Lonesome Bulldog wrote:My question: proper angle of rim-mounted SM57s on toms?* Facing dead center, or??Pointing toward contact point will give the most attack, more oblique angle (parallel to the head) will give a rounder sound, more acute angle will give more sustain. YMMV.

i have a YGM-2. i know that several of you here do (or did) as well. question: of the three inputs, the 3rd sounds comparatively thin to the 1st and 2nd. is that normal? is there meant to be an audible difference between all three (maybe, 1=normal, 2=LP, 3=HP or something)?

Paid In Full wrote:I picked up a duffle bag full of drum hardware at a yard sale a few years back, and one of the items is this WFL bass drum muffler:]Why and when are these used? Is this just old-timey gear or is there still a demand for mufflers?Well, back in the 60s and before, one did not have the same range of drum heads that one has now. Essentially, you had one or two choices: thing or medium. Drums were resonant, and if you wanted less, you muffled. When you have a full front head kick, one of those mufflers is a lot easier to fine tune compared to removing and replacing the front head all the time.Now we have so many heads to choose from; single, double, thin, fake skin, double with glued ring, single with built in muffling ring, oil filled, etc etc. All of them clear or coated. In modern times we get to make a lot more sonic choices before we even install the heads.Ben

Lonesome Bulldog wrote:It's ok to run a 16 ohm speaker with a head that does 8 or 4 ohms right? The only thing I need to avoid is a 2 ohm speak on a 4 or bigger number head right? God damn I learn this shit and forget it a day later. Need a tattoo or something, to replace my missing brain.Tube or solid state?

Lonesome Bulldog wrote:So tube heads are no good with a cab whose ohmage is a bigger number than stated on head? I thought tube amps were more tolerant than SS.Tube amps can go lower sometimes. Other times they have to be matched. It really depends on the robustness of the output transformer.Ben

Generally, I don't even touch the drum machine until the song is written. The few experiments I've done with tempo mapping and tempo stretching the drums to fit the guitar have been exercises in futility.I map out the song and program the drums accordingly.Some things to consider that I learned the hard way:Identify the "time keeper" and keep it ticking at the same rate through out. That is to say, "Keep it at 1 2 3 4 -or- 1 & 2 & 3 & 4 & " unless you have a double-time section or half-time breakdown in the song. Most of the time I find the "time keeper" to be either the hat or the kick.Keep an eye (or ear as it were) on your down beats. Does the bar start with kick on 1 or snare on 1? This doesn't have to be kept uniform through out, but it does effect transitions to other sections.Don't overdo rolls. Especially the triplet rolls.Of course, you probably know all this. Please don't smack me.

The world of drum programming can be a forest of treachery for us guitarists. Like Lonely Bull said, keep it pretty skeletal, record your bass and guitar parts to it, then flesh out the drum parts later or take it to the drummer as "a sketch".

Rodabod wrote:I'll give afiver to anyone who has the balls to buy this.For 220, you could afford to take a buzzsaw to it and have three guitars!

Lonesome Bulldog wrote:SSLet 'er rip.Maybe you should just get that tattooed on your arm.

LBx wrote:i have a YGM-2. i know that several of you here do (or did) as well. question: of the three inputs, the 3rd sounds comparatively thin to the 1st and 2nd. is that normal? is there meant to be an audible difference between all three (maybe, 1=normal, 2=LP, 3=HP or something)?some guy on a guitar dork forum wrote:Regarding the three inputs, there is no difference between them, they cut it down to two in later models.i guess mine has been modded or is in need if a tune up. most likely the latter - it does buzz, even at lower volumes.