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Teacher's Pet wrote: Fri Dec 19, 2025 10:31 am What is the deal with having one shielded and and one non-shielded wire inside the cable of a Fender-style two-button Reverb/Vibrato footswitch?
I mean the kind that has two RCA jacks.

https://imgur.com/rKgjQ4o

I have one of these and the braided insulation broke, I guess I can kinda jumper the braid back together.

I was just curious why they are made this way. Wouldn't a regular double RCA cable make sense?
Is it just for the mojo?

Its because the connection to the reverb switch is connected to the grid of the reverb makeup gain stage, AKA its got signal going through it. If it was unshielded it would be a huge antenna and make a lot of noise. The tremolo side is part of a voltage oscillator with no signal so it doesnt need to be shielded. That said, it wouldnt hurt if the tremolo side was shielded so a dual RCA cable would be just fine.

I'm going to set up a Zoom R16 to record our rehearsals. I'll get bass straight from the amps DI, probably mic the guitar cabinet and get the vocals split from the mixer (somehow, haven't actually figured out where from).
For drums I'm thinking of micing the bass drum and then for the rest of the kit one mic, but where? I'm thinking either the Wurst, the Daptones or the Glyn Johns. Any opinions - which would you pick, or something else?
I don't want to spend hours mixing our practice jams.

I would just budget a lot of time to find the place to put your two drum mics. You will save time just finding a good spot for the mic rather than trying to fix it later on.

Its kind of thing right now to do something like that with a U87 knockoff in specific instances, but it depends on your room, band, and the music you are playing. In some bands you just account for some bleed and in others you have a fucking mess.

I would crack open the manual of the mic you are using and don’t be afraid to move amps and the PA around if you have to. Glyn Johns would have amps facing out away from the drum kit a la the Get Back movie, which is not what I’ve ever seen anybody do in a practice space. You will never eliminate bleed completely but you want to make sure other stuff is minimized.

For the vocal feed you if your mixer channel has a direct out you can just use that.

Good luck! You can spend a crazy amount of time with this stuff, so try to leave it once you get it about as good as its going to get. Make notes so you can compare mic positions later in a spot where you can listen better.

hyljetronic wrote: Thu Jan 01, 2026 3:44 pm I'm going to set up a Zoom R16 to record our rehearsals. I'll get bass straight from the amps DI, probably mic the guitar cabinet and get the vocals split from the mixer (somehow, haven't actually figured out where from).
For drums I'm thinking of micing the bass drum and then for the rest of the kit one mic, but where? I'm thinking either the Wurst, the Daptones or the Glyn Johns. Any opinions - which would you pick, or something else?
I don't want to spend hours mixing our practice jams.

I'd say the Wurst would probably get the job done. I wouldn't bother with two overheads. At least not to start with. It helps to put mics really close in these situations. You'll probably be filtering bleed from the bass out of lots of other things, low end is kind of everywhere in the room. Sometimes adequately mic'ing and mixing the drums means you need very little or no bass mic or di, cause getting the drums where you want already brings bass into the picture.

hyljetronic wrote: Thu Jan 01, 2026 3:44 pm for the rest of the kit one mic, but where?

For mono overhead/kit mic, I've always had good luck with an m160 in the vicinity of my right shoulder, aimed at the snare. Gets a nice balance of the whole kit.

What the hell is "B-stock"?

In my obsessive online gear window shopping I keep seeing stuff that's like 10-15% cheaper listed as such. Scuffed? Demo model?

losthighway wrote: Fri Jan 02, 2026 9:58 am What the hell is "B-stock"?

In my obsessive online gear window shopping I keep seeing stuff that's like 10-15% cheaper listed as such. Scuffed? Demo model?

Usually means it was a broken/non-compliant unit that was refurbished or floor model that has been lightly used.

I buy b-stock stuff all the time, particularly from Beyerdynamic .

The only thing I really ever notice is that the packaging is often trashed but I’ve never noticed any defects or signs of use otherwise.

hyljetronic wrote: Thu Jan 01, 2026 3:44 pm I'm going to set up a Zoom R16 to record our rehearsals. I'll get bass straight from the amps DI, probably mic the guitar cabinet and get the vocals split from the mixer (somehow, haven't actually figured out where from).

Does it have Aux sends? Just use those on the vocal channel alone if you have a spare one. Might need some adapters though depending on your mixer. Post the model # and a brief run-down how you have it set up and we can sort this for you quickly.

losthighway wrote: Thu Jan 01, 2026 6:24 pm

hyljetronic wrote: Thu Jan 01, 2026 3:44 pm For drums I'm thinking of micing the bass drum and then for the rest of the kit one mic, but where? I'm thinking either the Wurst, the Daptones or the Glyn Johns. Any opinions - which would you pick, or something else?
I don't want to spend hours mixing our practice jams.

I'd say the Wurst would probably get the job done. I wouldn't bother with two overheads. At least not to start with. It helps to put mics really close in these situations. You'll probably be filtering bleed from the bass out of lots of other things, low end is kind of everywhere in the room. Sometimes adequately mic'ing and mixing the drums means you need very little or no bass mic or di, cause getting the drums where you want already brings bass into the picture.

Timely post, am doing the same thing, multi-tracking practices as of late.

I'll +1 the wurst mic set up, but I've always heard it called the crotch mic. Set the mic roughly equidistant between rack, floor, & snare and go. Most of the time I've seen it, it's been a cardioid of some kind, but I've been successful using an EV 635 for this. Even with it being an omni pattern I'm not getting that much bleed, but also happy to have more of the toms & kick in there. Not tons of cymbals but enough & who needs 'em anyway. We have an extra vocal mic set up that no one's using so I high-passed it and get plenty of cymbals that way (that I don't need). Compression brings in more of the non-drum stuff, so while it might sound cool in a studio, or more isolated setup, i'm using it fairly sparingly.

I don't love Glyn Johns/recorderman setup most of the time as they seem to get too much of the brass relative to the drums, at least in my recording spaces and even with consciously adjusting my playing to be lighter on the cymbals/heavy on the drums. The daptone deal is right out unless you have a ton of isolation in your practice space.

I've gotten completely satisfactory results just doing iphone & voice memos and careful placement. You're already miles ahead of that just by being able to adjust the individual instruments.

Thank you all!
Yeah, I'm not aiming to have super hifi results, just enough to bring out vocals more and satisfy our bass-hating guitarist.
We'll probably be using SM57/58s and I guess Wurst is the winning technique.
I'll post more details when we get around actually doing this.
We do have our rehearsal space set up kind of dumb, the PAs and bass is coming from one wall, the drums are sideways in the middle and guitar amp is facing PAs and bass amp from drummers right side. This is because the space is small and we have to cram two drums and stuff like that in there.