82a Sunday Session 28th June 2015

short link http://wp.me/p38vMA-Gyz

Them what was here: Arron Manfield sax flute bongos, Phil Cleary voice, Sibel Mutlu vocal, Val Nart piano bass, Cameron Zachreson tenor, Peter Busboom guitar bass, Gypsy Zac guitar vocal, Craig Collinge piano, Benni Seidel drums bass guitar vocal audio capture

Every Sunday
1:30pm – 6:30pm

Sounds soon

A photo might go here

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome.
NB: The space and instrumentation, amplifiers, drum kit etc are set up as an average and for recording. Anyone wanting a radical change or with a complex set up should attempt to get in before 1:30pm, so the changes can be re-sound checked for recording purposes. Otherwise please play it as it is

1:30pm to 2:30pm Sound Check and a period for meeting, throwing around ideas/structures people would like to try. Nothing is recorded during this period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, free and/or structured improvisation with absolutely essential amplification only

Rules: No alcoholic or soft drinks in the studio, there’s a kitchen. Volume wars will not be tolerated. Please observe the neighbour breaks (usually about 15 minutes)

Step Up Speak Up: What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. You can make the difference. If you have an idea you’d like to try, be prepared. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)

Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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82a Sunday Session 21st June 2015

short link http://wp.me/p38vMA-GxU

Them what was here: Philip Cleary vocal/voice, Peter Busboom guitar bass, Gypsy Zac guitar bass vocal, Craig Forbes drums, Vivek Kamojula guitar, Benni Seidel guitar keyboard bass vocal

No recording, no pics :-(

Special thanks to:
Graig Forbes for re-skinning and fine tuning the drum kit

Meanwhile
It’s
Every Sunday
1:30pm – 6:30pm

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome.
NB: The space and instrumentation, amplifiers, drum kit etc are set up as an average and for recording. Anyone wanting a radical change or with a complex set up should attempt to get in before 1:30pm, so the changes can be re-sound checked for recording purposes. Otherwise please play it as it is

1:30pm to 2:30pm Sound Check and a period for meeting, throwing around ideas/structures people would like to try. Nothing is recorded during this period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, Free and/or structured improvisation with absolutely essential amplification only

Rules: No alcoholic or soft drinks in the studio, there’s a kitchen. Volume wars will not be tolerated. Please observe the neighbour breaks (usually about 15 minutes)

Step Up Speak Up: What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. You can make the difference. If you have an idea you’d like to try, be prepared. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)

Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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About/Aims

ShortLink http://wp.me/p38vMA-1K

The 82A Sunday Sessions
Every Sunday 1:30pm – 6:00pm
Free to performers and musicians interested in originality, improvisation, pushing the envelope, meeting like minded people
Registration required

Video Walk thru of the entire space

The sessions are:

  • In a relaxed private studio/rehearsal/theatre/space in Alexandria Sydney Australia away from the hype of the music, entertainment and theatre scene/s, where interesting stuff can happen. It is not a money making venture and not open to a public audience.
  • The sessions are free and open to musicians/performers/artists interested in, improvisation, expanding their boundaries, meeting new people, collaborating, constructive dialogue, jamming
  • Performers/musicians can show or work on their and other people’s material, have their own work appraised, push their envelope, leap off the deep end, meet like minded people and have fun doing it without the burden of logistics or having to hire a studio or gear. Full list of the facilities and equipment available
  • Participants need to register to be given an invitation

Aims/Method:

  • The content of the sessions are entirely dependent on the participants. There’s no guarantee who’ll be at each session, the level of ability and there is no strict order. Original work and constructive criticism will be encouraged.
  • Please bear in mind that what you see and hear when you first arrive is not indicative of the whole session. There might be a wait, it won’t be for ever, so stick around.
  • If there’s something specific you’d like to try, please consider how you can present it and speak up! There’s access into the PA for IPod, IPhone, IPad, laptop, CD. Also a dedicated laptop, projector, large screen, ‘Band in Box’ and big blackboard so everyone can be on the same page

NB: The Sunday Sessions are not for bands/groups/recording:

Documentation/Recordings/Video/Photography:

  • Sometimes the record button is pressed … sometimes not.
  • Recordings/photos/videos are published only so people can get an idea of what has and can happen and as a platform to demonstrate people’s abilities
  • Mix down/editing photos/video and publication on the 82A Sunday Sessions blog, A Minor detour blog, YouTube and/or Sound Cloud and other media is at the facilitator’s discretion and is only meant to be representative, not finished product.
  • Agreement/release of recordings/photos/video for publication is by participation. Example http://wp.me/p38vMA-hO. If you do not want to be recorded/published or your name to appear on the Sunday Sessions blog, YouTube, Sound Cloud or other media, please inform the facilitator on the day.
  • Example of project development from Sunday Sessions http://wp.me/p38vMA-iG

·–·    ·    ––·    ··    ···    –    ·    ·–·
Are you going to be in Sydney from out of town?
Are you a player, dancer, poet, wordsmith, writer, performer?
Looking for players or performers or just looking for a jam?
Register (free), to get the full address and contact details for 82A activities
Tell us what activity you’d like to be involved in or what you do and more importantly, what you’d like to do!

————-

Profits from Concerts/Showcases and/or monies from the disposal/sale of Donated Equipment or equipment bought from donations: go to
IBMA is a non-profit association dedicated to assisting disadvantaged youth who wish to follow a career in theatre
The Ian Bowie Memorial Association is a non-profit association
dedicated to assisting disadvantaged youth who wish to follow a career in theatre/entertainment.
(The IBMA web site is currently being transferred and updated)

—————–

The 82a Sunday sessions are supported by
We recommend, use and are given material support by Cases cases Stretch Mk1 Logo
We recommend
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C©pyright applies. Do the right thing!

The recordings of the Sunday Sessions are free for you to listen to and download. Great isn’t it? However, they are copyrighted. If you upload any of the 82a Sunday Sessions recordings to your own blog or Sound Cloud or website or any other medium where it is made available to the public, don’t be lazy. Acknowledge the people who played on them. All the details are on each track like this Sound Cloud examplethx
ShortLink http://wp.me/p38vMA-1jL

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IT’S LIVE! Recording the Sunday Sessions

Shortlink http://wp.me/p38vMA-Gg5

A few people have asked about how we record the Sunday Session, what mics, how many takes, software etc etc

It’s all live. One take: Often there’s no discussion about what is going to be played. Everything is recorded fairly flat, with a tweak to the tops and some roll off on the subs to eliminate rumble, especially on ribbon mics. No overdubs, no samples. With the exception of reverb, nothing is added. If it’s not necessary to the sound or adding to what’s going on, it’s deleted or EQ’d out.

The ‘Studio':
Is basically a large room in an artists warehouse/living space. It’s not sound proofed, there are no baffles, no partitions, no booths and it has a tin roof. If it rains, it’s great for … well, recording rain on a tin roof!

There’s no separate control room, so it’s like being at a live gig in a very small club or pub

Everything: is close miked & first thru a PreSonus StudioLive 24.4.2 – 24 channel digital mixer with sends to the FOH and Fold Back and thru a firewire to the recording computer;

Fujitsu Lifebook SH761: at the moment. Processor: Intel(R) Core(TM) J7-2620M. CPU: @ 2.70GHz 2.70 GHz. RAM: 8.00 GB. Operating System: 64-bit / Windows 7. With nothing else running (clean boot), it handles 24 tracks @ 48,000 Hz 16 bit

Recording Software/Daw: Sonar X2 Producer, Sound Forge 10, iZotope Ozone 5.
Plugins: Sonar, Sound Forge, iZotope Ozone 5 and Variety of Sound (Warm, free and extremely nice)

From the Presonus: there’s a stereo send to a 1970 Jands JM10 12 Channel Analogue mixer to the PA FOH with a touch of reverb added via a Digitec DSP128 processor. Talkback and other non-recorded signals go thru this desk to the PA and Fold Back.

The PA/FOH: 2 x 15″ JBL reflex enclosures & 2 x JBL 2425J HF compression drivers, powered by a Behringer iNUKE NU3000 – Stereo 880 Watts per side. Because it’s a small space/venue the FOH also acts as a foldback for vocals and acoustic instruments, no guitar amps, bass, keyboards or drums. This is quite adequate for an audience.

Foldback system: 2 x 12″ x 2 way enclosures powered by an Amcron Micro-Tech 1200 – Stereo 480 Watts per side. The two speakers are set either side and to the rear of the players (I don’t have wedges yet). This is a raw signal from the Presonus, no reverb or effects. It carries mono vocals & acoustic instruments and a slight touch of keyboards & guitar amps to their opposite sides of the setup so everyone can hear each other. There’s also a small powered mono monitor for the drummer that carries vocals and acoustic instruments. (if the drummer can’t hear themselves, they’re playing too ^&%$#@ loud! :-)

Drum Kit: Close miked. Bass drum 1 x Sennheiser e602-II. Main snare is a 1930’s Premiere double snare 2 x SM57 one on top, one underneath close to the snare). Tom Toms 3 x SM57. Timbalis & Drouyn Marching Snare share 1 x SM57. HiHat and Piccolo snare share 1 x SM57. Cymbals 2 x (Matched Pair) Rode NT55 positioned overhead & about 1/3 of a mtr away. The drums are not damped. So we get a full range of tonality which can be EQ’d out and compressed in the mix, but can’t be put in in the mix, ’cause if it ain’t there, it simply ain’t there!

Congas & shakers: 1 x SM57 with transformer removed.
Removing the transformer results in a better frequency response and warmer sound, but the gain drops significantly, so it’s boosted with a Triton FetHead pre-amp.

Bass: Via a DI after the musicians effects. For a normal recording situation I’d also mic the rig with the Shure 330 Uni-Ron Ribbon @ about 1/2 mtr from the cabinet.

Keyboard: Via a DI, again after the musicians effects.

Guitar cabinets: Vox AC30 – 1 x Fostex M88RP Flat Coil Printed Ribbon, Roland JC120 – 1 x 1952 Riem 230 Mignon Ribbon, Fender Princeton DSP65 – 1 x 1960s Shure 330 Uni-Ron Ribbon. All ribbons are via Triton FetHeads. The Fet Head is a phantom powered preamp. Phantom power only goes as far as powering the Fet Head, it does not reach the microphone. (More on Ribbon Mics and Phantom Power in a future article)
In a normal recording situation, I double mic guitar cabinets with Shure SM57s. There’s not enough channels available on the Sunday Sessions :-(

Sax/Brass: 1 x Sennheiser MD 421-II Again, in a normal recording situation, I double mic with a Rode NT55 about 1 mtr out from and above the instrument at head height

Vocals: 2 x Beyerdynamic M500 Ribbons (matched pair) thru Triton FetHead pre-amps, 1 x Sennheiser e835, 4 x Shure SM58’s. All vocal mics have foam covers which cuts down on ‘popping’ ‘p’s, ‘b’s and the whoof of the ‘when/what/why’ and fullsome fs. Also makes for easy cleaning after each use.

Also have: a variety of DI’s and other mics .. full list of gear

VA@82A (Virtually Acoustic):
The last hour is usually an acoustic period. Essential amplification only (eg., the keyboard).

Captured at the 82a Sunday Session on the 31st May 2015
Craig Collinge electric piano, Arron Manfield sax, Benni Seidel audio edit mix,
Mono raw, recorded flat (no EQ)

After mastering

This slideshow requires JavaScript.


Thanks to Frank Sinko for caring for this mic before I bought it
————————————————————
******************************************************

Captured at the 82a Sunday Session on the 15th March 2015
Melanie Eden vocal, Peter Busboom guitar L, Arron Manfield flute, Benni Seidel bass

Recorded with Vocals and flute thru PA (recorded with 2 room mics, amps close miked – FedHead preamps)

Left Room
RCA Varacoustic MI-6203-D 1945
1945 RCA Varacoustic MI-6203-D ribbon
Right Room
1952 Riem 230 Mignon 01
1952 Riem 230 Mignon ribbon
Guitar amp mic
1960s Shure 330 Uni-Ron ribbon SN530
1960’s Shure 330 Uni-Ron ribbon
Bass amp mic
1940s Electro-Voice V-1 01
1940’s Electro-Voice V-1 ribbon

Mixing process: Because the room is live and there’s spill, a lot is EQ’d out, leaving only what’s required to define the character of each instrument or voice. The tracks are then grouped, edited, cut down, getting rid of glaring mistakes and really boring bits before position/panning & reverb/effects on each channel if necessary and a mix down. The mixed track is copied two or three times. One copy is kept, the others are used for mastering versions. These are all kept in the one DAW file as separate tracks. A copy of the raw mix is exported as a high quality .wav file, so if the DAW file is lost or corrupted there’s still a copy of the semi finished track

Mastering: Usually left for a few days before mastering with Sound Forge 10 & iZotope Ozone 5. This is done via Sonar X2 so the mastered tracks stay in the same DAW file. Again, the mastered tracks are exported as high quality .wav files in case the DAW file is lost or corrupted.

Monitoring: 2 x Behringer Truth B2031As – 2 x Bowers & Wilkins DM12s and a Hyundai SW-HY-1010 for Subs powered by a SonyTA-1120A. (The B&W’s, Hyundai sub and Sony were found discarded in a Sydney back lane) Three different head sets.

Distribution: MP3 by Lame via the DAW

TIP: to stop the popping on SM58’s: Unscrew the mesh cover and place a cotton ball on top of the element. Take it out and replace after each performance, when you wash the inner foam. You do wash the inner foam …. right? There’s nothing worse than using a mic with a foam insert smelling of booze, cigarettes, garlic and stale rock and roll spittle.

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Studio facilities and equipment

ShortLink http://wp.me/p38vMA-D

Performance Space Facilities:
Video Tour
We use and recommend
We recommend, use and are given material support by Cases cases
earth audio 2      logo-Jan21-170px
Supported by
Stretch Mk1 Logo

BASICS
7 mtr x 7 mtr Sprung Dance Floor
Mirrors, Blacks, Professional Sound System
5mtr x 4 mtr Black Non-Skid Tarkett
Click on images to enlarge
01 25 2015 studio floor pan s
G0050016 G0040014 G0030012 G0020010

Is the space for hire at other times? Yessiree ma’am!
82A is a studio in a private residence, it is not a business or a commercial money making venture. All monies and contributions go towards keeping the Sunday Sessions free! INQUIRIES
– – – – – –

45mm diameter Chrome Dance Pole (spinning or static)
45mm diameter Chrome Dance Pole (spinning or static)
Tumbling Mats
Climber Sutra (US) Stunt Jerk Harness
Climber Sutra (US) Stunt Jerk Harness
100 mtr Abseiling rope
Figure 8 Descenders
Carbines & associated rigging
Limited Suspension Points
(you must have a qualified rigger)

scene 01
P A System
PArack01
FOH 2 x 15″ JBL 2 way
Behringer iNUKE NU3000 – Stereo 880 Watts per side
Fold Back 2 x 12″ Eminence 2 way
Amcron Micro-Tech 1200 – Stereo 480 Watts per side
1 x 12 Channel Jands JM10 analogue mixer
1 x PreSonus StudioLive 24.4.2 24 Channel digital mixer
EQ & Effects
CD Player – Access for Ipod/Mp3 players etc

Microphones:

1 x Shure 75th anniversary 5575LE
ShureUnidyne 5575LE
Serial No# 4443
So, what do you get for your bucks? Must say the box it came in and the carry case are nice :-) Apart from the foam, cheap label and un-numbered/un-labeled stand, the body looks and feels the same as the original. Inside there’s a good olde Shure SM58 element designed in 1966. The element mount is engineered in such a way that you can’t upgrade it with the R115s upgrade kit (which uses a Beta 58A element) although you can probably upgrade to a Beta 58A using just the cartridge. You’re still faced with having to dismantle the microphone to rinse clean the spittle and rock and roll breath outta the foam front, which is glued in, which means washing/rinsing/drying the whole front grill assembly.
Shure Unidyne 5575 LE 03 Shure Unidyne 5575 LE 02 Shure Unidyne 5575 LE 01
Looks great. Sounds like an SM58.
Maybe they’ll do something REALLY special in 25yrs time

4 x Shure SM58 Vocal Microphones
3 x Shure SM58
8 x SM57 Instrument Microphones
9 x SM57
1 x Shure 55SH classic
1 x Shure 55SH classic
(with 55SH Upgrade Kit)
Shure VP64
Shure VP64

1 x Sennheiser e835
1 x Sennheiser e835
Sennheiser e602-II
1 x Sennheiser e602-II
Sennheiser MD 421-II
1 x Sennheiser MD 421-II


1 x Electro-Voice 635A/B (circa 1965)
1 x Electro-Voice 635A/B (circa 1965)
2 x (Matched Pair) Rode NT55 Microphones
2 x (Matched Pair) Rode NT55 Microphones
1 x Behringer Dual Diaphram Condenser B-2 Pro
1 x Behringer Dual Diaphram Condenser B-2 Pro
2 x (Matched Pair) Behringer C-2
2 x (Matched Pair) Behringer C-2


RIBBON & VINTAGE MICS
click on th’ pics to enlarge

1 x STC 4021 (circa 1935) SN#203
STC 4021 (circa 1935) STC 4021 (circa 1935) STC 4021 (circa 1935)
stc-bb-4021-04 stc-bb-4021-05
Made a new cable with XLR. Re-tapped the thread at the bottom of the mount to take a 3/8th Whitworth microphone adapter. A truly amazing microphone! Equal pick up all the way round, top sides even from the back, with no noticeable roll off.
Thanks to Frank Sinko for caring for this mic

1 x STC 4035 D (circa 1950) SN#2367
STC 4035 STC 4035 STC 4035 STC 4035
Equally amazing!


1 x RCA Varacoustic MI-6203-D (circa 1945)
RCA Varacoustic MI-6203-D 1945 RCA Varacoustic MI-6203-D 1945 RCA Varacoustic MI-6203-D 1945
Replaced cable with an XLR. Has a slack ribbon at the moment, which results in some weird harmonics on some notes but still sounds amazing.
——-

3 x Steanes (Australia) 1946 Ellipsoid Ribbon Microphones
steanes 1946 ellipsoid ribbon steanes 1946 ellipsoid ribbon
This one bought from John, a local musician Redfern Sydney. Hand delivered.
Had the foamies bad, wiring busted, ribbon sagging slightly but otherwise in very good condition.
steanes 1946 elipsoid ribbon motor 01
Cleaned out the gunky foam. Took the slight sag out of the ribbon, replaced wiring and cable and gave it an XLR, used a foam wind filter to replace the rotten ‘pop’ shield fabric (can now be easily washed), spit and polish, fired it up with a Fethead … rich & warm (need to push the top end ever so slightly) ..a few notes have strange harmonics, so a replacement ribbon might be necessary. Still a beautiful full sound.
steanes 1946 elipsoid ribbon label steanes 1948 advert
The second I’ve yet to refurbish
Steanes 1946 Ellipsoid ribbon no# 2 Steanes 1946 Ellipsoid ribbon no# 2 02
Apart from the casing damage & the same foam deterioration, the motor looks to be in about the same condition as the first. Although the casing is really bashed about the ribbon looks ok but really low signal, might be weak magnets or dud transformer.
The third is in pieces, needs a new ribbon and transformer :-(

2 x Beyerdynamic M500 Ribbons
Beyerdynamic M500 Ribbons
Although they have different manufacture dates, they seem to be a matched pair. They have the exact same frequency responses. Great for vocals, brass, didge especially. Not easy to clean, so I use foam pop filters for vocals. With a FetHead, they’re quite amazing!
Beyerdynamic M500 inside 01 Beyerdynamic M500 inside 03 Beyerdynamic M500 inside 02

2 x 1960’s Reslo RBT/L Ribbon
Reslo Ribbon Microphone RBT/L 30-50 ohm
One in bits. The other works fine. Replaced the connectors with XLRs machined by a local boffin. Great for recording vocals, voice overs, guitar cabs. They pick up the speaker cabinet from the front and a touch of room ambience from the back.
8 x Triton FetHead
FetHead PreAmp
The FetHead is great on any mic including ribbons.
Although they’re a phantom powered pre-amp, the phantom power doesn’t reach the microphone, so ribbons are safe.

Phantom Power and Ribbon Microphones

Phantom Power damage occurs when you use jack plugs for patching effects or when you’re using a patch bay. When a jack plug is plugged in or pulled out, it temporarily shorts out, creating a noise if your amp is turned up. If there’s Phantom Power present, the shorting Jack plug creates a spike of electricity.

Same thing can happen with guitar pedals that use a mini-jack power plug. If the adapter is on when you plug the mini jack into the pedal, the mini jack shorts out temporarily. If mini jack powered pedals are combined with other pedals with a Boss type power plugs, the Boss type pedals can crap out. Best bet is to replace all mini-Jack power plugs and sockets on effects pedals with Boss style power inputs
boss style power inlet
OR if you can’t find a tech to do that for you, make sure pedals with a mini-jack power supply are plugged in first OR plug everything in before you turn the power on!

1 x 1960s Reslo Beeb by Xaudia

Great for recording really warm vocals, voice overs and again guitar cabs

1 x 1940s Electro-Voice V-1 Ribbon
1940s Electro-Voice V-1 04 1940s Electro-Voice V-1 03 1940s Electro-Voice V-1 01 1940s Electro-Voice V-1 02
Gave it a new cable and XLR. Not bad. OK for recording warm vocals, bass, brass sections. Not great for live PA work.

1 x 1960s Shure 330 Uni-Ron Ribbon SN#530
1960s Shure 330 Uni-Ron ribbon SN530 01 1960s Shure 330 Uni-Ron ribbon SN530 02
Great on guitar cabs and OK for vocals.

1 x 1952 Shure 315s Ribbon
1952 Shure 315S Ribbon
Nice for recording vocals, brass. Not so much for live PA work.

1 x 1952 Riem 230 Mignon Ribbon
1952 Riem 230 Mignon 01 1952 Riem 230 Mignon 02 1952 Riem 230 Mignon
The connector is a really odd size and it didn’t have a cable. Had a matching sized connector machined by a local boffin. Gave it a new cable & XLR.
Great for guitar cabinets, for recording vocals, double bass, brass, anything, fabulous! A real gem.

1 x Fostex M88RP Flat Coil Printed Ribbon Dynamic (SN# 107069 1984?)
1 x Fostex M88RP Flat Coil Printed Ribbon Dynamic (SN# 107069 1984?) Fostex M88RP Ribbon  02 Fostex M88RP Ribbon 03 Fostex M88RP Ribbon Mic
Bought from Pete’s Musicians Market Newtown Sydney 1994 for about Au$40.00 — Price now :-)
Great for guitar cabinets, brass, vocals, double bass. With a FetHead PreAmp it’s simply delicious! Again, the Phantom power for the FetHead doesn’t get through to the mic.
Full description HERE

To be honest ribbon mics blow me away!
——-
1 x Altec 670B (circa 1950’s)
Currently out if service, my bad! Magnets sucked a screw onto the ribbon.
Altec 670B 1950's Altec 670B 1950's
——-
I refurbished this 1940’s Shure 55 Fatboy
Shure 55 1940s Fatboy Shure 55 1940s Fatboy
for
Philip Cleary
Philip Clearys old pic

a regular to the 82a Sunday Sessions
Now we’re gonna have to do the publicity shots anew :-)
Stripped down, cleaned, polished, new acoustic silks (double to stop the ‘pop’), 55SH Upgrade Kit & simplified mount set slightly further back into the body than usual, 6mtr XLR cable, retaining the original connector at the body. The double silks and deeper placement of the element eliminate popping altogether. It’s a really nice mic!!
Shure 55 1940s Fatboy Shure 55 1940s Fatboy
weight, size, polish, shape, it sounds like it looks & feels … clean, big, fat and mean. I am really surprised at the difference between a newer body with the exact same upgrade element and the fuller richer sound with that element in the larger ‘FatBoy’ body. I’m guessing its the ambience of the inner space, channeling some olde rock and rollers rock and roll spirit thru the olde spittle marks. I’m jealous! Come to think of it the American Cops used ’em too. Cops schmops I’m gonna do one for me!
——-

Crystal Mics
1 x Turner Model 22X circa 1940’s Serial No# 33750
Turner 22X 1940s SN 33750 Turner 22X 1940s SN 33750 02 Turner 22X 1940s SN 33750 Turner 22X 1940s SN 33750
New cable and XLR. Genuine Shure 99C86 Controlled Magnetic Transducer. The mount and seal is cut from a tennis ball, fits perfectly.

1 x Tecnico Model 80 (SN#1319)
Made in Australia Marrickville NSW circa 1952
Tecnico Model 80 Marrickville NSW SN#1319 01 Tecnico Model 80 Marrickville NSW SN#1319 02 Tecnico Model 80 Marrickville NSW SN#1319 04 Tecnico Model 80 Marrickville NSW SN#1319 05 Tecnico Model 80 Marrickville NSW SN#1319 04
Gave it a clean, new cable and XLR

Belcat Egt 220 Transducers for acoustic instruments
Belcat Egt 220 Transducers for acoustic instruments
FetHead Piezo PreAmp
1 x FetHead Piezo PreAmp
1 x Behringer TUBE ULTRAGAIN MIC200  Preamp
1 x Behringer TUBE ULTRAGAIN MIC200 Preamp

DI’s :

5 x  ULTRA-DI DI20
5 x ULTRA-DI DI20
1 x Legacy DI 1 Active DI
1 x Legacy DI 1 Active DI
1 x Leem direct-box NDR-40
1 x Leem direct-box NDR-40

Keyboards:

Technics SX-PC15 Digital Piano

Technics SX-PC15 Digital Piano

Clive Little 01
The fabulous Clive Little and an anonymous donor have generously provided an 88 key Technics SX-PC15 Digital Piano/Keyboard
Roland ED Midi SoundCanvas SC-8850

Roland ED Midi SoundCanvas SC-8850

Peavey KB100 Keyboard Amplifier

Peavey KB100 Keyboard Amplifier

KAWAI KC20 Keyboard

KAWAI KC20 Keyboard 61 keys
User’s Manual

Drums:

drumkit01
Basic kit:
22″ Kick
10″ Tom
12″ Tom
14″ Floor tomSnares:

Premiere 1930's Dominion series (battle scarred)

1 x Vintage Premiere 1930’s
Dominion series (UK)

Snares Top & Bottom
(battle scarred)

Drouyn deep marching double snare.

Drouyn (Australia)
Naval Issue Marching
(12″ deep)
Snares Top & Bottom
Shell Australian Rose Alder

Dixon Piccolo Snare Bronze Shell

1 x Dixon Piccolo Snare
Bronze Shell

Afuche/Cabasa

1 x small Afuche/Cabasa

drumkit02
Cymbals:
1 x Meinl 22″ Heavy Ride
1 x Meinl 20″ Jazz Ride
1 x Zildjian 20″ China
1 x Paiste 18″ crash
1 x Sabian 17″ crash
Some trashy cymbals
1 x Paiste 404 14″ Hi HatPercussion:
Congas
I mentioned the Sunday Sessions in passing conversation with a young couple in Allans Music. They thought it was a good idea and out of the blue donated the deposit for a layby on the congas I’d been looking at acquiring by hook or by crook. I am continually overwhelmed by people’s generosity!
Thanks to all!
(All donated equipment and equipment purchased by donation, will eventually be sold and the proceeds will go towards the Ian Bowie Memorial Association who provide small grants for courses and mentoring for under privileged youth who wish to pursue a career in the theatre and entertainment industries)
————-

1 set x (2) Pearl Timbales
Found at a bus stop
in the rain

3 x Tamborines Heavy, Medium, Light
Shakers, gourds, cowbells, junk

Basses/Amp:

Gallien Krueger 400RB Samson S-com Stereo compressor ART 351 31-Band Graphic Equalizer Digitech DSP128  15 inch JBL & Piezo horn

Gallien Krueger 400RB
Samson S-com Stereo compressor
ART 351 31-Band Graphic Equalizer
Digitech DSP128
15 inch JBL & Piezo horn

If you have an instrument bring it. If you don’t have an electric bass there are these:

Hohner B2 Steinberger copy

Hohner B2 Steinberger
Good sustain, nice tone, tuned down a tone to ‘D’

Samick Jazz Bass

Samick Jazz Bass
Good tone & sustain over the entire fretboard
Found in a Sydney Laneway!

Ibanez AEB8E Acoustic Electric Bass Guitar

Ibanez AEB8E Acoustic Electric Bass Guitar

Guitars/Amps:

If you have an instrument bring it. If you don’t have an electric guitar there’s this:

Ibanez stagestar - found in a laneway in Sydney

Ibanez Stage Star ’97 – Strat Copy
Also found in a Sydney laneway
S/N H9705628 Terada, Japan 1997)

Fender Princeton 65 DSP

1 x Fender Princeton 65 DSP
65 watt Solid State
Built in Fx
12″ Fender Speaker
It’s got a Fender sound
.. and smell!

Vox AC30C2

Vox AC30C2
Valve – 30 watt

Vox AC30C2

What can I say?
IT’S NICE!!!

Roland JC-120

Roland JC-120
120 Watts of clean sound

Recording Facilities:

24 Track PreSonus StudioLive 24.4.2

1 x 24 Track PreSonus StudioLive 24.4.2

Software/Daw:
Sonar X2 Producer
Sound Forge 10
iZotope Ozone 5
Variety of Sound plug ins
Laptop: Fujitsu Lifebook SH761 laptop
Processor: Intel(R) Core(TM) J7-2620M CPU @ 2.70GHz 2.70 GHz
Installed memory (RAM): 8.00 GB
System type: 64-bit Operating System
With nothing else running (clean boot), it handles 24 tracks @ 48,000 Hz 16 bit

Microphones: as above

Monitoring:

SonyTA-1120A

SonyTA-1120A

Audio Reflex

Behringer Truth B2031A - Bowers & Wilkins DM12

Behringer Truth B2031A – Bowers & Wilkins DM12

Hyundai SW-HY-1010 for Subs


Lighting:

Chauvet Par64 led RBG 01
8 x Par64 RBG Led Lights
Chauvet Obey70 DBX control 01
1 x Chauvet Obey70 12 Channel Control
Strand Patt23 01
4 x Strand Patt23 650watt Profile Spots
2 x Par64 300watt QI

Rave Fog Machine 01
1 x Rave Smoke machine

Video:
1 x Go Pro HERO3 Black
1 x FujiFilm Finepix REAL 3D
Software:
Adobe Premiere Pro CS5.5
Veedub64 etc
·–·    ·    ––·    ··    ···    –    ·    ·–·
Are you going to be in Sydney?
Are you a player, dancer, poet, wordsmith, writer, performer?
Looking for players or performers or just looking for a jam?
Join in. Register, it’s FREE, to get the full address and contact details for 82A activities
Tell us what activity you’d like to be involved in or what you do and more importantly, what you’d like to do!

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82a Sunday Session 5th July 2015

short link http://wp.me/p38vMA-GyW

TODAY
&
Every Sunday
1:30pm – 6:30pm

photo or video here

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome.
NB: The space and instrumentation, amplifiers, drum kit etc are set up as an average and for recording. Anyone wanting a radical change or with a complex set up should attempt to get in before 1:30pm, so the changes can be re-sound checked for recording purposes. Otherwise please play it as it is

1:30pm to 2:30pm Sound Check and a period for meeting, throwing around ideas/structures people would like to try. Nothing is recorded during this period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, Free and/or structured improvisation with absolutely essential amplification only

Rules: No alcoholic or soft drinks in the studio, there’s a kitchen. Volume wars will not be tolerated. Please observe the neighbour breaks (usually about 15 minutes)

Step Up Speak Up: What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. You can make the difference. If you have an idea you’d like to try, be prepared. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)

Yes, it’s free! However a donation towards upkeep and/or munchies will be gratefully received.

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

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VA@82A (Virtually Acoustic)

ShortLink http://wp.me/p38vMA-Gxc

VA@82A is the last hour of a Sunday Session. Virtually acoustic, with essential amplification only. Things like electric piano, electric bass, electric guitar require amplification at an acoustic level, no DI’s, a drummer with a light touch.
Recordings are with a variety of vintage mics.

Captured at the 82a Sunday Session on the 31st May 2015
Craig Collinge electric piano, Arron Manfield sax, Benni Seidel audio edit mix,
Mono raw, recorded flat (no EQ)

After mastering

This slideshow requires JavaScript.


Thanks to Frank Sinko for caring for this mic before I bought it
————————————————————
******************************************************

Captured at the 82a Sunday Session on the 15th March 2015
Melanie Eden vocal, Peter Busboom guitar L, Arron Manfield flute, Benni Seidel bass

Recorded with Vocals and flute thru PA (recorded with 2 room mics, amps close miked – FedHead preamps)

Left Room
RCA Varacoustic MI-6203-D 1945
1945 RCA Varacoustic MI-6203-D ribbon
Right Room
1952 Riem 230 Mignon 01
1952 Riem 230 Mignon ribbon
Guitar amp mic
1960s Shure 330 Uni-Ron ribbon SN530
1960’s Shure 330 Uni-Ron ribbon
Bass amp mic
1940s Electro-Voice V-1 01
1940’s Electro-Voice V-1 ribbon
Posted in Diary, VA@82A (Virtually Acoustic) | Tagged , , , , , , , , , , , , , , , , , | Leave a comment

82a Sunday Session 14th June 2015

short link http://wp.me/p38vMA-Gxl

Them what was here: Katy Elliot vocal, Craig Collinge piano vocal, Arron Manfield sax flute percussion, Peter Busboom guitar bass, Philip Cleary voice, Fergus Leahy bass, Benni Seidel drums bass keyboard guitar vocal

Sounds soon

Every Sunday
1:30pm – 6:30pm

Meanwhile a video from the past to music from the Sunday Sessions

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known so we can accommodate you
Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome.
NB: The space and instrumentation, amplifiers, drum kit etc are set up as an average and for recording. Anyone wanting a radical change or with a complex set up should attempt to get in before 1:30pm, so the changes can be re-sound checked for recording purposes. Otherwise please play it as it is

1:30pm to 2:30pm Sound Check and a period for meeting, throwing around ideas/structures people would like to try. Nothing is recorded during this period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, Free and/or structured improvisation with absolutely essential amplification only

Rules: No alcoholic or soft drinks in the studio, there’s a kitchen. Volume wars will not be tolerated. Please observe the neighbour breaks (usually about 15 minutes)

Step Up Speak Up: What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. You can make the difference. If you have an idea you’d like to try, be prepared. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

ALL FACILITIES & EQUIPMENT SUPPLIED (FREE)

Yes it’s free! However a donation towards upkeep and/or some munchies will be gratefully received

Subscribe to (or leave) the 82a Sunday Sessions Newsletter

Posted in Diary, Sunday Sessions 2015 | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment

82a Sunday Session 7th June 2015

short link http://wp.me/p38vMA-GwX

Them What was here:Gypsy Zac guitar L voice vocal, Julie Beesley flute, Julie’s friend vocals, Simon Jankelson guitar R keyboard vocal drums, Philip Cleary voice vocal, Benni Seidel drums bass audio capture edit mix

Sounds soon

Meanwhile
it’s
Every Sunday
1:30pm – 6:30pm

Benni by Geoff Tanner
Caricature by Geoff Tanner

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known
Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome. People with a particularly complex set up should attempt to get in before the session starts

1:30pm to 2:30pm A period for throwing around ideas/structures people would like to try and any prep necessary for the 2nd period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, Free and/or structured improvisation with absolutely essential amplification only

What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

Posted in Diary, Sunday Sessions 2015 | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment

82a Sunday Session 31st May 2015

short link http://wp.me/p38vMA-Gwn

Them what wuz here: Val Nart piano, Gypsy Zac guitar L vocals, Craig Forbes drums, Peter Busboom guitar R, Dan Young bass, Craig Collinge drums keyboard vocal, Arron Manfield sax flute, Robert Tessler piano congas, Tim Quarry guitar R, Benni Seidel guitar piano bass vocal video audio capture edit mix

Didn’t record everything and the lead on the mic to one of the guitar amps was faulty. Sorry folks

Craig Forbes drums, Peter Busboom guitar R, Dan Young bass, Val Nart piano, Gypsy Zac guitar L vocal, Arron Manfield sax flute, Benni Seidel audio capture edit mix

Craig Forbes drums, Gypsy Zac guitar L, Arron Manfield flute sax, Robert Tessler piano, Dan Young bass

Val Nart vocal piano, Craig Forbes drums, Gypsy Zac guitar L, Arron Manfield sax, Robert Tessler congas, Benni Seidel bass

Mono raw, recorded flat (no EQ)

After mastering

Craig Collinge electric piano, Arron Manfield sax, Benni Seidel audio edit mix,
captured with a single STC 4021 (circa 1935) and a FedHead preamp
STC 4021 (circa 1935)
Thanks to Frank Sinko for caring for this mic before I bought it


Meanwhile
It’s Every Sunday
1:30pm – 6:30pm

To guarantee yourself active participation
and to help facilitate technical requirements and the set up of the space
Please confirm & make your needs known Via the OnLine Form

THE SCHEDULE (approximate)
10:00am
Technical and spacial set up. Any assistance will be welcome. People with a particularly complex set up should attempt to get in before the session starts

1:30pm to 2:30pm A period for throwing around ideas/structures people would like to try and any prep necessary for the 2nd period
2:45pm to 5:15pm Free and/or structured improvisation and/or/maybe ideas from the 1st period
5:30pm to 6:30pm “VA@82A” = Virtually Acoustic, Free and/or structured improvisation with absolutely essential amplification only

What you hear or see when you arrive doesn’t indicate or dictate the whole afternoon. There’s access into the PA for IPod, IPhone, IPad, laptop, CD and there’s a dedicated laptop, projector, large screen, ‘Band in Box’, a big blackboard, reams of paper and marker pens so everyone can be on the same page!

Posted in Diary, Sunday Sessions 2015 | Tagged , , , , , , , , , , , , , , , , , , | Leave a comment