TubularCorporation

Yeah, I was really close to buying a kit for my TX802 but I didn't, and I kind of regret it now, especially since they were only about $110USD when I was looking at them. Fortunately, the Highly Liquid MIDI CPU is open source, so you can buy them new for under $50USD on eBay, and they look like a really good platform for building a custom controller - you pretty much just wire up power supply, pots and switches and then configure it via sysex.

Glued a dozen of them together in pairs of two and made better speaker risers, since the rubber stoppers I'd been using put the cones sit a little too low since I ditched the chair an started using a drum stool when I mix. I'm sure they would sound better if I had dropped $20 each on vintage Canadian Astronaut Program commemorative pucks, but I'm not Warren fucking Buffet here.

Nope, it's a hockey puck with a 7mm hole drilled in the center on one side and a $2 sticker from Etsy on the other.

Sticker finally showed up this morning, so my cheap-ass DIY record clamp is complete. I don't know about any audiophile stuff but it sure helps with warped records (and not going to lie, the bass definitely sounds punchier and tighter).

An old roommate of mine who was a part time framer had a DeWalt miter saw, it was really nice for the price. Good one!

I bought a vertical VESA monitor stand on Amazon for 10% off so I can stop sharing one monitor between both computers I use when I'm streaming. That's it. Got it instead of the Sound Toys Little Plate (for about $12 less).

In the Alesis mixer's defense, it's older than the Behringer counterpart, the friend I got mine from bought it a year or two before the Behringer came out (mine was the original one that only had a mix out via USB but no individual channels). I know it's hard to believe, but I think Behringer might have actually copied it! I've had one pice of gear that gave me shocks like that, too, and unfortunately it's the MPC2000xl. I've never figured out what's going on with it and it's never damaged anything but there's something going on that shouldn't be and has been since I got it in 2009. Also I recently noticed that if I have it plugged into a mixer channel with the level (of that channel) all the way down everything is fine while the MPC is on, but if I trn the MPC off then I get a low ground loop hum at the output of the mixer. So the MPC is back in semi-retirement until I can figure out that whole issue and hopefully fix it when I finally open it all up to replace a couple of buttons that are wearing out.

Mine was used so I was never sure if that was normal or not, never caused any problems for me either. The only piece of gear I've had that ran hotter (other than amps) was one of these: And it runs so hot that it sometimes just glitches out completely, but it was free and I hang on to it for those times when I want to sound like an 11 year old Dream Theater fan in 1990.

I had one of those Alesis mixers for a few years and it used to heat up a LOT on the upper right corner near the power supply. Does yours?

Sounds like it's recorded from an emulator though, the sample channel in particular is not cutting it.

Still mostly original Dark Souls. EDIT: and occasionally Columns on the Genesis/Megadrive.

That plate reverb is pretty tempting on sale...

People seem to swear by the Superlux S502 (semi-clone of a $3200 USD Schoeps mic) as one of the best affordable field recording mics of all time. You probably couldn't go wrong with a Zoom and one of those, although I've never actually tried one myself. https://www.thomannmusic.com/superlux_s502.htm EDIT: obligatory Gearslutz thread https://www.gearslutz.com/board/remote-possibilities-in-location-recording-amp-production/568801-superlux-s502.html

I assume you already have a badass katana, otherwise this question wouldn't need asking. Zoom recorders are endlessly useful.

Got a budget tier solid body, fretless ukulele bass as a holiday gift but a month early because they're on sale right now. Other than some setup stuff I'll do after I've spent some time playing with it and am ready to invest in better strings (all it really needs is to have the edges of the bridge and fingerboard rounded over slightly and the nut slots lowered since they obviously use the same nut depth for the fretted and fretless versions, and I could safely get the action a LOT lower at the nut) and so far I'm pretty thrilled with it. It's not exactly a replacement for the full size bass I traded in years ago when I was between bands, but it's really playable and sounds different enough that having a proper bass wouldn't make it obsolete. I'm waiting on the parts to finally recap my B-15 (the big combo cap on the power supply is so close to blowing that there's a visible bubble on one end) but I risked having it on for a few minutes last night to see how it sounded through that, and it can do a surprisingly good Funky Skull type of sound. I'll definitely get a lot of use out of it recording.

I love this: https://archive.org/details/discoveringelectronicmusic_201607 (it's on Youtube too, but the quality there is shit - Archive has a lossless film scan, although that's not dowloadable)

This guy is really leaning in to the tuned-up, metallic side of what it can do. This one covers some of the more Rolandesque side of it:

Yeah, it has full implementation plus it has some different presets mapped across multiple octaves so you can get a few different sounds out off each voice without even editing. I don't know much about the 501 but it looks like it's the 301 voices plus samples, seems very cool. AFAIK the 301 was all of the voices from the original Tanzbar that WEREN'T in the Tanzmaus, so if you had a Tanzmaus and a 301 you would have the whole Tanzbar sound palette. I've got an Octatrack template with the MIDI tracks set up to sequence and edit the voices in a 301 and it works really well. As far as sound, think something like a Boss DR55 or 110 but snappier and more hi-fi, if anything it almost sounds a little TOO good and I usually like to push it through a cheap pedal or solid state amp or something. Only complain I have is that if you use it standalone without external clock the steps when you change the tempo are kind of big, so sometimes you can't dial in the tempo you want (but with external analog or MIDI clock or an external sequencer that's not an issue). The built in sequencer is pretty fun, too, in a primitive way. It's more or less like DR-55 sequencing but with parameter locks. You might be stuck with the 501 though, it looks like the 301 isn't too easy to find used. Everything but the price looks better on the 501, though.

Yeah, still Firewire 400 here.

I think you all are burying the real lead, whihc is that he pronounced "gnocchi" "nocky"

Depending on the sound you're after, an MFB-301 Pro is great for that, if you can still get hold of one cheap. Looks like they've replaced it with the 501 (which looks cooler, especially being able to load custom samples, but also costs almost twice what the 301 did and a big part of the 301 appeal was that it cost less than a Volca Drums but sounded much better)

But a proper andouillette is full of tripe. Tripe and pig ass.