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Post by Randge on Jan 4, 2015 16:16:43 GMT -6
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Post by Randge on Jan 4, 2015 16:25:29 GMT -6
www.coutant.org/m88rp/Mine are the lighter grey color in the first pic. I wonder why they switched colors later on. R
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ericn
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Post by ericn on Jan 4, 2015 18:09:35 GMT -6
www.coutant.org/m88rp/Mine are the lighter grey color in the first pic. I wonder why they switched colors later on. R Randy I think when they reintroduced the printed ribbon to the US around 99 they were going for a broadcast/ Video focus where they love Black! Funny though The Japan spec. Set they lent me at the time was the lighter color.
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Post by Randge on Jan 4, 2015 18:13:38 GMT -6
Gotcha. That makes sense. No glare.
R
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Post by drbill on Jan 5, 2015 0:32:07 GMT -6
similar is what I meant to say...I was thinking it was the mono version of the R88 From my understanding, the R88 is a stereo R84.
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Post by Ward on Jan 5, 2015 10:41:59 GMT -6
I really like the Fostex M-88 printed ribbon mic also. I have three to multi-mic with. They are versatile mics and really work on a lot of things. I tend to use them when I want a ribbon sound but find my other first choice ribbons to be too dark for the intended purpose. R Glad I'm not the only one who loves his Fostex M88!! I just did a session with only 3 ribbon mics on drums. A ROyer 121 on Snare, null points facing the hats and kick, a Mono RCA44 as overhead and the Fostex M88 on Kick. I'll share a sample of it soon!
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Post by nobtwiddler on Jan 6, 2015 20:00:48 GMT -6
Have you guys seen this?
Great Sounding mic's although not cheap!
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ericn
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Post by ericn on Jan 6, 2015 21:32:39 GMT -6
Have you guys seen this? Great Sounding mic's although not cheap! Great guy great mics but my ribbon reference standards are Coles and Stephen Sank Modded M260s!
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Post by Randge on Jan 6, 2015 22:18:25 GMT -6
Nice recording, but that cheap dime-store mandolin they used absolutely folds my ears over. I guess I am way too used to hearing quality instruments these days.
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Post by nobtwiddler on Jan 7, 2015 9:58:24 GMT -6
Randy... Yes if it was a Mandolin I'd have to agree... But it's actually a Laud!
Haha
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Post by Randge on Jan 7, 2015 11:30:41 GMT -6
Still sounds cheap and not a great instrument. Choice of pick could play a part in that, too.
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Post by Randge on Jan 7, 2015 11:38:00 GMT -6
When i say mandolin, I mean the family also. mandolas, Mandole, Mandocellos and the like. A nice instrument translates much differently. Even through a less than studio setting, you can hear that here. They ring clear and huge. The Cloud just captured a lesser sounding instrument very well.
R
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Post by Johnkenn on Jan 7, 2015 12:48:41 GMT -6
It didn't bother me...but I rarely use Mando in anything. Acoustic based instruments are your world, Randy, so I'm sure you're more attuned to it. Paul is my Helios Hero so don't scare him away! LOL.
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Post by tonycamphd on Jan 7, 2015 12:56:38 GMT -6
how much $ is that mandy? send me your guitars Randy! i promise i'll use them 8)
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Post by jcoutu1 on Jan 7, 2015 12:57:36 GMT -6
It didn't bother me...but I rarely use Mando in anything. Acoustic based instruments are your world, Randy, so I'm sure you're more attuned to it. Paul is my Helios Hero so don't scare him away! LOL. He's my shadow hills hero.
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Post by Johnkenn on Jan 7, 2015 12:57:59 GMT -6
Speaking of which...vintage Mando prices are freaking insane...but I digress.
Back on topic.
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Post by Randge on Jan 7, 2015 13:14:10 GMT -6
Yes, the prices are insane. But, there are builders like Sim Daley and Rick Hayes making incredible sounding instruments, by hand, and charging less than 1/3 the price of some of the spendiest mandolins. BTW, I for damn sure don't want to scare anybody away from here! I might have something to learn from them!
R
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Post by Randge on Jan 7, 2015 13:22:38 GMT -6
how much $ is that mandy? send me your guitars Randy! i promise i'll use them 8) Then what would I use, Tony? R
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Post by Johnkenn on Jan 7, 2015 13:35:53 GMT -6
Have you seen sll's Mando's? That look awesome.
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Post by tonycamphd on Jan 7, 2015 13:54:59 GMT -6
how much $ is that mandy? send me your guitars Randy! i promise i'll use them 8) Then what would I use, Tony? R no worries R, anytime you want to borrow one, just gimme a little notice! you can pay me by tracking on some of my material with your old guitars! Damn, I'm such a generous and cool guy lol
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Post by Randge on Feb 11, 2015 18:38:30 GMT -6
I would be more than happy to, Tony!
R
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Post by Martin John Butler on Feb 11, 2015 19:03:30 GMT -6
Randge, those tracks sounded great. I felt the big band vibe on one of them. It was only the lead vocal mic sound I didn't care for as much as a vintage condenser, but the tracks were golden to my ears.
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t3
Junior Member
I'm in the hi-fidelity first class travelling set.
Posts: 54
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Post by t3 on Feb 12, 2015 11:09:26 GMT -6
I have over 20 ribbons here and what is amazing is doing an all ribbon session. I tend to use mic pres that aren't tubed and go for the rest of the chain being pretty squeaky clean if I do that. Proper high pass filtering, a lot higher than one might think, can make ribbons sound like you are in the room with the instruments. I think people get scared when they see themselves high-passing considerably higher than they do with their condensers and dynamics,and abandon them before really seeing how great they can be. Impedance again plays a huge roll in my vintage stuff. I have full on 1930's-40's RCA signal chains to go with my RCA and Altec ribbons of that era. Matching up that era gear just kills me every time I do it. There is little to do after high passing properly and gentle high end shelving if you desire that. I am pretty lucky, as I have some pretty adventurous clients that like to get in the time machine and go back to the 50's and 60's sometimes. I will use Monty Good as a "good" example of one. He asked that we make his record with an early 60's sound and feel. Not having a tape machine till now, I had to really rely on my vintage gear to get us there. The band was a blast to record and are all huge fans of that era of music, so it was such an easy couple of days to track, with everyone live on the floor, no click track. Our click was none other then Willie Cantu, Buck Owens' drummer for many many years. If anyone is interested, here is Monte's Reverb Nation page that has a few of the songs that we recorded and mixed. Mastering was done by Randy Leroy at Airshow Mastering in Takoma Park, Md. Forgive the mp-3 degradation that about kills me to hear. www.reverbnation.com/montegoodandthehonkytonkheroesbandR Randge, do the song samples at CD Baby: Monte Good - A Texas Honky Tonk sound closer to the CD? They don't seem to have as much degradation mucking them up.
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t3
Junior Member
I'm in the hi-fidelity first class travelling set.
Posts: 54
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Post by t3 on Feb 12, 2015 11:17:53 GMT -6
I call it the "ear-wallet syndrome". I know it has an actual technical term but I can't remember it. It happens with audiophiles all the time. They spend stupid amounts of money on things and they "hear" the performance increase of a product that has no tangible and/or measurable difference to something else. You're certainly free to believe in whatever preconceptions you like, but I guarantee you that the audiophile power cords, power outlet, and power conditioner running my computer had a whole lot to do with me being able to identify your converter the other day, while I was listening over my 3" computer speakers.
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Post by Randge on Feb 12, 2015 11:26:48 GMT -6
I have over 20 ribbons here and what is amazing is doing an all ribbon session. I tend to use mic pres that aren't tubed and go for the rest of the chain being pretty squeaky clean if I do that. Proper high pass filtering, a lot higher than one might think, can make ribbons sound like you are in the room with the instruments. I think people get scared when they see themselves high-passing considerably higher than they do with their condensers and dynamics,and abandon them before really seeing how great they can be. Impedance again plays a huge roll in my vintage stuff. I have full on 1930's-40's RCA signal chains to go with my RCA and Altec ribbons of that era. Matching up that era gear just kills me every time I do it. There is little to do after high passing properly and gentle high end shelving if you desire that. I am pretty lucky, as I have some pretty adventurous clients that like to get in the time machine and go back to the 50's and 60's sometimes. I will use Monty Good as a "good" example of one. He asked that we make his record with an early 60's sound and feel. Not having a tape machine till now, I had to really rely on my vintage gear to get us there. The band was a blast to record and are all huge fans of that era of music, so it was such an easy couple of days to track, with everyone live on the floor, no click track. Our click was none other then Willie Cantu, Buck Owens' drummer for many many years. If anyone is interested, here is Monte's Reverb Nation page that has a few of the songs that we recorded and mixed. Mastering was done by Randy Leroy at Airshow Mastering in Takoma Park, Md. Forgive the mp-3 degradation that about kills me to hear. www.reverbnation.com/montegoodandthehonkytonkheroesbandR Randge, do the song samples at CD Baby: Monte Good - A Texas Honky Tonk sound closer to the CD? They don't seem to have as much degradation mucking them up. Probably so, t3. The other songs are on their also. Neither have the clarity and depth of the record. I guess that's how it goes. Monty really loves big verb sounds from the 1960's and those are the first to be a degradation casualty.
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