi Maurice,
I suggest you try the iTunes Store. Search for 'Riders in the Sky The Shadows' and you will turn up several examples. 99p (UK currency) and a track could be yours!
Regards, Mike
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Post by Cruachan on Jun 22, 2015 22:31:43 GMT
Hi David,
Yes, another fascinating insight into the professional life of another member of The Shadows. I had no idea Brian is also an accomplished pianist, composer, arranger and record producer. Thanks for the link.
Regards, Mike
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Post by Cruachan on Jun 21, 2015 22:31:08 GMT
Hi Gerd, You see, what have I been saying for the past week or two? No Vox required....to get 'that sound', although maybe a little EQ would help in this instance Actually, if you allow the next video or two to load following this one eventually there's a very entertaining and informative interview (Face To Face) with Bruce Welch and Rick Wakeman. Bruce, who I think was 67 at the time, relates the history of the Shadows from the very beginning in impressive detail. Either he has an extraordinary memory or he has been over the sequence of events so many times he now has little difficulty recalling all that has happened since those very early days in Newcastle when he and Hank were at school together. Much of it will be familiar to many of you, but there is quite a lot that was new to me. Here is the link if you want to jump straight to it: youtu.be/OXMnkVDSVxkPlease note there are two parts. Regards, Mike
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Post by Cruachan on Jun 18, 2015 12:22:09 GMT
Only a few people know that Phil used to have a Performing Flea Circus and when he sold it he kept some of his best performing fleas for occasions such as this. The ones moving the faders are not actually his best, they are just the strongest ones, the really clever and talented ones are the ones playing the guitars and the drums but as they are a bit camera shy he keeps them out of camera shot. Oh Sandra, Sandra, Sandra, c'mon, next you'll be expounding the theory that the world is round when in fact we all still believe that it's quite flat. Remember Michael Bentine's 'Potty Time'? Unfortunately this highly intellectual debate didn't move on to a conclusion so we still don't know the truth of the matter: youtu.be/XRL6my1z0swThere's never a flea lunch! Well Phil, any chance you're going to tell us how it was really done? Regards, Mike
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Post by Cruachan on Jun 16, 2015 10:23:16 GMT
Hi all, You must excuse me for being only halfway down page 1 when it comes to all this stuff. May I go back to the mention of the Joyo AC Tone pedal that Charlie mentioned. Is this a stand alone pedal, or could you use this in conjunction with an effects pedal like a Zoom G2. And if you could, where in the chain would you put it? I am talking about both live playing and recording here. Thanks Ed Hi Ed, I am experimenting with the Joyo JF-13 ACTone pedal and, I must say, it's an impressive performer. Contrary to what others may believe, I find the best position for this pedal, like the Caline CP-24 10 Band EQ, is between the Hall & Collins Signature Echo and the Amp. Charlie has stated in another thread that you would not wish to modify the guitar signal before it is processed by the Echo unit. I would imagine that this logic would apply when any other echo unit is used. charliehall.proboards.com/post/171787Regards, Mike
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Post by Cruachan on Jun 16, 2015 0:26:51 GMT
Hi Gary, 'H' and Bernie I've tested the Caline CP-24 at my normal amp volume setting which is plenty loud enough in the room where I play guitar and jam with a friend. Currently I am finding the best settings are as for Generic (1) in the table. My preferred cut and boost values for 500Hz and 4KHz respectively are highlighted in bold. For my age, 68 this year, I regard my hearing as being pretty good and am able to hear sound frequencies ranging between and including 30Hz - 11KHz. You may like to test yourselves. Select the first 2 items under the Frequency Response Tests on this page and play the sound file: www.audiocheck.net/soundtestsaudiotesttones_index.phpThe Caline is essentially silent when the sliders for the mids are all at 0dB. All these sliders can be increased to 8dB without noticeable hiss. The hiss only becomes intrusive in the room situation when they are at +10 to +12dB. I doubt whether you will hear any hiss at any of the settings listed in the table unless you are very close to the amp's speaker. With all the mids (250Hz to 4KHz) set to 10dB the Master Gain can be increased to 8dB without noticeable change in hiss level. From 8 -12dB the hiss become progressively more audible. 12dB is really a no no, but then it's unlikely ever to be used. Here is an image of my current pedal setup: You will note I am also trying out the Joyo JF-13 AC Tone. Like the Caline it has a true Bypass switch so either can be used independently. I must say, it too is a very nice affordable pedal and early results are showing great promise. However, that's not the topic under discussion here. As yet, I haven't recorded any sound files. Sorry, but then what you hear is a very personal thing and your opinion will certainly be influenced by the quality of the recorded file. Regards, Mike
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Post by Cruachan on Jun 15, 2015 22:04:38 GMT
Can you really actually hear the effect of moving 125Hz from -8 to -10 ? Hi lw, Good question. A frequency boost or cut of 2dB when heard as part of the mix rather than in isolation is more likely to be perceived as a subtle change in tonal coloration of the overall sound. So, I'm assuming the answer to your question would be yes. If such a boost or cut of the frequency 125Hz is heard in isolation then I imagine the normal healthy human ear would have no difficulty detecting a change. Perhaps I could turn the question around and ask you if you are able to identify a change? Remember, these values were deduced and posted on March 6 from examples of Ronnie Gustafsson's helpful Boss GE-10 settings identified from his "That Sound - Part 2 - The Clinic" YouTube video: www.youtube.com/watch?v=S5cOLV_fci4charliehall.proboards.com/post/166390Here is another link to an interesting article (scroll down to the section headed 'The Threshold of Hearing and the Decibel Scale' : www.physicsclassroom.com/class/sound/Lesson-2/Intensity-and-the-Decibel-ScaleThis is all relatively new territory for me, but very interesting nonetheless. Regards, Mike
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Post by Cruachan on Jun 15, 2015 16:16:53 GMT
Hi Phil, That was amazing! How on earth did you do that? Clearly stop motion photography wasn't involved as the monitors appear to be displaying in real time, yet the EQ changes are moving in time to the beat of the tune and are obviously part of the desired recorded effect rather than having any practical value. I'm well flummoxed! Regards, Mike
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Post by Cruachan on Jun 15, 2015 15:17:49 GMT
Hi everyone, Just a heads up to advise the community that I have now updated my original post again to incorporate many of the helpful suggestions made by the membership: charliehall.proboards.com/post/171955You may have noticed that I have a tendency towards updating my posts Mostly it's because I think of better ways to express myself or correct grammatical errors, but mainly it is to avoid the needless addition of posts, which can easily lead to confusion when a correction or addition will serve perfectly well. Thankfully these Boards allow this to happen although I'm sure many will frown on the practice. However, in my defence, I would point out that this thread is an evolving exercise in an experiment which is relatively new to many of us. As such any updates or modifications made to a root post can be very helpful in saving us from repeatedly having to wade through an ever lengthening thread. Regards, Mike
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Post by Cruachan on Jun 15, 2015 13:44:01 GMT
Hi Mike, Never mind my mention. It was just meant to inform you - no thought of chicanery. No offence! Regards, Bernie Hi Bernie, None taken. Perhaps it is I who should be apologising (seem to be doing a lot of that lately) to you for not being more clear about how those values appeared in the table. It can be an unfortunate side effect of Internet posting when our omissions frequently trip us up more than misguided good intentions. Regards Mike
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Post by Cruachan on Jun 15, 2015 13:04:13 GMT
Hi Mike, I just saw your updated table and compared it with Ronnie Gustafsson's settings that you worked out with effort in this post: charliehall.proboards.com/post/166390It seems they are quite the same - possibly this is intended by you. I just have noticed it because it looked familiar to me. Regards, Bernie Hi Bernie, Please relax, I can assure you that there was no chicanery involved. In fact I received an email from 'H' who was kind enough to assemble the data in a table using Microsoft Word. He was perfectly upfront about it and stated "I have only filled in the settings that were posted on the earlier thread, but there is plenty of room for more settings. I guess its only of use for bedroom player as it take time adjusting the settings. but it a fairly easy way of saving the settings." His table presented what I had posted previously in a much better way and this convinced me to reconstruct my own table using his format. Also it was an opportunity to bring all the settings, posted to date, together in a single table. There has been a niggle at the back of my mind that without the names of tunes to act as a guide my original table may not be particularly useful. Others appear to be sharing that view. The 'Generic' entries are just that - entries which I (it might be different for others) have found to be particularly useful and originated from Charlie and Erik (Generic 1) in 2011 and yourself in the "Perfect" EQ Settings thread (Generic 2) which appear to be proving useful when used with different amps. Regards, Mike
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Post by Cruachan on Jun 15, 2015 0:06:57 GMT
Hi 'H', Thank you! Erik's post, Geza's suggestion and now your very helpful table has persuaded me to revamp the way the data is presented. Hopefully others will find this to be much more useful. Please note that my original (first) post has been updated: charliehall.proboards.com/post/171955Regards, Mike
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Post by Cruachan on Jun 14, 2015 18:44:41 GMT
Hi Erik, Thank you for your further comments. As ever, your input is always helpful and thought provoking. I don't doubt that everything you have said is spot on. However, and respectfully, I would ask you to read again my penultimate paragraph in this post: charliehall.proboards.com/post/171983This is not an exercise in the achievement of perfection as is being expressed by our determination to recreate those sounds of the early 60s as accurately as possible. Yes, we have all the tools, but for many of us, myself included, this is an exercise in futility as there are so many variables which can affect the outcome. However, the recent appearance of the Hall & Collins Signature Echo is, in my experience, giving us a tantalising glimpse of what is now possible in terms of getting much closer to hearing 'that sound'. Furthermore, the Introduction of affordable graphic frequency equalizers like the Caline CP-24 10 Band and the Joyo JF-13 AC Tone are allowing us to reproduce those revered Vox AC30 tones without us having to break the bank and risking our backs into the bargain! I do understand where you are coming from and I have certainly no wish to undermine any ongoing attempts to meet the challenge of reaching for that metaphorical nirvana. However, that is not my purpose. I believe folk like me can now create an acceptable close approximation of those magical sounds sufficient to fulfil our realistic expectations. That's why I have tried to keep this process as simple as possible. Regards, Mike
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Post by Cruachan on Jun 14, 2015 7:38:25 GMT
Hi Milko, My aim is to establish a set of generic settings which only require minor tweaking to satisfy the individual player. Clearly there will be differences as dictated by the equipment used, but a group of settings that get you immediately in the ball park could prove to be invaluable. Indeed many, like me, will probably choose to leave the EQ frequency sliders alone once you are hearing something approximating to 'that sound'. Perhaps best to look at those columns as supplying sets of EQ values which work together to shape the sound we hear as being most musical and closest to 'that magical sound'. The figures in Column 2 were supplied originally by Charlie and Erik (erikMAMS) back in 2011 long before the Caline 10 Band EQ was ever thought of. In my case they happen to get me close to the original recorded 'Wonderful Land' sound using my American Deluxe Strat and Roxlut Amp using the Normal rather than the Bright Channel. Column 3 figures were kindly supplied by Bernie (coburger) in his recent post: charliehall.proboards.com/post/171883/thread and represent his experience using his equipment. I suspect few of us really want to be twiddling and tweaking everytime we change tunes. My hope is that we can produce a range of settings from different players and setups which offer clues to help us each achieve the best settings which generate sounds pleasing to our ears. The end result may not be acceptable to those purists whose sole aim is to accurately reproduce those original recorded sounds. That's perfectly fine, each to his/her own. For the rest of us, the creation of sounds which are both tonally close to those familiar magical sounds seems a much better way to go. After all, we all have individual preferences; we know what we like to hear and achieving sounds which are both familiar and musically pleasant to the ear seems, to me, to be the better objective. In the end, variety is what makes this hobby so captivating and interesting. If we all sounded exactly the same all of the time it would soon get boring. Every tune submitted by members for our listening pleasure is valid as it has been created by someone with a genuine passion for his/her hobby. The fact that their sound and rendition may not be an exact match for the original is, to my mind, largely irrelevant. Close is close enough especially when we are treated to a variety of interesting interpretations. However, none of this would be really possible without the Hall & Collins Signature Echo. For me, that wonderful creation is supplying those vital ingredients necessary for the production of the tonal nuances we are recognising as being the magical quality of sound that has managed to elude us for such a long time. Regards, Mike
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Post by Cruachan on Jun 13, 2015 21:44:02 GMT
Hi Mike, I like your idea, eventually the list of gears could also be useful once you received all the responses. But shouldn't you specify which Shadows tune the Caline should be set to? Since even Ronnie Gustafsson modified the settings on his Boss unit depending on which type of Shadows tunes he used it for? I'm assuming that you did this in Excel, maybe you could grey out the background of the values that mostly never change. Geza Hi Geza, You make a very good point. Thanks. I suppose my aim is to try to make this as simple as possible without overcomplicating things for everyone. In fact, I used Wonderful Land as my 'base line' tune and Bridge pickup on my Strat. I marked the opening few bars and played them in a loop while trying to replicate the sound through my Hall & Collins Signature Echo - Caline 10 Band EQ signal chain. Once I established those EQ settings - basically those in Column 2 of the table - I found that all I had to do thereafter was move the Selector Switch on my Strat to engage the Pickup Charlie suggests for each tune in the list* he provided with EFTP. Now this method may not suit everyone, but I find that, while imperfect, it does get me in the ball park. The Hall & Collins Signature Echo does most of the work, the EQ settings then mould the shape of the signal before sending it to the Amp. The Strat Volume Control is always set at 10 (Max) as is the Tone Control for the Bridge Pickup. *This assumes, of course, that most of us will have that list. For those that don't then perhaps we can ask Charlie if he would be prepared to make it available for download by the membership. Otherwise I suggest the appropriate pickup selection is determined simply on a trial and error basis. Shouldn't be too difficult as everything else is already in place. The editing functions of this board's software allows the creation of tables - select the 12th icon from the left. It is somewhat restrictive but it does all I need for now. Regards, Mike
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Post by Cruachan on Jun 13, 2015 12:45:01 GMT
Music Title | Gain | 31.25Hz | 62.5Hz | 125Hz | 250Hz | 500Hz | 1KHz | 2KHz | 4KHz | 8KHz | 16KHz | Generic (1) | 0dB | -12dB | -12dB | -8dB | -2dB | 0dB or -3dB | 0dB | 0dB | +4dB, +6dB, +8dB | 0dB | -12dB | Generic (2)
| Between 0dB and +6dB | -12dB | -12db | -8dB | -8dB | 0dB | 0dB | 0dB | 0dB | -12dB | -12dB | Apache, Sleepwalk, Shadoogie | 0dB | -12dB | -12dB | -8dB | -8dB | 0dB | +4dB | +4dB | 0dB | -12dB | -12dB | Blue Star | 0dB | -12dB | -12dB | -8dB | -8dB | 0dB | +4dB | +4dB | 0dB | -12dB | -12dB | Dance On | 0dB | -12dB | -12dB | -10dB | -10dB | -2dB | +6dB | +10dB | +8dB | -12dB | -12dB | FBI, The Savage, Frightened City, etc. | 0dB | -12dB | -12dB | -10dB | -10dB | -2dB | +6dB | +6dB | 0dB | -12dB | -12dB | Wonderful Land | 0dB | -12dB | -12dB | -8dB | -8dB | 0dB | +4dB | +4dB | -6dB | -12dB | -12dB |
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These settings may work well with other Echo units. However, for optimum results, it is recommended that the Caline CP-24 10 Band EQ be used with and positioned after the Hall & Collins Signature Echo unit between guitar and amp in the signal chain. Currently there are 7 empty rows waiting to be filled. Please feel free to submit your own preferred settings and, space permitting*, I will add them to the table. On further reflection, perhaps it would be helpful if you could also state which amp or guitar is being used. This could prove to be an interesting exercise as the intention is to discover just how important the selection of guitar and amp is to achieving the sound you regard as being most musical or closest to your idea of 'that sound'. Also, see Edit below. Please do not include other sound modifying pedals in the chain other than, say, a volume/swell pedal. *If there is a good response, and the remaining rows are used up quickly, then I will consider the addition of further tables until we can see a pattern emerging. However, I think we can see that this may not be necessary. Please give us your feedback. Do any or all of these settings work for you? Have you arrived at your own preferred set of settings? Are you trying these settings with another Graphic Equalizer? If you have some data then do let us know so others can give them a try.Mike Edit: To ensure a more consistent methodology and validity of results I recommend you read this post first: charliehall.proboards.com/post/171973However, you may wish to take into account Erik's advice: charliehall.proboards.com/post/172009/thread followed by Charlie's confirmation before proceeding.
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Post by Cruachan on Jun 12, 2015 12:45:40 GMT
Hi, What an interesting thread! However, what is perhaps being overlooked, when all the 'old hands' get together, is that there is much industry jargon used in their discussions that flies over the heads of those, like me, who are still at the initial stages of dipping their toes tentatively in these fascinating, albeit mysterious waters. So....here is a link to another brief informative article explaining stuff like Equalization Filters and 'Q' (Quality Factor) en.wikiaudio.org/Equalization_filterMike
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Post by Cruachan on Jun 9, 2015 20:55:45 GMT
Wishing Kay the best of luck with the new treatment, which I hope will at last include an effective cure for the condition. Regards, Charlie That goes for me to. I consider Kay to be one of the most expressive players I have heard on this site and, for me, that playing acts as a brief window into her soul. Kay, if you are reading this, I remain forever grateful to you for introducing me to Smooth Jazz with that wonderful posting of 'Misty' on 7 June, 2013. I have grown to love playing that tune as each time it reawakens a desire to move both myself and any listening audience who care to listen. Bit by bit I think I am succeeding, but have yet to match your superbly sensitive rendition. I do hope that the clouds will soon disperse and, once more, you will feel able to return to the fold at CH&Fs. We are missing you! Regards, Mike
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Post by Cruachan on Jun 7, 2015 9:50:09 GMT
Hi Matthew,
Yes, I'm sure you're right. The hair style is a dead giveaway and his bass guitar is slung quite high as in the video. Clearly his skills are much in demand, but then quality always wins out.
Regards, Mike
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Post by Cruachan on Jun 5, 2015 10:03:27 GMT
Hi Charlie, Lol! Yes, I realised my mistake as soon as I replied and then removed my request before seeing your post. Your too quick off the mark Regards, Mike Edited as my selected emoticon was substituted by a series of question marks...which wasn't quite what I had in mind. Must have got up too early this morning
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Post by Cruachan on Jun 5, 2015 9:56:00 GMT
Hi Viv,
Very helpful post! I was familiar with all the steps except the bit towards the end where you explain how to incorporate a link into the name of a tune. That has puzzled me for some time - never could understand how others managed to link to an audio file using the name of the tune rather than the URL of the audio file. Now I do - many thanks! And, of course, this method isn't restricted to audio files.
Regards, Mike
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Post by Cruachan on May 28, 2015 11:17:39 GMT
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Post by Cruachan on May 24, 2015 10:23:08 GMT
Hi Dave (davehayward31), Without any doubt the recent release of 'The Hall & Collins Signature Echo' is a major accomplishment and represents the pinnacle of what can be achieved when seeking to reproduce 'those sounds' .....and also a great deal more besides. Further information can be found here: www.hallandcollins.comIf budget is a real concern then you might also consider: www.hallsecho.comRegards, Mike
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