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Post by Deleted on Mar 15, 2022 12:37:13 GMT -6
And the warm dude is using what he sells and believes in. You have to give him that. He is not using Presonus and there's not a Behringer HA8000, ADA8200, or X32 in sight !
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Post by kcatthedog on Mar 15, 2022 16:40:24 GMT -6
Plus Aurora N, ssl, bricasti and Atc monitors: not a bad signal chain !
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Post by notneeson on Mar 15, 2022 18:07:39 GMT -6
Just track through the AWS. I’ve never had a problem doing as such. If you can’t make a record on an AWS I don’t know what to tell ya... Alternatively.... Just track through the Warm 412s, I've never had a problem doing as such. If you can't make a record on their 412s I don't know what to tell ya.
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Post by jeremygillespie on Mar 15, 2022 18:55:31 GMT -6
Just track through the AWS. I’ve never had a problem doing as such. If you can’t make a record on an AWS I don’t know what to tell ya... Alternatively.... Just track through the Warm 412s, I've never had a problem doing as such. If you can't make a record on their 412s I don't know what to tell ya. Never had an opportunity to use any Warm stuff, but I’m sure it’s not gonna screw up anybody’s record!
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Post by chessparov on Mar 15, 2022 19:36:47 GMT -6
When are we getting the "Popcorn" emoji? Chris
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Post by chessparov on Mar 15, 2022 19:38:48 GMT -6
"Taste" is mostly in the nose, as a matter of fact. Well, that stinks. (queue Chrisparov) You can always expect my two scents. Chris
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Post by kcatthedog on Mar 15, 2022 21:50:03 GMT -6
The Altran trannies in the wa412 , give it a really good sound.
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Post by Deleted on Mar 15, 2022 21:54:17 GMT -6
I may be in the minority here, but I’ve never had an issue with the way Warm gear sounds. I think high end gear is generally better..Sometimes, every manufacturer IME makes pieces that are either hit or miss. The problem with Warm or any clone manufacturer is their equipment will always be compared to the original. The WA-2A IMO doesn't sound like a Tele, the thing is just too clean and doesn't round off the top like a Tele or even my Stam does. That has no bearing on the quality of said compressor though, it's just a matter of naming convention. If they'd have called it the Warm Opto or something I bet most wouldn't have batted an eyelid. My Chandler Opto doesn't sound like a Tele either but it's not of lesser quality because of that, I'm sure some / many prefer it that way.. I recently picked up the Warm WA-8000 and I think it's a great mic irrelevant of any minute differences compared to the original. It's funny, outside of pro audio forums this mic on sites like Sweetwater has nearly perfect reviews and I do think there's a bit of snobbery that surrounds the likes of GAP and Warm. Personally I generally prefer Stam stuff but the added flexibility of getting whatever you need off the shelf is nothing to be understated or sniffed at. On a side note due to the WA-8000 I have started looking into a few of their other mic's, the 184 clones are pretty cool sounding and I'm not a 47 fan in general for my voice but there's another one that sounds good. I know Johnkenn has been taken by surprise on a few occasions..
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Post by Deleted on Mar 15, 2022 22:01:53 GMT -6
SNIP If you can’t make a record on an AWS I don’t know what to tell ya... You're either A. A total elitist who demands nothing short of perfection with his designer jelly beans or B. Clueless and reads about how other people make records without ever doing it I generally go for A.. Even though I try not to. That reminds me, I need some more jelly beans.
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Post by notneeson on Mar 16, 2022 11:48:33 GMT -6
I may be in the minority here, but I’ve never had an issue with the way Warm gear sounds. I think high end gear is generally better..Sometimes, every manufacturer IME makes pieces that are either hit or miss. The problem with Warm or any clone manufacturer is their equipment will always be compared to the original. The WA-2A IMO doesn't sound like a Tele, the thing is just too clean and doesn't round off the top like a Tele or even my Stam does. That has no bearing on the quality of said compressor though, it's just a matter of naming convention. If they'd have called it the Warm Opto or something I bet most wouldn't have batted an eyelid. My Chandler Opto doesn't sound like a Tele either but it's not of lesser quality because of that, I'm sure some / many prefer it that way.. I recently picked up the Warm WA-8000 and I think it's a great mic irrelevant of any minute differences compared to the original. It's funny, outside of pro audio forums this mic on sites like Sweetwater has nearly perfect reviews and I do think there's a bit of snobbery that surrounds the likes of GAP and Warm. Personally I generally prefer Stam stuff but the added flexibility of getting whatever you need off the shelf is nothing to be understated or sniffed at. On a side note due to the WA-8000 I have started looking into a few of their other mic's, the 184 clones are pretty cool sounding and I'm not a 47 fan in general for my voice but there's another one that sounds good. I know Johnkenn has been taken by surprise on a few occasions.. This is not directed at you Shadow, but allow me to rant: the correct assumption is indeed that none of the clones sound like the originals. Not a one. Not Chandler, not BAE, not CAPI. None. Does not mean that they suck, those companies make rad gear. The problem is that the internet is full of people reading this stuff, recording with the Warm and then sounding as crappy as they did last week in their mom's basement, and then posting a rant on GS about how crappy Warm gear sounds. The tools sound fine. If you're not working on the art of getting great sounds, expecting the gear to do it for you, then you're doing it wrong.
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Post by kcatthedog on Mar 16, 2022 12:03:19 GMT -6
^^This^^
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Post by chessparov on Mar 16, 2022 12:56:46 GMT -6
Just don't be gettin' a hankerin' on my Nanocompressor now. Chris
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Post by jacobamerritt on Mar 16, 2022 15:06:15 GMT -6
Regardless of how the gear sounds (fine to excellent), doesn't change my opinion of how tacky and commercial that studio looks/feels.
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Post by Deleted on Mar 16, 2022 22:00:54 GMT -6
The problem is that the internet is full of people reading this stuff, recording with the Warm and then sounding as crappy as they did last week in their mom's basement, and then posting a rant on GS about how crappy Warm gear sounds. The tools sound fine. If you're not working on the art of getting great sounds, expecting the gear to do it for you, then you're doing it wrong. Well, it seems long winded explanations don't work hence some regurgitation here without any real context. Anyway the short version.. Not every piece is great (or even mediocre), some of the clones do sound like the originals and some don't. Stuff can be warped beyond recognition and it's really simple to do but that doesn't work on everything (like a $20.00 boss fx unit for example). Mixing / recording equipment can morph and change audio to benefit if the correct frequencies exist in the first place. Otherwise why are you bothering to mix at all? If all you need is "great sounds" then mixing as a job is completely irrelevant (anyone can pan and level). In reality it's nowhere near as binary as you're making out to be.. Every piece of the puzzle matters, the general question and never ending debates stem from how much?! P.S I've come across multitudes of amazing productions by big name engineers where individual parts sound like trash solo'd to make it fit in the mix, not every instrument can sound like rolling thunder (as there is finite amounts of space). Are they all doing it wrong?
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Post by donr on Mar 16, 2022 23:24:22 GMT -6
I'm surprised folk are ragging on WARM's studio space because it isn't 'vibey.' The physical construction looks thoughtful and enviable. If you wanted lava lamps, tie dye and Christmas lights, you could bring that. That said, how many hit records have been made in really good technically designed studios? I've read some MIX (and other) stories over the years of really acoustically ambitious studio builds. Recording artists with an album budget I think are mainly attracted to the talent on the other side of the glass. Wherever they work.
If anything amazing comes out of Bryce's studio, it'll be because of who's playing and who's recording. Ain't that the way? One thing WARM might shine at is really quiet acoustical stuff with super quality outboard electronics because they've got such great isolation.
Edited to say also, how good the main room flatters the music made in it.
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Post by kcatthedog on Mar 17, 2022 4:31:39 GMT -6
Good point, I record in a small basement room with lots of problems. I see all that space and I think: nice, minimal room problems, so you can focus on performance and capture.
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Post by jacobamerritt on Mar 17, 2022 12:24:31 GMT -6
I'm surprised folk are ragging on WARM's studio space because it isn't 'vibey.' The physical construction looks thoughtful and enviable. If you wanted lava lamps, tie dye and Christmas lights, you could bring that. That said, how many hit records have been made in really good technically designed studios? I've read some MIX (and other) stories over the years of really acoustically ambitious studio builds. Recording artists with an album budget I think are mainly attracted to the talent on the other side of the glass. Wherever they work. If anything amazing comes out of Bryce's studio, it'll be because of who's playing and who's recording. Ain't that the way? One thing WARM might shine at is really quiet acoustical stuff with super quality outboard electronics because they've got such great isolation. Edited to say also, how good the main room flatters the music made in it. I think because you can do thoughtful and enviable acoustic design focused builds and still have a good 'vibe' and aesthetic. Its like... A house might be built really well and have a great foundation, high end appliances, HVAC, windows, top of the line finishes... but still be ugly and have no taste.
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Post by Deleted on Mar 17, 2022 12:55:27 GMT -6
Good point, I record in a small basement room with lots of problems. I see all that space and I think: nice, minimal room problems, so you can focus on performance and capture. It's nice to have a lot of room but my original "control centre" design was for a 26 X 17 X 10 room. The cost of treatment was ridiculous for a start and I had far more problems with that than my mid sized room (14.5 X 12 X 10). On the other hand my old house setup was 10 X 9 X 8 and yeahh.. It sounded horrible and I'd often trip over mic stands etc. I'll be moving house again in a couple of years and I'm going to sort out a custom built outhouse.. This time I'll have dedicated tracking rooms and as for the control centre it'll probably be a happy medium between the rooms I have now. Maybe 18 X 15 X 12?! Something like that in a soffit mount wall type dealio..
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Post by Guitar on Mar 17, 2022 13:00:59 GMT -6
There is no "ugly" or "bad taste." There is only someone else's taste.
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Post by seawell on Mar 17, 2022 13:22:33 GMT -6
I'm just glad to see someone building a new studio instead of hearing about another one shutting down. It looks like a cool space to me and I'd be happy to work out of there any time.
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Post by enlav on Mar 17, 2022 13:45:53 GMT -6
I'm just glad to see someone building a new studio instead of hearing about another one shutting down. And suddenly, I'm sad again. (But very true statement)
If I win lottery-levels of money, I'm going to seek out some old blueprints/floorplans and remake our city's Putnam room.
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Post by teejay on Mar 17, 2022 14:08:22 GMT -6
To me this shows Bryce gauged the market and his business plan well, creating a product line at a price-point where people see enough value to continue investing in Warm...which is likely the primary source of funding for this build. It's not a surprise that we all have personal preferences on what we would like to see in a studio, whether it be gear or vibe. However with all due respect, it's his money, he believes in his own product, and this is the result he wanted. How many of us have built and own a facility like this? Thought so.
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Post by Quint on Mar 17, 2022 14:14:55 GMT -6
I agree with some of the comments about it being a little too snazzy looking and a little too sterile to be a place where some people might want to record or mix. But that's just me. I'm sure there are others that like that sort of environment.
In any case, I think looking at it through that sort of lense is maybe the wrong way to view Warm's studio.
I don't think this place is so much intended to be a studio as it is intended to be an advertisement for Warm gear. There will be regular, slickly produced YT videos soon enough, in which Warm gear is heavily featured. THAT will sell product.
I mean, if pictures on Sweetwater's site had gear photographed on a coffee stained table with gum stuck it, you might be questioning buying gear from there. But SW doesn't do that for a reason.
Similarly, I'm sure Warm also recognizes this and has built a "pristine" place to showcase their gear in a nice looking environment. That matters for promotional videos.
Functioning as a legit recording studio for outside engineers/musicians is probably a distant second. It will, however, also allow Warm to record audio examples of their gear in a nice acoustic setting. That also matters.
All that being said, I don't have a problem with Warm Audio and own a couple of their mics. Bryce certainly identified a market and found success in doing so. Also, I bet that live room still does sound pretty nice though, regardless of how people think of the way it looks.
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Post by donr on Mar 17, 2022 15:01:46 GMT -6
The luxury of isolated concrete slabs is only possible with excavation up construction. If I were Warm, or Chuck Surack from Sweetwater, I might try to lure a bankable artist/producer into using the studio to give the room some ‘name’ gravitas. But Bryce and certainly Chuck Surack don’t need to take advice from me.
When I was starting out in NYC, I worked at CBS’ 52st and 30th St studios, A&R Studios, Bell Sound, among many others. I list these because none had any vibe to speak of, it was all bright uniform light and very much a business environment, and recording was done rapidly with no fooling around. The first NY studios with any atmosphere I saw were the early Westlake rooms, the NY Record Plant, and Lucas/McFaul Warehouse.
When I moved to Florida in 2003, I had a consultation with Russ Berger about building a studio on my property. Turns out I'd seriously underestimated the cost of doing that, and wound up in my (ground floor) basement.
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Post by ericn on Mar 18, 2022 17:34:53 GMT -6
Regardless of how the gear sounds (fine to excellent), doesn't change my opinion of how tacky and commercial that studio looks/feels. You know my first thought was Warm this place is not!
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