#168474  by cyrusj83
https://www.google.com/url?sa=i&url=htt ... AdAAAAABAG

Sorry if that's a crap link; I'm still figuring out the forums.

Anyway, I started with that as my template and eventually took the Delay out once I noticed that volume boost problem.
 #168475  by TI4-1009
ssmug wrote: Mon Oct 26, 2020 4:52 am So, is there a consensus about what goes in the OBEL? I've seen any number of recommendations (likewise what would go in a traditional effects loop, like time-based effects).
Not sure I understand the question?

In a traditional effects loop, the loop is inserted between the preamp and the power amp, so the "effected" signal never goes through the preamp (the pedals never go through any of the toneshaping that happens in the preamp). With the OBEL the effects are inserted before the signal ever leaves the guitar and they go through the preamp and power amp. So Jerry had all his effects before the preamp.
 #168476  by cyrusj83
I thought the question meant "Which pedals go inside the OBEL and which, if any, are between the guitar out and the amp"
Searing75 liked this
 #168485  by bzbz
cyrusj83 wrote: Mon Oct 26, 2020 10:36 am I thought the question meant "Which pedals go inside the OBEL and which, if any, are between the guitar out and the amp"
So did I.

Listen, fiddle about - practice, every "rule" you get on here will be contradicted sooner or later -

I typically put everything "in the OBEL" - that is, between the send and return to guitar.... this way, my volume switch acts purely on volume and not tone - but others like a volume switch that gets a bit dirtier as you turn it up - which would mean that dirt (overdrive) pedal(s) caa be external to the OBEL, that would work too.....
 #168487  by Jon S.
At times like this, I'm reminded of Sir Paul's comments on "slammin' it in the red" on the console when recording the acoustic guitars to Obladi-Oblada. I.e., rules are made to be broken.

"In some mixers, there may be as much as 20dB of headroom, so you can usually peak well above the 0VU mark without having to worry about clipping. In fact, some mixers sound even better when the channels are pushed into the red, making clipping and peaking with an analog mixer is sometimes even favorable, as this will produce that gritty analog distortion that can really juice up a track.

One notable scenario in which this effect was utilized is the Beatles’ recording of “Ob-La-Di, Ob-La-Da”. During the recording, Paul McCartney insisted that the acoustic guitars be recorded at hotter-than-usual levels. The engineer at the time may have likely balked at the suggestion, but the results speak for themselves!"

https://musicproductionnerds.com/unders ... -structure
 #168502  by ssmug
Jon S. wrote: Thu Oct 29, 2020 10:31 am
ssmug wrote: Thu Oct 29, 2020 10:13 amI see them at both the top and bottom?
On your computer but not on your phone (if you check and DO see the page numbers on top while accessing RUKIND on your phone, please let us know).
Yeah, computer only.
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