ericn
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Balance Engineer
Posts: 15,011
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Post by ericn on Nov 29, 2020 20:50:59 GMT -6
I know you like what Sonarworks has done for you but what about having Headback do your room and software? I might actually look into this at some point. My setup is pretty decent at the moment (good results using a combo of tube traps, panels, and foam), but it would definitely be nice to have an objective opinion on the best way to optimize placement of everything. Cool that he works remotely too. Give him a shout, very reasonable for his services, no telling what his suggestions will cost, but for the most part he is pretty understanding of the real world.
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Post by Bat Lanyard on Nov 29, 2020 20:55:58 GMT -6
Really interesting perspective for sure. On the Green River pre note, I don't own one, but you should grab that standalone 1-channel and see what you think. Super cheap considering the reputation they've gained. Sounds like you've got a good perspective on what works for you (which is so important!) and if you're getting stuff done, clients like it... well, sounds like pretty clear sailing. I don't think there's anything wrong with having more preamps than you need, even if they sit around most of the time. Felt that today when I tracked some guitar and had options. That's the stage where it can get really creative going in and that will keep you experimenting and engaged. That said, I'm in drbill's camp on the hardware desire and workflow. Hybrid works for me and the music I (we) make and there's something about say, running through a real H3000 and twiddling switches, that makes me tick and get creative. I don't have clients though, so I get your angle there.
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Post by wiz on Nov 29, 2020 21:13:37 GMT -6
Perhaps stuff to make your day easier, more comfortable.... Aeron Chair... couldn't live without mine. Enough leads, stands etc so you don't have to break things down to do something else tracking wise.... etc etc Seriously, this is probably the best idea...Convenience is the biggest thing for me. I really just need to buy enough of everything (I/O, pres, comps, mic stands) to just be set up where I don’t have to change/setup anything. As you know this year sold off most of my hardware, and did exactly this.
Everything is set up and ready to go, I walk in, Turn on, pick the appropriate preset in the Apollo console open the logic project and I’m ready to go, cans mix, just the right amount of reverb, preamps are dialed in..microphones set up and positioned.....tune the guitar and hit record.
it’s actually reduce the amount of time I spent in the studio.
Of course the one caveat being you must have a functioning Apollo....
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Nov 29, 2020 21:32:00 GMT -6
Seriously, this is probably the best idea...Convenience is the biggest thing for me. I really just need to buy enough of everything (I/O, pres, comps, mic stands) to just be set up where I don’t have to change/setup anything. As you know this year sold off most of my hardware, and did exactly this.
Everything is set up and ready to go, I walk in, Turn on, pick the appropriate preset in the Apollo console open the logic project and I’m ready to go, cans mix, just the right amount of reverb, preamps are dialed in..microphones set up and positioned.....tune the guitar and hit record.
it’s actually reduce the amount of time I spent in the studio.
Of course the one caveat being you must have a functioning Apollo....
UA Wiz has a problem!
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Post by chessparov on Nov 29, 2020 21:57:25 GMT -6
Got Ribbon? (Chessparov said slyly) Chris
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Post by Johnkenn on Nov 29, 2020 22:18:42 GMT -6
Problem is he doesn’t “do.” It’s all remote and I still would have to do. Yeah but for any decent room guy to do it all you could buy a nice vintage U47. Besides your room is small enough, how much could you do?😎 remember I give you hell because the second I walked in it took me back to my first room, just without the Soundcraft and MCI. How did we ever fit that stuff in there? I mean - you’re acting like it’s some studio. It’s an extra room 12x22 so it’s not tiny. And you’re right. Not a lot to be done - that’s why I use Sonarworks.
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Post by Bat Lanyard on Nov 29, 2020 23:06:28 GMT -6
The Heritage version is great. It's on the mix doing just slightly next to nothing, but it's in that "when it's gone, you notice". My only negative on it is the LED's they use in the meters. Bright as hell and kinda crappy looking. But, I also hate the meters on the Silver Bullet (bought it used, #0008), so shoot me. Edit: I f-d up your quote. I think I got it right, maybe. Edit 2: Haha... nope!
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Post by hadaja on Nov 30, 2020 0:03:57 GMT -6
+1 with Wiz a good chair would be great. I am gassing for a the “intouch massage chair” in the studio. I think if i shift things around i could make it fit.
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Post by reddirt on Nov 30, 2020 3:03:28 GMT -6
JK as far as the Great River goes , it's one of the pieces I respect and don't worry about.I have it with the eq inserted but not enabled (transformer) and it just does the job on everything if needed. Is it better than several others I could name and is it worth gassing over ? - probably not but it works any time and reliably at that. With what you've got and had , i seriously doubt it would make a real difference to you so rest easy ol' fella. Cheers, Ross
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Post by MakeWar on Nov 30, 2020 7:16:52 GMT -6
Do you have a good headphone amp? I love using my HD650 with the Little Labs Monotor, to me a great investment!
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Post by Johnkenn on Nov 30, 2020 9:44:19 GMT -6
JK as far as the Great River goes , it's one of the pieces I respect and don't worry about.I have it with the eq inserted but not enabled (transformer) and it just does the job on everything if needed. Is it better than several others I could name and is it worth gassing over ? - probably not but it works any time and reliably at that. With what you've got and had , i seriously doubt it would make a real difference to you so rest easy ol' fella. Cheers, Ross I was talking about the pre. But I’ve heard good things about the eq too
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Post by Johnkenn on Nov 30, 2020 9:46:17 GMT -6
Got Ribbon? (Chessparov said slyly) Chris I don’t...but I’ve had several and invariably always like a condenser better...but my opinions have certainly changed so that might be an idea.
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Post by jcoutu1 on Nov 30, 2020 9:47:43 GMT -6
Johnkenn, how's that chair that you picked up a few months ago? Liking it? Remember the model?
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Post by Johnkenn on Nov 30, 2020 10:26:15 GMT -6
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Nov 30, 2020 12:59:28 GMT -6
Better the $100 chair fits than the $1200 chair, unless you’re the guy selling the chair.
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Post by reddirt on Dec 1, 2020 0:12:40 GMT -6
I reckon you read me wrong JK, I was talking about the pre as well; it gets another X-former with the eq patched into it's insert path. Cheers, Ross
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Post by ChaseUTB on Dec 1, 2020 0:38:07 GMT -6
I want hardware but if it’s not going to help me earn more $ per mix & takes more work that is not something I want to deal w/ much less pay for..
Already have RTZ 9762 Dual & WA76 for tracking so maybe upgrade to 2 Audioscape 76 or 2 weight tanks in due time. I really like the heritage Elite series gear as well.
Side note, have used insert I/O in PT w/ Apollo in PT Mode lots of times w/ sample accuracy. Recently when I wanted to use the WA76 HW for lead vocal on a paid mix it would not print sample accurate. Had to send a click track out & delay it manually then said F it & used UAD!
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Post by the other mark williams on Dec 1, 2020 0:49:17 GMT -6
(Insert fart joke) But I’m also really discerning at this point. I’ve just Kindve been at a point in the last few year or so that I’ve bought enough gear to know what is and isn’t going to move the needle for me. Now - I think that’s different for everyone. It depends on what your expectations are and the end game that it’s bought for. For instance - I love outboard - but I really don’t find myself using outboard EQ when mixing. Why? Because A) I’m a little lazy, B) can’t always hear a difference C) don’t have enough outs to live on a dedicated bus solely for snare eq or whatever...if I had 32 channels of I/O, I might be less lazy, D) recall, E) I don’t get paid enough per mix to deal with analog recall and real-time mix down, F) I’ve never gotten complaints and continue to get work. I’m certainly not denying there’s a cumulative effect from using hardware or a large format console - I’m just (free associating) trying to point out that there’s a narrow amount of gear I’m interested in these days...I’ve already got a good bit and I’m only looking for stuff that changes the game - or the way I do things. In the past, that has been things like: Sonarworks (for me, it really changed everything in mixing) Axe FX III (although I’m stupidly thinking “maybe I could just buy one of those new Tone Masters for what I do?” I still fall into that trap every year) Heiserman 47 and Upton (kind of took the joy of mic gas away) Dangerous Convert 2 DA Martin D-28 Authentic and CS ‘59 Gibson J-45 I’m sure there are more I’m just not thinking of... So with the pre thing - I really only record overdubs and vocals at my place, so I really have no need for more than two mic pres. (If I needed more, I always have the Apollo pres)...when I have extra stuff/pres I constantly obsess over “I’m not using this enough, I should sell it.” And I’m one of those guys that like certain pres for certain things. Neve vocals, CAPI EGs, Helios AG etc. So - after ALL that...what should I buy? I’ve always jonesed for a Great River pre...just never pulled the trigger. For the amount of actual tracking I do, I already have too many electric guitars...but I’ve been wanting a strat again...I could use another Triad Orbit and pair of headphones...but that’s not sexy. This is going to either sound very cool or very stupid: John, I might do some thinking about the following question: What sets you apart from all the other Nashville cats with studios? (Which is essentially everybody now.) What is it that brings people to you, rather than your neighbor down the street who also has a few great mics, a couple top-shelf pres, and some cool guitars? Why do your clients choose you? Whatever your answer is, I would say invest in that. Is it the instrument collection? Maybe get another cool instrument. Is it the vocal mic? Maybe get one more awesome one. Is it the vibe of your space? Make it even vibier. Or is it your relaxed, trustworthy demeanor? If so, invest in yourself. Go on a silent retreat (when safe to do so). Take an online course about how best to connect with others and safely bring out their vulnerability. Just harness whatever you're already doing and make it even better. I don't know. I feel like I've learned a lot from Katrina the last couple years watching her grow her photography business. She's really good at it. A lot better than I am. One of the big lessons is to find what is unique about what you can offer, and then offer that. Once you reach a certain level of proficiency, it doesn't matter if you're the best photographer in town anymore - it just matters whether people want to work with you or not. And people work with specific photographers for all kinds of reasons. Like I said, it either sounds very stupid or very cool.
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Post by MakeWar on Dec 1, 2020 2:37:32 GMT -6
(Insert fart joke) But I’m also really discerning at this point. I’ve just Kindve been at a point in the last few year or so that I’ve bought enough gear to know what is and isn’t going to move the needle for me. Now - I think that’s different for everyone. It depends on what your expectations are and the end game that it’s bought for. For instance - I love outboard - but I really don’t find myself using outboard EQ when mixing. Why? Because A) I’m a little lazy, B) can’t always hear a difference C) don’t have enough outs to live on a dedicated bus solely for snare eq or whatever...if I had 32 channels of I/O, I might be less lazy, D) recall, E) I don’t get paid enough per mix to deal with analog recall and real-time mix down, F) I’ve never gotten complaints and continue to get work. I’m certainly not denying there’s a cumulative effect from using hardware or a large format console - I’m just (free associating) trying to point out that there’s a narrow amount of gear I’m interested in these days...I’ve already got a good bit and I’m only looking for stuff that changes the game - or the way I do things. In the past, that has been things like: Sonarworks (for me, it really changed everything in mixing) Axe FX III (although I’m stupidly thinking “maybe I could just buy one of those new Tone Masters for what I do?” I still fall into that trap every year) Heiserman 47 and Upton (kind of took the joy of mic gas away) Dangerous Convert 2 DA Martin D-28 Authentic and CS ‘59 Gibson J-45 I’m sure there are more I’m just not thinking of... So with the pre thing - I really only record overdubs and vocals at my place, so I really have no need for more than two mic pres. (If I needed more, I always have the Apollo pres)...when I have extra stuff/pres I constantly obsess over “I’m not using this enough, I should sell it.” And I’m one of those guys that like certain pres for certain things. Neve vocals, CAPI EGs, Helios AG etc. So - after ALL that...what should I buy? I’ve always jonesed for a Great River pre...just never pulled the trigger. For the amount of actual tracking I do, I already have too many electric guitars...but I’ve been wanting a strat again...I could use another Triad Orbit and pair of headphones...but that’s not sexy. This is going to either sound very cool or very stupid: John, I might do some thinking about the following question: What sets you apart from all the other Nashville cats with studios? (Which is essentially everybody now.) What is it that brings people to you, rather than your neighbor down the street who also has a few great mics, a couple top-shelf pres, and some cool guitars? Why do your clients choose you? Whatever your answer is, I would say invest in that. Is it the instrument collection? Maybe get another cool instrument. Is it the vocal mic? Maybe get one more awesome one. Is it the vibe of your space? Make it even vibier. Or is it your relaxed, trustworthy demeanor? If so, invest in yourself. Go on a silent retreat (when safe to do so). Take an online course about how best to connect with others and safely bring out their vulnerability. Just harness whatever you're already doing and make it even better. I don't know. I feel like I've learned a lot from Katrina the last couple years watching her grow her photography business. She's really good at it. A lot better than I am. One of the big lessons is to find what is unique about what you can offer, and then offer that. Once you reach a certain level of proficiency, it doesn't matter if you're the best photographer in town anymore - it just matters whether people want to work with you or not. And people work with specific photographers for all kinds of reasons. Like I said, it either sounds very stupid or very cool. +1
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Dec 1, 2020 2:38:06 GMT -6
(Insert fart joke) But I’m also really discerning at this point. I’ve just Kindve been at a point in the last few year or so that I’ve bought enough gear to know what is and isn’t going to move the needle for me. Now - I think that’s different for everyone. It depends on what your expectations are and the end game that it’s bought for. For instance - I love outboard - but I really don’t find myself using outboard EQ when mixing. Why? Because A) I’m a little lazy, B) can’t always hear a difference C) don’t have enough outs to live on a dedicated bus solely for snare eq or whatever...if I had 32 channels of I/O, I might be less lazy, D) recall, E) I don’t get paid enough per mix to deal with analog recall and real-time mix down, F) I’ve never gotten complaints and continue to get work. I’m certainly not denying there’s a cumulative effect from using hardware or a large format console - I’m just (free associating) trying to point out that there’s a narrow amount of gear I’m interested in these days...I’ve already got a good bit and I’m only looking for stuff that changes the game - or the way I do things. In the past, that has been things like: Sonarworks (for me, it really changed everything in mixing) Axe FX III (although I’m stupidly thinking “maybe I could just buy one of those new Tone Masters for what I do?” I still fall into that trap every year) Heiserman 47 and Upton (kind of took the joy of mic gas away) Dangerous Convert 2 DA Martin D-28 Authentic and CS ‘59 Gibson J-45 I’m sure there are more I’m just not thinking of... So with the pre thing - I really only record overdubs and vocals at my place, so I really have no need for more than two mic pres. (If I needed more, I always have the Apollo pres)...when I have extra stuff/pres I constantly obsess over “I’m not using this enough, I should sell it.” And I’m one of those guys that like certain pres for certain things. Neve vocals, CAPI EGs, Helios AG etc. So - after ALL that...what should I buy? I’ve always jonesed for a Great River pre...just never pulled the trigger. For the amount of actual tracking I do, I already have too many electric guitars...but I’ve been wanting a strat again...I could use another Triad Orbit and pair of headphones...but that’s not sexy. This is going to either sound very cool or very stupid: John, I might do some thinking about the following question: What sets you apart from all the other Nashville cats with studios? (Which is essentially everybody now.) What is it that brings people to you, rather than your neighbor down the street who also has a few great mics, a couple top-shelf pres, and some cool guitars? Why do your clients choose you? Whatever your answer is, I would say invest in that. Is it the instrument collection? Maybe get another cool instrument. Is it the vocal mic? Maybe get one more awesome one. Is it the vibe of your space? Make it even vibier. Or is it your relaxed, trustworthy demeanor? If so, invest in yourself. Go on a silent retreat (when safe to do so). Take an online course about how best to connect with others and safely bring out their vulnerability. Just harness whatever you're already doing and make it even better. I don't know. I feel like I've learned a lot from Katrina the last couple years watching her grow her photography business. She's really good at it. A lot better than I am. One of the big lessons is to find what is unique about what you can offer, and then offer that. Once you reach a certain level of proficiency, it doesn't matter if you're the best photographer in town anymore - it just matters whether people want to work with you or not. And people work with specific photographers for all kinds of reasons. Like I said, it either sounds very stupid or very cool. Mark you sound like me in B-School mode! But in B-school mode I’m going to add / counter with this; What sets you apart and draws clients? Unfortunately that second part is of equal importance and often gets lost in the thick of things. I mean I know 10 guys here have a unique sound they are known for, but nobody is knocking on their doors.
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Post by Johnkenn on Dec 1, 2020 12:46:39 GMT -6
(Insert fart joke) But I’m also really discerning at this point. I’ve just Kindve been at a point in the last few year or so that I’ve bought enough gear to know what is and isn’t going to move the needle for me. Now - I think that’s different for everyone. It depends on what your expectations are and the end game that it’s bought for. For instance - I love outboard - but I really don’t find myself using outboard EQ when mixing. Why? Because A) I’m a little lazy, B) can’t always hear a difference C) don’t have enough outs to live on a dedicated bus solely for snare eq or whatever...if I had 32 channels of I/O, I might be less lazy, D) recall, E) I don’t get paid enough per mix to deal with analog recall and real-time mix down, F) I’ve never gotten complaints and continue to get work. I’m certainly not denying there’s a cumulative effect from using hardware or a large format console - I’m just (free associating) trying to point out that there’s a narrow amount of gear I’m interested in these days...I’ve already got a good bit and I’m only looking for stuff that changes the game - or the way I do things. In the past, that has been things like: Sonarworks (for me, it really changed everything in mixing) Axe FX III (although I’m stupidly thinking “maybe I could just buy one of those new Tone Masters for what I do?” I still fall into that trap every year) Heiserman 47 and Upton (kind of took the joy of mic gas away) Dangerous Convert 2 DA Martin D-28 Authentic and CS ‘59 Gibson J-45 I’m sure there are more I’m just not thinking of... So with the pre thing - I really only record overdubs and vocals at my place, so I really have no need for more than two mic pres. (If I needed more, I always have the Apollo pres)...when I have extra stuff/pres I constantly obsess over “I’m not using this enough, I should sell it.” And I’m one of those guys that like certain pres for certain things. Neve vocals, CAPI EGs, Helios AG etc. So - after ALL that...what should I buy? I’ve always jonesed for a Great River pre...just never pulled the trigger. For the amount of actual tracking I do, I already have too many electric guitars...but I’ve been wanting a strat again...I could use another Triad Orbit and pair of headphones...but that’s not sexy. This is going to either sound very cool or very stupid: John, I might do some thinking about the following question: What sets you apart from all the other Nashville cats with studios? (Which is essentially everybody now.) What is it that brings people to you, rather than your neighbor down the street who also has a few great mics, a couple top-shelf pres, and some cool guitars? Why do your clients choose you? Whatever your answer is, I would say invest in that. Is it the instrument collection? Maybe get another cool instrument. Is it the vocal mic? Maybe get one more awesome one. Is it the vibe of your space? Make it even vibier. Or is it your relaxed, trustworthy demeanor? If so, invest in yourself. Go on a silent retreat (when safe to do so). Take an online course about how best to connect with others and safely bring out their vulnerability. Just harness whatever you're already doing and make it even better. I don't know. I feel like I've learned a lot from Katrina the last couple years watching her grow her photography business. She's really good at it. A lot better than I am. One of the big lessons is to find what is unique about what you can offer, and then offer that. Once you reach a certain level of proficiency, it doesn't matter if you're the best photographer in town anymore - it just matters whether people want to work with you or not. And people work with specific photographers for all kinds of reasons. Like I said, it either sounds very stupid or very cool. No man - that's great...that's basically how I've been looking at things for the past several years - what is going to move me forward? As for what sets me apart? I'd like to think the quality of the product. I never track anyone...unless it's a vocalist for an indie record - mainly only mix and do indie productions. I'd say 85% of the time I track with studio guys at a studio and then mix and master here. So I'm always thinking about how I can improve my mixing. Now, sure, $30k towards Trinnov, ATCs, outboard this and that - that would most likely improve the product...but I've got to think about return on investment. Like I said, I'm not getting $1000 per mix lol, so it's a balance. I am really satisfied with the results of my mixes at the moment. I'm not sure I feel like there's any major issues...I guess identifying what I'd want if I had a bigger budget is a good place to start. I should also say - I have to separate what I gas over and what can return investment. Is a $1600 Heritage 609 thingy really going to improve mixes? I'm just not totally sure. Also - Luna has really changed the ballgame for me considering summing. Is it like going into a Sumbus or Neve console? Probably not, but I don't know if I can tell or justify the difference for the projects and budgets I work with.
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Post by Tbone81 on Dec 1, 2020 13:29:10 GMT -6
This is going to either sound very cool or very stupid: John, I might do some thinking about the following question: What sets you apart from all the other Nashville cats with studios? (Which is essentially everybody now.) What is it that brings people to you, rather than your neighbor down the street who also has a few great mics, a couple top-shelf pres, and some cool guitars? Why do your clients choose you? Whatever your answer is, I would say invest in that. Is it the instrument collection? Maybe get another cool instrument. Is it the vocal mic? Maybe get one more awesome one. Is it the vibe of your space? Make it even vibier. Or is it your relaxed, trustworthy demeanor? If so, invest in yourself. Go on a silent retreat (when safe to do so). Take an online course about how best to connect with others and safely bring out their vulnerability. Just harness whatever you're already doing and make it even better. I don't know. I feel like I've learned a lot from Katrina the last couple years watching her grow her photography business. She's really good at it. A lot better than I am. One of the big lessons is to find what is unique about what you can offer, and then offer that. Once you reach a certain level of proficiency, it doesn't matter if you're the best photographer in town anymore - it just matters whether people want to work with you or not. And people work with specific photographers for all kinds of reasons. Like I said, it either sounds very stupid or very cool. No man - that's great...that's basically how I've been looking at things for the past several years - what is going to move me forward? As for what sets me apart? I'd like to think the quality of the product. I never track anyone...unless it's a vocalist for an indie record - mainly only mix and do indie productions. I'd say 85% of the time I track with studio guys at a studio and then mix and master here. So I'm always thinking about how I can improve my mixing. Now, sure, $30k towards Trinnov, ATCs, outboard this and that - that would most likely improve the product...but I've got to think about return on investment. Like I said, I'm not getting $1000 per mix lol, so it's a balance. I am really satisfied with the results of my mixes at the moment. I'm not sure I feel like there's any major issues...I guess identifying what I'd want if I had a bigger budget is a good place to start. I should also say - I have to separate what I gas over and what can return investment. Is a $1600 Heritage 609 thingy really going to improve mixes? I'm just not totally sure. Also - Luna has really changed the ballgame for me considering summing. Is it like going into a Sumbus or Neve console? Probably not, but I don't know if I can tell or justify the difference for the projects and budgets I work with. Hey John, along those same lines, another good question to ask yourself is "what makes me faster/more efficient". Since your quality is good and you're happy with your mixes is there anything that will help you reach that same point faster/easier/more efficiently? That's what I've been asking myself.
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Post by Bat Lanyard on Dec 1, 2020 23:11:36 GMT -6
Another thought, back to the gassing on the Daking pre, is making what's going into the front end stronger a better angle? One of the lingering annoyances to me of a MWTM or similar "here's how you do it" approach is that the shit those people are mixing has been absolutely front ended to the balls. Right room, right mics, right pres, etc.
I'm not saying go gassing nuts on that stuff, but maybe there's a small (Daking) experimental purchase you could make that might explode that angle a bit? I have way more pres than I can address in one take, but times like last Sunday when I tracked some rock guitar and found the Aston Spirit / Used Shipping Destroyed Tree Branch MK1 to be mind blowing... that's another angle.
You might have all that covered though with many options?
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Post by howie on Dec 2, 2020 11:48:27 GMT -6
Gas. Sold my trusty Deardorff View Camera I had kept in storage for years (I used to be a photographer) I was surprised there was still a demand for FILM cameras like mine - Got over a 1000 bucks!. Old Gasshpper that I am, I turned around a few hours later and chanced upon a Black Friday sale - (not even advertised) for a new Fender American Professional II Telecaster (Butterscotch/roasted pine - sounds delicious). Bought it right off- even though I already own a Nasville Tele - which is quite good, if heavy. My rationalization being that the camera equipment was used for artistic work - so the $$ gained from the equipment sold should also go for artistic work. Regardless of other bills to pay: I stomped upon the industrious ant inside - Sorry ant boy! and I already bought new batteries for my hearing aid. Can't wait - It's coming from some remote part of Kentucky. Good deal. First thing, I'll remove that high E string - (because I'm basically a banjo player - and banjo players don't need a stinkin' 6th string).
I'll now possess a Red guitar, a blue guitar, and a yellow guitar.
However... Telecaster schmellocaster! ... (and all your vintage tape machines and consoles) - Behold the Electrolux! Nothing could be cooler. What could match one of these 50's beauties? Shoulda' been a guitar by this name. Attachments:
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Dec 2, 2020 12:29:01 GMT -6
Gas. Sold my trusty Deardorff View Camera I had kept in storage for years (I used to be a photographer) I was surprised there was still a demand for FILM cameras like mine - Got over a 1000 bucks!. Old Gasshpper that I am, I turned around a few hours later and chanced upon a Black Friday sale - (not even advertised) for a new Fender American Professional II Telecaster (Butterscotch/roasted pine - sounds delicious). Bought it right off- even though I already own a Nasville Tele - which is quite good, if heavy. My rationalization being that the camera equipment was used for artistic work - so the $$ gained from the equipment sold should also go for artistic work. Regardless of other bills to pay: I stomped upon the industrious ant inside - Sorry ant boy! and I already bought new batteries for my hearing aid. Can't wait - It's coming from some remote part of Kentucky. Good deal. First thing, I'll remove that high E string - (because I'm basically a banjo player - and banjo players don't need a stinkin' 6th string).
I'll now possess a Red guitar, a blue guitar, and a yellow guitar.
However... Telecaster schmellocaster! ... (and all your vintage tape machines and consoles) - Behold the Electrolux! Nothing could be cooler. What could match one of these 50's beauties? View Attachment Shoulda' been a guitar by this name. Yeah but everybody tells me they really suck😎
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