ericn
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Balance Engineer
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Post by ericn on Aug 23, 2021 21:09:16 GMT -6
Hmm... Will my MXL V69 go through the roof too? Grasshopper sincerely asks regarding RNC compressor. Is it really better than most "clean" compression Plugs, in Super Nice? (I love the Atomic Squeezebox BTW) Thanks, Chris Sorry my friend your v69 is not vintage but if you send my friend prince JK of Nigeria every penny we will gladly send you a list of vintage MXL mics! If the check clears.
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Post by christopher on Aug 23, 2021 22:06:13 GMT -6
Hey my non functioning studer is going for 14k :0 Worth more than my car. No wonder it gets the garage and my car doesn’t Back when I got the studer, man I was gassing hard over a used Sony 3036 for like $50k. Nothing was near that price, Ameks we’re still 90k+. Now there’s one for $7k been sitting. reverb.com/item/32760783-sony-mxp-3036-36ch-consoleedit: actually there’s a wide body more like mine for 18k … in “was working perfectly, now in parts on pallet” condition
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Post by Blackdawg on Aug 23, 2021 22:45:32 GMT -6
Hell even my SPX90 II has doubled in value since I bought it LOL
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Post by Deleted on Aug 24, 2021 0:15:09 GMT -6
Yeah, it sucks. Now more than ever I kick myself for not buying certain pieces back when they were only priced "just beyond my reach" instead of what they are now, which is just beyond absurd. And to an extent, unnecessary.
I guess we're lucky to have those manufacturers who still make great stuff the way they always have (or have for long enough to become modern classics): Distressors, 4038s, Schoeps' Collette line, Royers, Beyer ribbons, the MKH line, DPA, not to mention the new wave of really good reproductions and inspired designs we are seeing today. Add Chandler Ltd, AEA, Josephson, A-Designs, Retro, Undertone and Manley to a long list of contemporary reliables.
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Post by Ward on Aug 24, 2021 6:59:37 GMT -6
I don't personally know anybody working in music that would pay five figures for a vintage LA2A. SNIP Especially when we have the audioscape OPTO (identical LA2a clone) for about $1000!!
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Post by Ward on Aug 24, 2021 7:00:46 GMT -6
I love a good vintage U87 but the price on some of those lately has been eye popping. 5k! Only that much? Dang it. I'm holding out for $7K then I can sell mine and get 8 or 9 cserrano clones which sounds REALLY close!
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Post by Chad on Aug 24, 2021 8:09:03 GMT -6
I love a good vintage U87 but the price on some of those lately has been eye popping. 5k! Only that much? Dang it. I'm holding out for $7K then I can sell mine and get 8 or 9 cserrano clones which sounds REALLY close! I think they’ll get there, Ward! But here’s to hoping that when U87’s are $7,000, a loaf of bread isn’t $100 USD.
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Post by bgrotto on Aug 24, 2021 8:27:44 GMT -6
Five or six years ago, i bought an Teletronix LA3A pair for about $2500. Felt like too much at the time, but I really wanted em. Recently sold them for $7k. Happily replaced them with the AudioScape replica. Frankly, I'm delighted to see the gear prices jumping like this 🤣
In all seriousness, though, there are definitely some crazy spikes, but I'm still finding good deals on lesser-known (and often cooler) stuff. The stuff that's seen massive price increases often has equivalent or even superior modern day knock-offs, so it's easily replaced (still waiting on a good 1178 clone, though). And some of my weirder and more obscure vintage items are going up in price enough to tempt me to sell so i can buy (lots of!!) other cool stuff with the money.
Speaking of which...I have an Altec 436 I'm considering letting go if anyone is interested........
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Post by enlav on Aug 24, 2021 9:17:49 GMT -6
Prices have been going up for years. Started to escalate with the web... really escalated with the arrival of home toolz. Now everyone is a customer for a set of actual old Neves LA2a or whatever the piece of the day is. Hedge fund cats? Possibly accurate. What I am 110% sure of is that nobody I personally know who makes a living from audio production can afford the old stuff. I think this sentiment is probably on the money. Obviously, the pandemic shook up the market to some degree; I know I've spent a lot to bolster up my personal/remote rig since the whole situation messed with a few of the studios I would normally use, but you can see the constant influx of new users on Pro Audio/Recording sites/forums as some form of confirmation that we're seeing more and more people get involved in the trade for decades. There's so many additional factors that probably come into play - considering the vintage gear worship/praise and a growing user base looking to make their sound better/bigger, I imagine the most popular pieces of equipment will just continue to climb with value.
On the topic of the "hedge fund cats" comment, the only newly built studio (not counting home/project studios for a moment) we've had in the past ten years was gossiped to be "daddy's money" or something less legal (probably just jealous rumors). I know the commercial studios here all do a lot of other work (scoring, VO, conversion, legal, repair/restoration) that I imagine kept them stable in the last couple years.
Some of them just use it to play video games.
I might be guilty of using compression to deal with the ridiculously wide dynamic range of some movies...
Though you're not wrong. When I was in Pro Audio retail/sales, at some point it seemed like half of our customers were kids and adults looking to get into streaming on youtube/twitch. I'm sure we sold more RE20's and SM7b's to podcasters/streamers than we did musicians in total.
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Post by sean on Aug 24, 2021 9:28:55 GMT -6
Definitely feel like I missed my chance at a pair of LA3A’s at a somewhat reasonable price. That’s really the only thing I’m like “damn, shoulda coulda woulda” about. There is definitely an aspect of if you are going to have a commercial facility you want to have the real thing…but not at the prices stuff goes for now!
I also know that in some situations people have to spend money on gear if their business received a forgivable loan. Definitely have a few musicians friends who bought expensive pieces for that reason.
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Post by bgrotto on Aug 24, 2021 9:36:51 GMT -6
Definitely feel like I missed my chance at a pair of LA3A’s at a somewhat reasonable price. That’s really the only thing I’m like “damn, shoulda coulda woulda” about. There is definitely an aspect of if you are going to have a commercial facility you want to have the real thing…but not at the prices stuff goes for now! I also know that in some situations people have to spend money on gear if their business received a forgivable loan. Definitely have a few musicians friends who bought expensive pieces for that reason. I thought that for a time, but now having run my own spot for about fifteen years, and having enjoyed a pretty ridiculous gear selection with lots of 'name brands', I don't think it's the case. Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. Honestly, the more esoteric / boutique stuff usually gets more attention from the most jaded guys / gals that come through. Occasionally a band will have a recording enthusiast that recognizes a faceplate from one of their favorite plugins, and they'll get a kick outta that, but ultimately, it's the results that count.
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Post by Quint on Aug 24, 2021 10:12:46 GMT -6
Definitely feel like I missed my chance at a pair of LA3A’s at a somewhat reasonable price. That’s really the only thing I’m like “damn, shoulda coulda woulda” about. There is definitely an aspect of if you are going to have a commercial facility you want to have the real thing…but not at the prices stuff goes for now! I also know that in some situations people have to spend money on gear if their business received a forgivable loan. Definitely have a few musicians friends who bought expensive pieces for that reason. I thought that for a time, but now having run my own spot for about fifteen years, and having enjoyed a pretty ridiculous gear selection with lots of 'name brands', I don't think it's the case. Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. Honestly, the more esoteric / boutique stuff usually gets more attention from the most jaded guys / gals that come through. Occasionally a band will have a recording enthusiast that recognizes a faceplate from one of their favorite plugins, and they'll get a kick outta that, but ultimately, it's the results that count. Yeah. I was kind of thinking the same thing. I think there are comments in this thread that are a testament to that. The increase in prices of vintage gear, coupled with the ever increasing age and cost of upkeep of said vintage gear, coupled with the current day economics of keeping a studio financially viable, coupled with the current plethora of high quality clones, has created a situation where having all of the "name" stuff doesn't matter as much anymore. The new "name" stuff like CAPI, Audioscape, etc. isn't really a secret anymore and is generally a known quantity amongst those in the studio world. I wouldn't expect most freelancers or even big time engineers/producers these days to walk into a studio and be like, "What the fuck is a VP28? I'm not using that.".
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Post by enlav on Aug 24, 2021 10:12:56 GMT -6
Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. ^ There's that one time you (I) book a studio because they have a few vintage Neumanns, and some Tube Tech outboard gear, 2 or 3 distressors, and arrive to find half the Trident 24 is noisy or dead, the bleed between live room and CR hardly changes when you close the door (singular door), and one of the 96|IO's won't turn on.
Oh, and one of the booths is actually a closet. Not figuratively. Literally a closet. Get ready to run that cable underneath the door gap.
That said, I think we appreciate quality hardware, it's just that depending on the state of studios in your area, a room and rock solid functional equipment can be the biggest selling points. For more hectic sessions, we may not always have the time to utilize half of the fancy/high end toys (edit for clarification).
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Post by bgrotto on Aug 24, 2021 10:17:23 GMT -6
Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. ^ There's that one time you (I) book a studio because they have a few vintage Neumanns, and some Tube Tech outboard gear, 2 or 3 distressors, and arrive to find half the Trident 24 is noisy or dead, the bleed between live room and CR hardly changes when you close the door (singular door), and one of the 96|IO's won't turn on.
Oh, and one of the booths is actually a closet. Not figuratively. Literally a closet. Get ready to run that cable underneath the door gap.
That said, I think we appreciate quality hardware, it's just that depending on the state of studios in your area, a room and rock solid functional equipment can be the biggest selling points. For more hectic sessions, we may not always have the time to utilize half of the fancy/high end toys (edit for clarification).
LOL too true. My most exciting gear purchase of the last like ten years was when we bought all-new, all-matching mic stands (plus three of the absolutely amazing latch lake big-boy stands) to replace the junk we'd been using for the past decade 🤣 That was an absolute dream. Second most exciting gear purchase was like two weeks later, when we bought a shitload of quick clips for everything. THAT'S the shit the real engineers get excited about 🤣🤓🤣🤓🤣🤓
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Post by enlav on Aug 24, 2021 10:23:13 GMT -6
LOL too true. My most exciting gear purchase of the last like ten years was when we bought all-new, all-matching mic stands (plus three of the absolutely amazing latch lake big-boy stands) to replace the junk we'd been using for the past decade 🤣 That was an absolute dream. Second most exciting gear purchase was like two weeks later, when we bought a shitload of quick clips for everything. THAT'S the shit the real engineers get excited about 🤣🤓🤣🤓🤣🤓 I'm having flashbacks to a 47 clone on what was either an On-Stage or similar brand tripod...
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Post by bgrotto on Aug 24, 2021 10:29:18 GMT -6
LOL too true. My most exciting gear purchase of the last like ten years was when we bought all-new, all-matching mic stands (plus three of the absolutely amazing latch lake big-boy stands) to replace the junk we'd been using for the past decade 🤣 That was an absolute dream. Second most exciting gear purchase was like two weeks later, when we bought a shitload of quick clips for everything. THAT'S the shit the real engineers get excited about 🤣🤓🤣🤓🤣🤓 I'm having flashbacks to a 47 clone on what was either an On-Stage or similar brand tripod... Man...I had a proper vintage 47 randomly come unthreaded from one of our atlas stands (fucking atlas stands 🤬) a buncha years back. This thing was a sweeeet Klaus-modded long black bodied beaut, generously on loan from a famed old producer who mentored me in my younger days. Best 47 i've heard in my whole career, by miles. Anywho, thank GODDESS i was standing nearby. Through some divine intervention my arm instinctually shot out and caught the thing before it smashed on the hardwood. FOCK. The look on my assistant's face (and honestly, probably mine too) as i caught the thing was hilarious / priceless 😳
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Post by Quint on Aug 24, 2021 10:37:22 GMT -6
^ There's that one time you (I) book a studio because they have a few vintage Neumanns, and some Tube Tech outboard gear, 2 or 3 distressors, and arrive to find half the Trident 24 is noisy or dead, the bleed between live room and CR hardly changes when you close the door (singular door), and one of the 96|IO's won't turn on.
Oh, and one of the booths is actually a closet. Not figuratively. Literally a closet. Get ready to run that cable underneath the door gap.
That said, I think we appreciate quality hardware, it's just that depending on the state of studios in your area, a room and rock solid functional equipment can be the biggest selling points. For more hectic sessions, we may not always have the time to utilize half of the fancy/high end toys (edit for clarification).
LOL too true. My most exciting gear purchase of the last like ten years was when we bought all-new, all-matching mic stands (plus three of the absolutely amazing latch lake big-boy stands) to replace the junk we'd been using for the past decade 🤣 That was an absolute dream. Second most exciting gear purchase was like two weeks later, when we bought a shitload of quick clips for everything. THAT'S the shit the real engineers get excited about 🤣🤓🤣🤓🤣🤓 Getting some Triad Orbit stuff was a game changer for me. That, and finally having enough multiples of certain pieces of gear so that stuff can just stay wired up more or less on a permanent basis instead of constantly having to disconnect/reconnect things to record different instruments. It's a joy, for example, to have multiple clone (new) 1176s that just stay parked on various instrument stations. If I'd blown my wad on just one vintage blue stripe, it would always be like, "oh, hold on, let me unpatch it from the bass chain so we can track vocals, and then let me re-gainstage, and, oh, this 50 year old blue stripe is on the fritz today, but at least I get to list it on the website even though it doesn't work half the time, and, oh, now we need to patch it back in for bass again, and....". The proliferation of high quality clones at affordable prices has allowed things that a lot of people, myself included, would have never been able afford otherwise. I'd rather have four new functioning clones than just one vintage unit that you're never sure will be working that particular day.
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Post by EmRR on Aug 24, 2021 10:59:55 GMT -6
I'm having flashbacks to a 47 clone on what was either an On-Stage or similar brand tripod... Man...I had a proper vintage 47 randomly come unthreaded from one of our atlas stands (fucking atlas stands 🤬) a buncha years back. This thing was a sweeeet Klaus-modded long black bodied beaut, generously on loan from a famed old producer who mentored me in my younger days. Best 47 i've heard in my whole career, by miles. Anywho, thank GODDESS i was standing nearby. Through some divine intervention my arm instinctually shot out and caught the thing before it smashed on the hardwood. FOCK. The look on my assistant's face (and honestly, probably mine too) as i caught the thing was hilarious / priceless 😳 I had a repro mount for an RCA KU-3A drop the mic while I was standing there to catch it. The owner watched me set it up, and AFTER it fell said "yeah it doesn't like to be set up that way". WTF. It immediately went in a Rycote.
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Post by bgrotto on Aug 24, 2021 11:17:42 GMT -6
Man...I had a proper vintage 47 randomly come unthreaded from one of our atlas stands (fucking atlas stands 🤬) a buncha years back. This thing was a sweeeet Klaus-modded long black bodied beaut, generously on loan from a famed old producer who mentored me in my younger days. Best 47 i've heard in my whole career, by miles. Anywho, thank GODDESS i was standing nearby. Through some divine intervention my arm instinctually shot out and caught the thing before it smashed on the hardwood. FOCK. The look on my assistant's face (and honestly, probably mine too) as i caught the thing was hilarious / priceless 😳 I had a repro mount for an RCA KU-3A drop the mic while I was standing there to catch it. The owner watched me set it up, and AFTER it fell said "yeah it doesn't like to be set up that way". WTF. It immediately went in a Rycote. 🤣🤦🏻♂️
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Post by Deleted on Aug 24, 2021 11:40:28 GMT -6
still waiting on a good 1178 clone, though Drawmer 1978 is dope
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Post by bgrotto on Aug 24, 2021 11:46:33 GMT -6
still waiting on a good 1178 clone, though Drawmer 1978 is dope Oh cool, didn't realized they shared any sort of lineage. I don't know much Drawmer gear besides the old gates. T hanks!
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Post by Deleted on Aug 24, 2021 12:09:37 GMT -6
Oh cool, didn't realized they shared any sort of lineage. I don't know much Drawmer gear besides the old gates. T hanks! They took a bunch of ideas from the 1178, 2500, compex, 1968, etc and made a modern stereo compressor
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Post by bgrotto on Aug 24, 2021 12:10:32 GMT -6
Oh cool, didn't realized they shared any sort of lineage. I don't know much Drawmer gear besides the old gates. T hanks! They took a bunch of ideas from the 1178, 2500, compex, 1968, etc and made a modern stereo compressor Rad. Price looks good too. May hafta check one out. Thanks for the hot tip!
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Post by notneeson on Aug 24, 2021 12:56:10 GMT -6
Definitely feel like I missed my chance at a pair of LA3A’s at a somewhat reasonable price. That’s really the only thing I’m like “damn, shoulda coulda woulda” about. There is definitely an aspect of if you are going to have a commercial facility you want to have the real thing…but not at the prices stuff goes for now! I also know that in some situations people have to spend money on gear if their business received a forgivable loan. Definitely have a few musicians friends who bought expensive pieces for that reason. I thought that for a time, but now having run my own spot for about fifteen years, and having enjoyed a pretty ridiculous gear selection with lots of 'name brands', I don't think it's the case. Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. Honestly, the more esoteric / boutique stuff usually gets more attention from the most jaded guys / gals that come through. Occasionally a band will have a recording enthusiast that recognizes a faceplate from one of their favorite plugins, and they'll get a kick outta that, but ultimately, it's the results that count. Working on booking a mix room for October and places with modern boutique stuff in perfect working order are topping the list over vintage esoterica.
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Post by sean on Aug 24, 2021 13:17:46 GMT -6
I thought that for a time, but now having run my own spot for about fifteen years, and having enjoyed a pretty ridiculous gear selection with lots of 'name brands', I don't think it's the case. Freelancers coming through care a little, but frankly, the more experienced they are, the less they seem to give a damn. Honestly, the more esoteric / boutique stuff usually gets more attention from the most jaded guys / gals that come through. Occasionally a band will have a recording enthusiast that recognizes a faceplate from one of their favorite plugins, and they'll get a kick outta that, but ultimately, it's the results that count. Working on booking a mix room for October and places with modern boutique stuff in perfect working order are topping the list over vintage esoterica. That I understand. I mean, I just did a record in Ocean Way here in Nashville and was told not to use the console... I meant that if I were trying to run a business and attract outside engineers I could see how having a rack of Neve's and some old Urei stuff is appealing. For me, running a pretty much private (only two engineers) recording studio that's not much of a concern. But I'd still like a pair of LA-3A's for myself. And, resale value is important. Having things that maintain or gain value is an important factor for me when buying microphones or outboard. And there are still some vintage values to be had out there if you are patient.
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