|
Post by kevinnyc on Dec 2, 2020 19:39:58 GMT -6
Make a pair of those helios cards I put on the diy forum last March. Has anyone ordered up a batch of pcbs? I think I want to make some, they look amazing!
|
|
|
Post by matt@IAA on Dec 2, 2020 19:59:19 GMT -6
A fellow in the UK has built a couple. That’s the only one I know about.
|
|
|
Post by Johnkenn on Dec 2, 2020 20:02:23 GMT -6
Make a pair of those helios cards I put on the diy forum last March. Meant to reply to this - man, I wouldn’t even know where to begin.
|
|
|
Post by jcoutu1 on Dec 2, 2020 21:44:06 GMT -6
Make a pair of those helios cards I put on the diy forum last March. Meant to reply to this - man, I wouldn’t even know where to begin. +1
|
|
|
Post by matt@IAA on Dec 2, 2020 22:25:38 GMT -6
If you need help, I can walk yall through it. PM me if interested. Sorry to derail.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 2, 2020 22:35:05 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. Same with the return on investment, not getting paid enough, and needing a quick turn around. I was lusting after hardware compressors and a better collection of software ones for so long. Then I started buying plugin that actually work. I still haven't found a great software bus compressor, neither drum nor mix, but the more I play with Molot GE and Fuse VCL-4, the more I realize how worthless almost all the 1176 plugins are. The PSP, Kush, and Sonnox dynamics I lusted for weren't as good as what I already had. The only thing plugs can't do the job as well is FET comps and mix/drum bus ime now. The plugs are way pickier and still are harder to use. Vari-mus, plugs have it nailed. I made money right away with a couple jobs from NEOLD v76u73. I don't think I could ever make hardware Retro money back or any money from a Manley. I'm still aiming for better monitors and building up my mic locker and preamps.
Summing? I'll take 64-bit floating point PCM over the current AMS, API, and Dangerous summers. Luna looks next level but Mac only. Right now I shove SDRR 2 Desk in HQ+ with medium crosstalk and slight drift as the first insert on every bus. Works fine, beats the bx_consoles for me, and is dirt cheap.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 2, 2020 22:40:12 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? The MWTM stuff is not just front ended, it's digitally scrubbed, de-noised, deresonated, etc. Half those guys have assistants doing the grunt work that makes the real difference. It's all cleaned up already. Nail the Mix, the recordings and mixes sound horrible. the Daking stuff rules. It makes everything sit and is pretty clean. Stuff never gets worse like current API and Neve type things can. You record with Daking, everything just sits and cuts effortlessly. The mixing goes quicker. Also CAPI is dirt cheap. The Heider is dirt cheap for what it is prebuilt. All Daking and CAPI lack is the case work.
|
|
|
Post by Bat Lanyard on Dec 2, 2020 23:10:38 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? The MWTM stuff is not just front ended, it's digitally scrubbed, de-noised, deresonated, etc. Half those guys have assistants doing the grunt work that makes the real difference. It's all cleaned up already. Nail the Mix, the recordings and mixes sound horrible. the Daking stuff rules. It makes everything sit and is pretty clean. Stuff never gets worse like current API and Neve type things can. You record with Daking, everything just sits and cuts effortlessly. The mixing goes quicker. Also CAPI is dirt cheap. The Heider is dirt cheap for what it is prebuilt. All Daking and CAPI lack is the case work. Dan, I totally agree with you. I hope my post was clear on that angle, but maybe not? Totally agree with what you said though, all around. I'm fortunate enough to have a CAPI SumBus as well as a CAPI VPR nearly all full with CAPI units (including a pair of FD312's). I completely agree with you there too. That's why I was suggesting Johnkenn take the plunge on the Daking. Pretty easy to get into that game and the reputation is awesome on the results.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Dec 2, 2020 23:16:46 GMT -6
The MWTM stuff is not just front ended, it's digitally scrubbed, de-noised, deresonated, etc. Half those guys have assistants doing the grunt work that makes the real difference. It's all cleaned up already. Nail the Mix, the recordings and mixes sound horrible. the Daking stuff rules. It makes everything sit and is pretty clean. Stuff never gets worse like current API and Neve type things can. You record with Daking, everything just sits and cuts effortlessly. The mixing goes quicker. Also CAPI is dirt cheap. The Heider is dirt cheap for what it is prebuilt. All Daking and CAPI lack is the case work. Dan, I totally agree with you. I hope my post was clear on that angle, but maybe not? Totally agree with what you said though, all around. I'm fortunate enough to have a CAPI SumBus as well as a CAPI VPR nearly all full with CAPI units (including a pair of FD312's). I completely agree with you there too. That's why I was suggesting Johnkenn take the plunge on the Daking. Pretty easy to get into that game and the reputation is awesome on the results. yeah was just saying how good it is. people don't appreciate daking for what his stuff really does. it just sits. it has depth but it's clean. there is no brown. and it has that class a forwardness without etch or slowdown.
|
|
|
Post by Bat Lanyard on Dec 2, 2020 23:24:19 GMT -6
Dan, I totally agree with you. I hope my post was clear on that angle, but maybe not? Totally agree with what you said though, all around. I'm fortunate enough to have a CAPI SumBus as well as a CAPI VPR nearly all full with CAPI units (including a pair of FD312's). I completely agree with you there too. That's why I was suggesting Johnkenn take the plunge on the Daking. Pretty easy to get into that game and the reputation is awesome on the results. yeah was just saying how good it is. people don't appreciate daking for what his stuff really does. it just sits. it has depth but it's clean. there is no brown. and it has that class a forwardness without etch or slowdown. I've wanted to try out his pres for a long time now, but I'm an ass on the aesthetics. I know, not what it's all about, but the look of something inspires me and green plus knurly knobs has always held me back. Exactly why I replaced the ivory chickenheads on my Clariphonic with brown ones. (They look SO much better.) I need to just pickup the Daking one channel pre and get over it.
|
|
|
Post by gwlee7 on Dec 3, 2020 22:03:03 GMT -6
yeah was just saying how good it is. people don't appreciate daking for what his stuff really does. it just sits. it has depth but it's clean. there is no brown. and it has that class a forwardness without etch or slowdown. I've wanted to try out his pres for a long time now, but I'm an ass on the aesthetics. I know, not what it's all about, but the look of something inspires me and green plus knurly knobs has always held me back. Exactly why I replaced the ivory chickenheads on my Clariphonic with brown ones. (They look SO much better.) I need to just pickup the Daking one channel pre and get over it. You can borrow one of my mic pre IIs pretty much whenever. All you have to do is come up to Lewisville and pick it up.
|
|
|
Post by Bat Lanyard on Dec 3, 2020 22:41:04 GMT -6
I've wanted to try out his pres for a long time now, but I'm an ass on the aesthetics. I know, not what it's all about, but the look of something inspires me and green plus knurly knobs has always held me back. Exactly why I replaced the ivory chickenheads on my Clariphonic with brown ones. (They look SO much better.) I need to just pickup the Daking one channel pre and get over it. You can borrow one of my mic pre IIs pretty much whenever. All you have to do is come up to Lewisville and pick it up. I appreciate that, man, thanks! Would be great to check it out. We should beers. And any Dallas-area RGO's should join as well.
|
|
|
Post by javamad on Dec 4, 2020 19:06:44 GMT -6
I think we all share this journey ....
I am so keen to get a Chandler Redd 47 .... but I had to get a boring studio computer to be able to guarantee that sessions could actually happen with some degree of certainty :-)
Now that I have the new computer (2020 iMac) I am testing out Luna and considering going ITB ... so would sell most compressors, my RND5060 and use the funds to get some noce front end ... like a Redd 47 mic and an RS124 ... so still gassing :-)
|
|
|
Post by ChaseUTB on Dec 5, 2020 0:51:26 GMT -6
If supplies/ business essentials are forgivable under SBA my 2012 MBP will be upgraded as well as a few other essentials ( vocal chain, room acoustics, DAW & plugins ). If not forgivable then my expendable income going to a new Mac. Or maybe a Windows PC to save $ & use it for SW upgrades & SW purchases & life needs if COVID19 continues.
Once you have your essentials & workflow developed the rest is just wants/ extra icing on the cake.
What essentials can be upgraded?
Essentials to me are: computer, room acoustics, monitors, Ad / DA, cables, monitor stands, headphones, mics, preamps, compression, eq maybe, or a monitor controller.. Again workflow dependent affects which of these items are essentials to your studio & workflow.
|
|
|
Post by drbill on Dec 5, 2020 10:07:36 GMT -6
Absolute Essentials for me : Room Monitors Mics Mic Amps Compressors EQ's Saturation FX Reverbs Delays Modulation FX Conversion Computer Great back end - guitars, keys, amps, etc. Headphones Stands WIRE!!!!! Racks Desk Ugh...I guess I could have just said "studio"....
|
|
|
Post by Guitar on Dec 5, 2020 10:23:28 GMT -6
Absolute Essentials for me : Room Monitors Mics Mic Amps Compressors EQ's Saturation FX Reverbs Delays Modulation FX Conversion Computer Great back end - guitars, keys, amps, etc. Headphones Stands WIRE!!!!! Racks Desk Ugh...I guess I could have just said "studio".... I tried recording without a room a few times and it was pretty good. You need special gear for it though. What are some of your favorite Saturation FX dr bill?
|
|
|
Post by sean on Dec 5, 2020 10:24:01 GMT -6
Absolute Essentials for me : Room Monitors Mics Mic Amps Compressors EQ's Saturation FX Reverbs Delays Modulation FX Conversion Computer Great back end - guitars, keys, amps, etc. Headphones Stands WIRE!!!!! Racks Desk Ugh...I guess I could have just said "studio".... You forgot chair. Treat yourself to a good one!
|
|
|
Post by drbill on Dec 5, 2020 10:38:03 GMT -6
Ugh...I guess I could have just said "studio".... I tried recording without a room a few times and it was pretty good. You need special gear for it though. What are some of your favorite Saturation FX dr bill?Haha!! Well, it probably won't surprise you or anyone - Silver Bullet. It's got my name on it, and I got it right where I wanted it, and Brad did all the heavy lifting. Simple!! Works killer in such a wide variety of applications - not to mention recording with the pre's cascaded has given me access to sounds (especially those "dirty" hip hop styled sounds) that I could never achieve easily before. Beyond that, I have a raft of Mr. Focus modules that I use mostly for compression and saturation with a wide variety of Color modules. Those work great for me as "saturation presets". And that's how I use them - presets. They either work or they don't and I adjust level into them via gain inserts directly before exiting the D/A. Chroma + and Chroma are also up on the list. Essentially a bit more "pure" or "open" than the Silver Bullet, but in the same family. Hard to describe the differences, but they are there. A great option. Various tube gear gets a BIG nod too. The ZOD ID DI's are now essential on my mix bus. So much so that they rarely get used as DI's anymore. They are paired up with Silver Bullet Ser.No. 0001 on my mix bus and it never gets changed. The Weight Tank WT72's in line mode add a beautiful and elegant tube sheen to many things. The Locomotive 14B's are skyrocketing up to constant use for me, and they can do so many things from elegant tube sheen to vintage grungy crunch. All while sounding HUGE. The V Comps (getting the second unit next week) are also great for taking off the digital edge. I'm so over trying to do this stuff digitally. You end up futzing for so long, tweaking, trying, and ultimately (for me at least) compromising. Doing it analog is so natural, easy and simple. Makes me think I'm a genius. LOL But seriously, having anything analog on an insert that I can manipulate to take the HF edge - or better put - to contour that edge on digital is essential to my personal production technique. The more things I have to do that, the easier life is. The analog gear seems to take the edge off, while leaving the air. Sounds counter intuitive, but that's my experience. Saturation when it works right is the essence of recording / mixing.
|
|
|
Post by drbill on Dec 5, 2020 10:42:19 GMT -6
Absolute Essentials for me : Room Monitors Mics Mic Amps Compressors EQ's Saturation FX Reverbs Delays Modulation FX Conversion Computer Great back end - guitars, keys, amps, etc. Headphones Stands WIRE!!!!! Racks Desk Ugh...I guess I could have just said "studio".... You forgot chair. Treat yourself to a good one! You know what? You must be psychic!!! I was going to put that down as I've been considering getting a couple of those chairs John likes. Can I go back and change my list?? LOL
|
|
|
Post by Guitar on Dec 5, 2020 11:08:21 GMT -6
drbill that's brilliant. I should have figured the LTL gear would take the top spot. But I am interested in all the gear you mentioned, and the overall technique is something I already know a little bit about even though I hack away at digital mixes until they sound good. I do get mojo on the front end though, mic pres, transformer direct boxes, vibey microphones, and so on. I use plugins for mojo and saturation but I would agree with you that it's way more tweaky than a hard box. I like the instant recall and and the fast pace of it though, as well as sitting in the sweet spot of the monitors for any adjustment. I guess a fancy desk would sort that though, the "producer desk" type ones like you have. I have been wondering when my personal "time" will be to expand back out into mix hardware. I think it's going to happen after I fully deal with all my instruments first of all, things like pickups, setups, fret work, and so on. I'm much closer to having the whole herd sorted than I was a year ago. This stuff is a lot of work and I have to have time to feel creative too, so it's a steady pace rather than a sprint. I was "this close" to ordering a Mister Focus Stage II during one of the sales, but the financing didn't work at the time. I'm sitting on a Colour module too with nothing to plug it into yet. I'll get back to you in a few years when I've got this all sorted out, haha!
|
|