I'm not sure why I'm having a difficulty w/ this but I think it probably stems from my lack of ever really understanding high/low impedance.

Anyway, I found a wild old mic, an Elmo EC-202. It's intended use was as a telescoping Super 8 mic that takes watch batteries & has 3.5 mm mono jack out. I REALLY want to use this as an MC mic (think Bob Barker) with a simple wireless transmitter like XVIVE U3 or something that just plugs the transmitter in the back of the mic.

I've tested it and for what I want to do with it, it'll sound good enough. I'm just not sure how to pull it off without one million adapters. Should I get in the guts and try to re-wire it in some way and replace the output w/ something 3d-printed maybe? Wouldn't I need to build in some sort of transformer circuit to do it? Should I just give up on this silly idea? I find myself being an MC more and more often for whatever reason and I'd like to add a little panache to these things by using a ridiculous looking mic like something out of a Tim and Eric sketch.

hyljetronic wrote: Thu Jan 08, 2026 11:14 am Another micing question: We are at demoing phase and are probably going to record stuff on our own. We have shouty/growly hardcore vocals and I was wondering if it would be beneficial to have a close singing mic and a one at a distance, or am I overcomplicating stuff?

This comes from my dislike of old death metal vocals, they are so powerless and mixed too prominently (for my liking). I like it to have some space and feel there is power behind the vocal delivery.

Try it! It's always good to play with stuff and see what it's like if you have time, and it's your own project. People are willing to put up like 15 mics on a drum kit, we can try out two for vocals, right?

In general I have found room sound on vocals to be even harder to accomplish well than drum room stuff. In my opinion a good room sound for vocals either needs to be a gorgeous sounding huge room (of which I've only gotten to use once), or utter trash, like tiled small bathroom situation. The in between stuff can work with tweaking compression, eq'ing out boxiness, delaying the room slightly.... it gets really tweaky and then usually I only like it when there's just a touch in the mix.

benadrian wrote: Fri Jan 17, 2025 3:18 pm These heads rule ass, and I helped with a bit of the SGT design.
https://ampeg.com/products/venture-bass-amplifiers/

Anyone else here smitten with these? Going thru reviews of the V3 on the 'tube I've found two pretty great ones. And the Ulysses size discussion on talkbass has a lot of fans. I've never considered a class D thing otherwise...

Are there very many tremolo pedals with CV input and or output? There's one (1) Dwarfcrarft Twin Stags on Reverb at the moment for $350 (I'd feel differently about the price if I were giving it directly to "[my] old pal Aen" but Dwarfcraft closed up shop before I could buy everything they made) and then I found this one:

https://mwfx.co.uk/product/tremolo-with ... cv-output/

but £200 is almost $350 and that's before including shipping & penalties.

Fairfield Randy’s Revenge though I don’t know if it’s much cheaper.

Dreadbox Treminator?

Looks like the Spaceman Delta II and EHX Super Pulsar Stereo accept CV as well.

Hypothetical—let’s say I was thinking about putting concentric pots on my two T-Styles. Assuming both pots in the assembly are the same value, should the bottom pots be wired as volume or tone?

Additionally, does anyone have any experience in general using concentric pots? I know they tend to be seen a lot more on J-Basses with active pickups. Are they more of a help or a hindrance?

defendyachtrock wrote: Thu Jan 15, 2026 5:14 pm Hypothetical—let’s say I was thinking about putting concentric pots on my two T-Styles. Assuming both pots in the assembly are the same value, should the bottom pots be wired as volume or tone?

Additionally, does anyone have any experience in general using concentric pots? I know they tend to be seen a lot more on J-Basses with active pickups. Are they more of a help or a hindrance?

I have never met a concentric pot on an instrument that I like. I have a concentric bass/treble on the active fender jazz bass that I used in Replicator. It seems okay, but it's still annoying. I keep waiting for the active preamp to die so I can put in two loud, passive J bass pickups wired to one volume knob and call it a day.

I see, is it just annoying to have to adjust?

Now I’m starting to think of more involved wiring schemes since I’m probably gonna use a tone knob way more on my neck pickup than the bridge, so I kinda want to experiment with only having the neck pickup pass through the tone knob. Cursory Googles seem to indicate that anyone who mods their Teles like that seem to do it on the bridge pickup instead.

defendyachtrock wrote: Thu Jan 15, 2026 5:40 pm I see, is it just annoying to have to adjust?

Now I’m starting to think of more involved wiring schemes since I’m probably gonna use a tone knob way more on my neck pickup than the bridge, so I kinda want to experiment with only having the neck pickup pass through the tone knob. Cursory Googles seem to indicate that anyone who mods their Teles like that seem to do it on the bridge pickup instead.

The main place I have seen concentric post on guitars is Danelecros. In that format, they are totaly garbage. The are hard to turn, they have no grip, and sometimes turning one would unintentionally turn the other.

I've seen them on a few shredder or jazz fusion basses and guitars wit hactive pickups. They are always quite fiddly. They seem like set and forget controls; too much hassle to adjust mid song with any sort of accuracy.

So, if all you want to do is set the knobs to one position and then forget about them, then yeah, I can see using that to get more controls in the same amount of holes. But, if you're like me and use the volume and tone controls as espressive and creative tool that often happen mid song, then I'd avoid the concentris pots.