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Post by Johnkenn on Mar 30, 2016 14:41:04 GMT -6
Not sure that it "handles low mids better"...I just think that it is voiced in a way that accentuates your vocals.
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Post by spock on Mar 30, 2016 16:54:20 GMT -6
FWIW and I'm biased... Tony Maserati had my matched RS124 pair and would not let them go until he got his personal matched units. He's been printing tons of passes of different source and genres (Pop, HipHop etc...) through them, including some pretty major POP/R&B vocals. He loves using RS124 with Superfuse engaged. For those that don't know, Superfuse is the icing on the cake of this compressor, making it far more aggressive and really speeding things up too; very versatile. However, to me, the beauty in the RS124 is it's ability to handle heavy levels of compression easily without really hearing the act of compression happening while not muffling or loosing the attack of a note. I.e. the Hi-Fi retention while simultaneously imparting a lovely gooey quality is really wonderful. That said, you can still make it obvious if you want.
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Post by cowboycoalminer on Mar 30, 2016 19:26:20 GMT -6
See I don't find this comp gooey at all. Sounds clear and hi fi to me. When I got it, I pranked around with it until I found it's sweetspot. For my stuff it's about 11 o'clock on the input, about 2 o'clock on the output, 8 attack and 3 on the recovery. Always superfuse in. Then I amplify up to it till I'm pulling about -10 on peaks. Money every time.
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Post by spock on Mar 30, 2016 19:57:29 GMT -6
See I don't find this comp gooey at all. Sounds clear and hi fi to me. When I got it, I pranked around with it until I found it's sweetspot. For my stuff it's about 11 o'clock on the input, about 2 o'clock on the output, 8 attack and 3 on the recovery. Always superfuse in. Then I amplify up to it till I'm pulling about -10 on peaks. Money every time. Out of curiosity are you running it in 200 or 600 ohms? I like to crank the input up to around 8-9 (3-4 o'clock), to me that's where I get the best of both worlds, what I hear as hi-fi with goo. depending on source attack moves around, but also favor 3 for recovery, on drums 2 or 1.
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Post by cowboycoalminer on Mar 30, 2016 21:03:07 GMT -6
See I don't find this comp gooey at all. Sounds clear and hi fi to me. When I got it, I pranked around with it until I found it's sweetspot. For my stuff it's about 11 o'clock on the input, about 2 o'clock on the output, 8 attack and 3 on the recovery. Always superfuse in. Then I amplify up to it till I'm pulling about -10 on peaks. Money every time. Out of curiosity are you running it in 200 or 600 ohms? I like to crank the input up to around 8-9 (3-4 o'clock), to me that's where I get the best of both worlds, what I hear as hi-fi with goo. depending on source attack moves around, but also favor 3 for recovery, on drums 2 or 1. 200. I tried it both ways starting out and found that setting suited me best. 600 sounded a little bit more even and natural but I like as much low end cut as I can get without having to use eq. That's a characteristic I look for in mics as well.
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Post by thehightenor on Mar 31, 2016 13:00:57 GMT -6
Does the RS124 help with sibilants?
One unseen positive I've discovered since I got the Retro STA level is the way it has smoothed out and virtually removed my sometimes unpleasant ess's. I'm finding after I've cut a vocal through the STA Level I almost have no de-easing to do, which is fantastic as I have a high tenor voice that can be quite bright and sibilant. The high end detail is there, it's just so smooth that 85% of sibilants don't feel like they need de-essing (where as tracking before with my Millennia STT-1 I felt that the vocal could get pretty sibilant in the usual 8K (ish) zone even when using my Wunder CM7)
Is this a feature of Vari Mu compressors in general? (like the RS124, Stal Level and Fairchild etc)
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Mar 31, 2016 16:10:51 GMT -6
Does the RS124 help with sibilants?
One unseen positive I've discovered since I got the Retro STA level is the way it has smoothed out and virtually removed my sometimes unpleasant ess's. I'm finding after I've cut a vocal through the STA Level I almost have no de-easing to do, which is fantastic as I have a high tenor voice that can be quite bright and sibilant. The high end detail is there, it's just so smooth that 85% of sibilants don't feel like they need de-essing (where as tracking before with my Millennia STT-1 I felt that the vocal could get pretty sibilant in the usual 8K (ish) zone even when using my Wunder CM7)
Is this a feature of Vari Mu compressors in general? (like the RS124, Stal Level and Fairchild etc)
I think your getting lucky with the perfect fit of a dip in the STA-'s response and your voice. I have said it before but I tried to make the RS124 suck, and it fought me like Mike Tyson, it kicked my ass !
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Post by cowboycoalminer on Apr 1, 2016 5:57:27 GMT -6
I've done 4 mixes with it and haven't used a de esser on anything.
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Post by Martin John Butler on Apr 1, 2016 8:55:35 GMT -6
I've noticed on Lyle Lovette's tracks on his Road to Ensenada album, there's plenty of "esses", but they don't bug you, it's just sounds natural. Not having to use a De-esser is very cool cowboy.
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Post by cowboycoalminer on Apr 1, 2016 9:25:17 GMT -6
This comp would suit your voice to a T Martin. Ours is similar.
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Post by Randge on Apr 1, 2016 12:54:00 GMT -6
Looking forward to mine showing up soon!
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Post by Randge on Apr 5, 2016 11:31:27 GMT -6
Just got mine racked up and in service here. I'm running some harmony through it this morning and it's so sweet! Gotta put this one on the must buy list if you have been considering it!
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Post by roundbadge on Apr 13, 2016 21:54:34 GMT -6
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Post by Johnkenn on Apr 14, 2016 12:07:43 GMT -6
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Post by spock on Apr 14, 2016 12:16:34 GMT -6
We need to help him sell his original Trident A Range modules...
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Post by joseph on Apr 14, 2016 15:31:07 GMT -6
Stepped/ tube Matched pair Just don't let this guy near that rack Retro 176/2254/CL1B shoot out?
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Post by roundbadge on Apr 14, 2016 17:50:23 GMT -6
We need to help him sell his original Trident A Range modules... Totally.money just sitting here.
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Post by kilroyrock on Apr 18, 2016 7:07:09 GMT -6
"Ah Yes, Fun Spent! We're poor."
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Apr 18, 2016 7:53:46 GMT -6
We need to help him sell his original Trident A Range modules... Totally.money just sitting here. Tell you what my friend it kills me but, I'll build you 2 yes 2 16 space racks straight up for those Tridents !
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Post by unit7 on Dec 27, 2016 7:32:58 GMT -6
This is yet another piece I just haven't been able to mind block, and this thread surely didn't help Haven't used my UA LA3 RI's for a long time, so they have to go to make room. I get the feeling this will be used..
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Post by indiehouse on Dec 27, 2016 9:44:44 GMT -6
Love mine. Ran a mono drum room mic (Samar VL37) through the RS124 the other day. So good.
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Post by spock on Dec 27, 2016 21:09:09 GMT -6
Love mine. Ran a mono drum room mic (Samar VL37) through the RS124 the other day. So good. Superfuse....
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olionajudah
Full Member
just learning .. one mistake at a time
Posts: 48
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Post by olionajudah on Feb 18, 2017 14:36:54 GMT -6
Hello! I'm brand new here, so please let me know if I'm out of bounds, but I'd like to know how everyone is using their RS124's I've recently picked up a pair (sequential, presumably matched, not stepped). I'm still an extreme novice in terms of recording and mixing, and wanted a nice pair to play with *(who doesn't I've tried tracking vocals, bass and keys, and I've tried them on the master bus (linked and unlinked) and generally love the results, but I've got precious little to compare them too.. and have a lot more listening to do.. That said, I'm basically wondering how are you using yours? What settings do you find yourselves going back to when tracking, and on busses? Are you running them linked on stereo buss and master applications or not? Do you find yourself in 'superfuse' mode more often than not? In, Out, Attack, Release, ..Hold?? ..I'd honestly love to hear what you're dialing in! if I'm in the wrong place for these questions, feel free to let me know. thanks! oLOJ
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Feb 18, 2017 15:03:12 GMT -6
Hello! I'm brand new here, so please let me know if I'm out of bounds, but I'd like to know how everyone is using their RS124's I've recently picked up a pair (sequential, presumably matched, not stepped). I'm still an extreme novice in terms of recording and mixing, and wanted a nice pair to play with *(who doesn't I've tried tracking vocals, bass and keys, and I've tried them on the master bus (linked and unlinked) and generally love the results, but I've got precious little to compare them too.. and have a lot more listening to do.. That said, I'm basically wondering how are you using yours? What settings do you find yourselves going back to when tracking, and on busses? Are you running them linked on stereo buss and master applications or not? Do you find yourself in 'superfuse' mode more often than not? In, Out, Attack, Release, ..Hold?? ..I'd honestly love to hear what you're dialing in! if I'm in the wrong place for these questions, feel free to let me know. thanks! oLOJ Welcome to the party. I don't own the RS124, but I'm one jealous SOB! That said here's my advice after Adams demos at NAMM last year, just close your eyes turn the knobs till it sounds yummy, because that's one box that can sound good on anything!
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Post by Johnkenn on Feb 18, 2017 15:05:11 GMT -6
spockWelcome, @olionjudah (you lucky bastard)...for vocals, if I remember correctly, I think I liked super fuse with slow attack and fast release. For vox, you will probably want to set you mic pre level and make sure it's not clipping and then add the 124. I would start with attack at the 61010B setting and the release near the fastest. Start with the superfuse in and see just switch in and out and see which you like better. I believe it changes the gain structure though, so you might have to fiddle with the input or output. You can slow down the release if it's a little sibilant. The thing is a monster on bass...just plug it in and twist any knob and it sounds great. I never had two, so don't know how they would do on the 2 bus, but I would think slow attack again and maybe a little slower release.
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