HecticWatermelon Spring 2006 W/D/D/W Recording and Gigging System:
Here are some general notes on my latest rig as it has evolved to meet the needs of recording and gigging with Hectic Watermelon. There are too many sources to cite and thank that have contributed, so one big thank you is in order for folks who has helped answer my questions!
Sound Coloration: The sound coloration/generation of this flexible system is a pair of Egnater guitar preamps (an M4 with Vox, SL2, Modern, Recto modules and an old ie4); a Joe Meek VC6 preamplifier (piezo); and a Kurzweil K2500R triggered mostly via an AXON AX100 guitar MIDI converter. The main FX processors are a Lexicon G2 and an Eventide Eclipse. The preamps are used mostly individulaly or morphed between parallel configurations.
Routing, Control and Interface: The audio nervous system flows through a Soundsculpture Switchblade for nearly limitless audio routing options. The MIDI is routed to an old MOTO MTP/AV that is networked to the house system in the studio and run standalone live. The main controller is the Axxess FX1 using 3 CC Pedals and 2 CC switches. Addtionally, dedicated volume and hold pedals control the AX100. An old Rocktron Rack Interface is used to connect and Phantom power the floor controller snake. The FX1 connects to the interface with a cable a made with a Female 5-pin XLR to a 7-pin MIDI. The pedalboard packs up into a very well-padded flight case with wheels very easily for ease of setup.
Amplification: A VHT 2/50/2 drives a pair of Earcandy 1x12? cabs loaded with Eminence Texas Heat and Swamp Thang speakers in the studio for dry signals and a pair of 2x12? cabs for live. Additionally, a Rocktron Velocity 120 power amp is used to drive a pair of EV PA speakers for most wets, piezo, and synth/samples in the live configuration.
Microphone Technique and Strategies: In the studio, each cab is miced with a pair of mics. for my applications, the Texas Heat likes an SM 57 and Senheiser e609. The Swamp Thang seems to prefer an SM 57 with an Audix i5. I tend to prefer to get the upper frequency edge more from the power amp and micing technique with the Texas Heat for cleaner, bluesier sounds; therefore, the mics are angled more towards the cone. Conversely, I prefer to get the lows more from the power amp and micing technique for the Swamp Thang for more distorted tones; therefore, it?s pretty much the opposite situation here. In the studio, the cab?s live in a separate room and can therefore take some heavy power for sustained amounts of time. I prefer not to use power attenuators. I have just never been able to get them to feel right in my hands.
Live, it is just an SM 57 on a speaker of each 2x12? cabinet heading into a little drawer-mounted Mackie VLZ 12 mixer. I prefer to use this mixer to a rack-mounted one for more signal monitoring and routing flexibility. With the rack interface, I have independent master volume controls for dry and wet signals, but with a mixer, I can EQ, put a 75 Hz lowcut and send a cocktail of dry and wet to the house. Unless I have a working relationship with the FOH, I prefer to control this mix.
More pictures and sounds at http://www.hecticwatermelon.com/machines.cfm
