|
Post by noah shain on Jan 13, 2017 13:18:01 GMT -6
I've done a few things over the years: 1. Cold email bands: Reception was iffy. Most bands felt that it was strange/possibly desparate, and treated it like any other spam. I did get one band interested this way, maybe two, but I can't remember. 2. Go to shows and talk to bands: Most were cordial, but approaching bands before/after a show is a losing proposition. They are getting ready for the show beforehand, and after, they are tired and packing up. Bands don't really seem like they listen very well to what you have to say during this period, and there are usually 3 or 4 other recordists at the show vying for their business too. I did get a band interested this way, and it led to working with them over a couple projects. 3. Talking to band members about their other projects/interests during sessions. Once you get a band into the studio, the chance is good that one or more members is involved with other projects, so I always make a point of talking about their other projects and try to find ways I can get them interested in continuing to work with me. I've actually gotten a good amount of bands into the studio like this. 4. Word of mouth. I've gotten the majority of my clients in the last couple years simply because bands talk to each other. I think it works better because it's opinions of their peers that work best. When I talk to bands, they likely assume that I'm just doing a sales pitch and possibly lying. I'll get messages from bands who really liked work I've done for their friends and they want to see what I can do about pricing. Almost every band I hear from starts with "I like what you did for _______ but I was wondering how much you charge..." and then I get about 50% interest from the bands after that. I've also gotten interest from the Facebook page and stuff, but it's usually either oddball stuff or scams, but I'm thinking about starting to do low-level FB promotion stuff. Well svart if you wanna stand out then go all 100% analog . Its a gimmick like Daptone and Third Man Records . People will record at your place for the experience and that its "cool" . Bands will say , " I know this recording studio thats 100% analog , no computers , totally old school ....." Advertise like that too ...... if you want the classic old school analog sound , I'm your guy . You'll definitely stand out . I would argue that it's more than a gimmick, it's a sound, which you can hear on the Daptone and Third Man albums. I don't believe those people came up with a gimmick. I think the hear something they appreciate when they use their tape machines. Correct me if I'm wrong illacov , but that's why you made the Zulu. No?
|
|
|
Post by illacov on Jan 13, 2017 13:23:40 GMT -6
Well svart if you wanna stand out then go all 100% analog . Its a gimmick like Daptone and Third Man Records . People will record at your place for the experience and that its "cool" . Bands will say , " I know this recording studio thats 100% analog , no computers , totally old school ....." Advertise like that too ...... if you want the classic old school analog sound , I'm your guy . You'll definitely stand out . I would argue that it's more than a gimmick, it's a sound, which you can hear on the Daptone and Third Man albums. I don't believe those people came up with a gimmick. I think the hear something they appreciate when they use their tape machines. Hey man I'm all ears regarding your results. Regarding Daptone that Teac 8516 is a tone monster. To me that's like the marmalade of tape tones LOL If you didn't have all that other stuff in your chain it wouldn't be the sound of rock n roll baby. The only reason I even use Zulu with nothing else is just to get into the mind frame of users who don't have external mic preamps (so no tracking through Zulu unless their interface has an insert) or people who are primarily focused on ITB mixing and Zulu is their first or one of their first pieces. I always wanted to be sure that no matter the scenario, you can get usable results out of my baby. I'll be in the studio today so I'd be at the ready to compare my Zulu to the Ampex machines you have. Thanks -L.
|
|
|
Post by drbill on Jan 13, 2017 14:51:32 GMT -6
Pretty sure I saw an MM1000 on the latest vid I saw of the dapsone studio..... movin' UP!!!
|
|
|
Post by illacov on Jan 13, 2017 15:19:32 GMT -6
Pretty sure I saw an MM1000 on the latest vid I saw of the dapsone studio..... movin' UP!!! I know for certain they have Ampex decks and the Teac 8516. I mentioned it because the 8516 was cited in articles by Gabriel Roth regarding its use on Sharon Jones' albums. If they need 16 tracks that was their machine of choice. Everything sounds smokin' there. I hope they are doing as good as they can there. Sharon's energy and fierce spirit was unparalleled. I cried for the entire movie about her, during which you can see the Teac (movie was from 2014/2015) 8516 by the rack with all the cool gear in it by Tubetech and Altec etc... Whats funny is for a long time, I thought that Sharon's deck was a tube tape deck. Floored when they mentioned the Teac 8516. Floored. Thanks -L.
|
|
|
Post by EmRR on Jan 13, 2017 15:20:31 GMT -6
Nice , that to me is an eye catching piece (no inuendo intended ). Just out of interest, what are you doing in terms of marketing? Also have you got any bigger (popular) band / solo artists you can attach to your portfoilo? I've done a few things over the years: 1. Cold email bands: Reception was iffy. Most bands felt that it was strange/possibly desparate, and treated it like any other spam. I did get one band interested this way, maybe two, but I can't remember. 2. Go to shows and talk to bands: Most were cordial, but approaching bands before/after a show is a losing proposition. They are getting ready for the show beforehand, and after, they are tired and packing up. Bands don't really seem like they listen very well to what you have to say during this period, and there are usually 3 or 4 other recordists at the show vying for their business too. I did get a band interested this way, and it led to working with them over a couple projects. 3. Talking to band members about their other projects/interests during sessions. Once you get a band into the studio, the chance is good that one or more members is involved with other projects, so I always make a point of talking about their other projects and try to find ways I can get them interested in continuing to work with me. I've actually gotten a good amount of bands into the studio like this. 4. Word of mouth. I've gotten the majority of my clients in the last couple years simply because bands talk to each other. I think it works better because it's opinions of their peers that work best. When I talk to bands, they likely assume that I'm just doing a sales pitch and possibly lying. I'll get messages from bands who really liked work I've done for their friends and they want to see what I can do about pricing. Almost every band I hear from starts with "I like what you did for _______ but I was wondering how much you charge..." and then I get about 50% interest from the bands after that. I'll add to this: 1) seen a number of 'competitors' come and go over the years who've targeted my client list and done free work for as many of them as they could. Did they get a follow-up job? No. All they did was free work while hurting my business. 2) handed out hundreds of business cards, saw no results. Stopped, saw no change in result. If any response was perceived, it was that I seemed 'square' to bands for acting like a business guy. Gotta be on the DL. 3) all that's mattered is word of mouth and direct response to my work.
|
|
|
Post by svart on Jan 13, 2017 15:34:30 GMT -6
I've done a few things over the years: 1. Cold email bands: Reception was iffy. Most bands felt that it was strange/possibly desparate, and treated it like any other spam. I did get one band interested this way, maybe two, but I can't remember. 2. Go to shows and talk to bands: Most were cordial, but approaching bands before/after a show is a losing proposition. They are getting ready for the show beforehand, and after, they are tired and packing up. Bands don't really seem like they listen very well to what you have to say during this period, and there are usually 3 or 4 other recordists at the show vying for their business too. I did get a band interested this way, and it led to working with them over a couple projects. 3. Talking to band members about their other projects/interests during sessions. Once you get a band into the studio, the chance is good that one or more members is involved with other projects, so I always make a point of talking about their other projects and try to find ways I can get them interested in continuing to work with me. I've actually gotten a good amount of bands into the studio like this. 4. Word of mouth. I've gotten the majority of my clients in the last couple years simply because bands talk to each other. I think it works better because it's opinions of their peers that work best. When I talk to bands, they likely assume that I'm just doing a sales pitch and possibly lying. I'll get messages from bands who really liked work I've done for their friends and they want to see what I can do about pricing. Almost every band I hear from starts with "I like what you did for _______ but I was wondering how much you charge..." and then I get about 50% interest from the bands after that. I'll add to this: 1) seen a number of 'competitors' come and go over the years who've targeted my client list and done free work for as many of them as they could. Did they get a follow-up job? No. All they did was free work while hurting my business. 2) handed out hundreds of business cards, saw no results. Stopped, saw no change in result. If any response was perceived, it was that I seemed 'square' to bands for acting like a business guy. Gotta be on the DL. 3) all that's mattered is word of mouth and direct response to my work. Ah yeah, I had forgetten about the business cards.. I did those too, similar result.. I did a batch of Tshirts and handed them out to folks too, no results.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Jan 13, 2017 15:41:02 GMT -6
The new business card seems to be youtube. The guy from Mixbus TV claims to mix 300 songs a year. How about setting up a channel, reviewing the gear you've got, what makes it better than low end gear, how you can give value to people who use your facilities. You could talk about the Svartbox etc. etc.
Sorry if you've already done this.
ps - I wanna crank out mixes like noah!
|
|
|
Post by wiz on Jan 13, 2017 16:09:20 GMT -6
Link for the Zulu passes on The Blue Green Ball by Wiz, I completed. Tried some darker settings, smoove. I went full passive for this test, no preamp driving or making up gain. Settings were Deck to HI, Bias to 3 clicks from (+), Enhance was at 50% and Headroom set to HI. Calibration was HX mode. drive.google.com/drive/folders/0B2zRvlWLux2ZN1hUWlRIV1BtZVE?usp=sharingI would love to do more tests, I can swing some brighter passes tumurra. But I want to hear what the Ampex sounds like already. Maybe it will be worthy of its own preset or Zulu? Can't find that out til you give me some audio. Thanks -L. Thanks so much Langston for doing this. I love both... 8).... I really like what it does for the song, it removes the "hash" from the cymbals...and seats everything quite nicely. A brighter version would be very cool to hear. I am really looking forward to getting my hands on the Zulu. Note, I had to drop the levels of both tracks in the order of 12dB to get it to sit against the original.. which is of course absolutely cool... Just interested though, where did the increase in gain come from? cheers Wiz
|
|
|
Post by wiz on Jan 13, 2017 16:12:49 GMT -6
Okay boys. I'm gonna try and hit the 440 and the 1000 today. In the interest of getting you what you want we should establish the control. i can go straight out of the converter to tape machine and back in to the converter (which I'd never do) or I can land on the console and then tape machine. I'm guessing we want to just go straight to tape and back right? For what it's worth, I never just "hit tape" and I would probably never just "hit Zulu". I would use them as part of an integrated system involving lots of gear and all the impedance changes, amp stages and slew rates and transformers and blah blah that happens when you mix in an analog environment. Altering your signal in an extreme way with 1 piece of gear is really different from altering it slightly, in stages, with a bunch of gear. The results will be dramatically different. So this test won't provide a real picture of what would happen if you mixed to tape but it'll still be cool. svart is a sharp dude and he'll get that I'm sure. I also don't get any work because of my tape machines. I get work because of how my records sound and affect people. My tape machines are (sometimes) part of that. I like to think that I have a sound. The machines do too but they're my tools. I don't use them to attract business and work around their shortcomings. I use them to produce an emotional reaction in listeners. You may not think tape machines sound great and they probably spec out lousy across many measurements but nobody seems to measure and compare the things we DO like about them. They do a thing. It suits certain projects. Increases their emotional impact...I think😉 Okay...on to the test. Straight to tape and if you want to do another pass with you doing what you do! The reasoning, 1 this is what tape gives you 2 this is what you can get from tape as part of the chain! Again, if its cool and you have the time... both would be fantastic!!! cheers Wiz
|
|
ericn
Temp
Balance Engineer
Posts: 15,011
|
Post by ericn on Jan 13, 2017 16:14:45 GMT -6
Well svart if you wanna stand out then go all 100% analog . Its a gimmick like Daptone and Third Man Records . People will record at your place for the experience and that its "cool" . Bands will say , " I know this recording studio thats 100% analog , no computers , totally old school ....." Advertise like that too ...... if you want the classic old school analog sound , I'm your guy . You'll definitely stand out . I would argue that it's more than a gimmick, it's a sound, which you can hear on the Daptone and Third Man albums. I don't believe those people came up with a gimmick. I think the hear something they appreciate when they use their tape machines. Correct me if I'm wrong illacov , but that's why you made the Zulu. No? It's a "gimmick" if you think just having it is going to get bookings in the buy it and they will come sense & the hipster who thinks all vinyl or analog is better sense. If like you, you know it can deliver the tone you seek and add value , yeah then it's a tool!
|
|
|
Post by wiz on Jan 13, 2017 16:20:07 GMT -6
Also can I ask, if you download it .. say thanks to noah and illacov.... cool of them giving up their time
cheers
Wiz
|
|
|
Post by rowmat on Jan 13, 2017 16:37:00 GMT -6
We lost one job because our Otari 1" 8 Track is currently not up to scratch and needs a bunch of work.
Although one job is no big deal in the scheme of things it could have been worthwhile as the band in question has connections with another somewhat successful band who are also analog nuts. But as already discussed, tape costs and the additional time involved are the killer and nobody wants to pay for the tape along with the studio time.
Basically once you start tracking to 2" inch tape the recording costs double.
Also we've decided that if we are going to ever offer an tape option again the client must pay for the tape up front when we order it from the supplier.
The last thing you want it to fork out $1200 for three reels of tape and then have the client change their mind!
|
|
|
Post by gouge on Jan 13, 2017 16:46:22 GMT -6
an interesting conversation,
from my experience there 4 things most artists around my local area looking for.
1. access to gear and instruments they don't have. ie. drums, vocal mics, r2r etc. 2. distribution / gigs 3. flexibility 4. being with friends.
everyone has a home studio so they don't need your services. you need to be in a position where they want to be there. just saying you can do a better job doesn't cut it. Artists want flexibility, it's a fine line between saying nothing and saying something so you can help and not hinder the process. faith plays a big part in this.
#2 on my list is the one I think doesn't get enough focus. bands I talk with all say the same thing. after writing, practicing, gigging and partying there is no time left to handle distribution and organisation of gigs. that and they are not in it for the business side of things. all of the local studios that are constantly busy have marketed themselves as part recording/mixing part record label. while it is old school, bands still respect label creditability. It's respected more than what studio it was recorded at. again because people are recording at home which has devalued the studio.
once you get into a scene you start to realise that the gigs you are going to contain mainly bands that are on the same labels. everyone is label buddies. mini festivals are occurring setup for labels. some labels will put on the condition that artists only record in their studio for them to release the outcome.
The label runs a small indie setup with a cache of 5-10 bands they can focus on. bandcamp is the host typically. cd's are out. you buy either a digital file or a vinyl. split 7" releases.
if I were you svart i'd buy the r2r, then setup a small label on bandcamp and contact previous bands you've recorded and ask them to join your label and get distributed via your bandcamp site.
then find a promoter to get involved with and start organising gigs for your label.
|
|
|
Post by illacov on Jan 13, 2017 16:50:40 GMT -6
Link for the Zulu passes on The Blue Green Ball by Wiz, I completed. Tried some darker settings, smoove. I went full passive for this test, no preamp driving or making up gain. Settings were Deck to HI, Bias to 3 clicks from (+), Enhance was at 50% and Headroom set to HI. Calibration was HX mode. drive.google.com/drive/folders/0B2zRvlWLux2ZN1hUWlRIV1BtZVE?usp=sharingI would love to do more tests, I can swing some brighter passes tumurra. But I want to hear what the Ampex sounds like already. Maybe it will be worthy of its own preset or Zulu? Can't find that out til you give me some audio. Thanks -L. Thanks so much Langston for doing this. I love both... 8).... I really like what it does for the song, it removes the "hash" from the cymbals...and seats everything quite nicely. A brighter version would be very cool to hear. I am really looking forward to getting my hands on the Zulu. Note, I had to drop the levels of both tracks in the order of 12dB to get it to sit against the original.. which is of course absolutely cool... Just interested though, where did the increase in gain come from? cheers Wiz Since the hookup was just DAC> Zulu > ADC, I had no active boost to utilize for level. So in Reaper, I boosted your track via ReaInsert +9db or +13db on the send level (note the file names) to Zulu and boosted it either 6db or 10db on the return to compensate for loss. Completely invisible gain in digital, your track was quiet in level to begin with. I boosted into Zulu for character and also for best SNR level coming to Zulu, just like tape. I could have gone FAR hotter if I used an inline mic preamp (the sound would be very different). To recap, Enhance was at 50%, Bias was 3 clicks from (+), Deck was set to HI, Headroom set to HI, Calibration was set to HX mode. For those reading, Wiz's dry track peaks ~ -13.26db. I only boosted the item's amplitude to get it up to level for different performances out of Zulu. No special process was used to do so other other turning up a send fader in Reaper. If Zulu was an actual tape deck, I'd go about it a similar way to be honest, otherwise you'd have a bunch of hiss vs signal. Thanks -L.
|
|
|
Post by wiz on Jan 13, 2017 17:19:25 GMT -6
Thanks so much Langston for doing this. I love both... 8).... I really like what it does for the song, it removes the "hash" from the cymbals...and seats everything quite nicely. A brighter version would be very cool to hear. I am really looking forward to getting my hands on the Zulu. Note, I had to drop the levels of both tracks in the order of 12dB to get it to sit against the original.. which is of course absolutely cool... Just interested though, where did the increase in gain come from? cheers Wiz Since the hookup was just DAC> Zulu > ADC, I had no active boost to utilize for level. So in Reaper, I boosted your track via ReaInsert +9db or +13db on the send level (note the file names) to Zulu and boosted it either 6db or 10db on the return to compensate for loss. Completely invisible gain in digital, your track was quiet in level to begin with. I boosted into Zulu for character and also for best SNR level coming to Zulu, just like tape. I could have gone FAR hotter if I used an inline mic preamp (the sound would be very different). To recap, Enhance was at 50%, Bias was 3 clicks from (+), Deck was set to HI, Headroom set to HI, Calibration was set to HX mode. For those reading, Wiz's dry track peaks ~ -13.26db. I only boosted the item's amplitude to get it up to level for different performances out of Zulu. No special process was used to do so other other turning up a send fader in Reaper. If Zulu was an actual tape deck, I'd go about it a similar way to be honest, otherwise you'd have a bunch of hiss vs signal. Thanks -L. I wouldnt say my levels are low... 8)... a mix peaking at around -13 is pretty standard for me.. given what I set my 0VU point at and what I run my outboard at ... What is the 0VU point in dBm that Zulu would expect? cheers Wiz
|
|
|
Post by noah shain on Jan 13, 2017 17:31:05 GMT -6
I can't download the song. Am I dumb? Just takes me to a QuickTime player
|
|
|
Post by wiz on Jan 13, 2017 18:13:01 GMT -6
I can't download the song. Am I dumb? Just takes me to a QuickTime player Right click... download linked file.... cheers Wiz
|
|
|
Post by illacov on Jan 13, 2017 18:20:36 GMT -6
Since the hookup was just DAC> Zulu > ADC, I had no active boost to utilize for level. So in Reaper, I boosted your track via ReaInsert +9db or +13db on the send level (note the file names) to Zulu and boosted it either 6db or 10db on the return to compensate for loss. Completely invisible gain in digital, your track was quiet in level to begin with. I boosted into Zulu for character and also for best SNR level coming to Zulu, just like tape. I could have gone FAR hotter if I used an inline mic preamp (the sound would be very different). To recap, Enhance was at 50%, Bias was 3 clicks from (+), Deck was set to HI, Headroom set to HI, Calibration was set to HX mode. For those reading, Wiz's dry track peaks ~ -13.26db. I only boosted the item's amplitude to get it up to level for different performances out of Zulu. No special process was used to do so other other turning up a send fader in Reaper. If Zulu was an actual tape deck, I'd go about it a similar way to be honest, otherwise you'd have a bunch of hiss vs signal. Thanks -L. I wouldnt say my levels are low... 8)... a mix peaking at around -13 is pretty standard for me.. given what I set my 0VU point at and what I run my outboard at ... What is the 0VU point in dBm that Zulu would expect? cheers Wiz To answer your question: Its complicated. Running on equipment that's calibrated with 0VU = +4dbm, Zulu is fine when signal is at 0VU. Is it instantly distorting when you go beyond that? Nope. Does Zulu's reaction to signal that reaches 0VU and exceed 0VU change every time you adjust the Calibration, Headroom and Enhance controls, never mind the Deck? Yup. How far do you have to go before Zulu craps down and cries? We've run it +15db over 0 out of an SSL compressor before and for the source it exhibited usable signal without going into full blown distortion. THD was extremely high but in a musical way. I do this all the time for my clients mixes with my SP5A pres, driving them as much as I can but still on the cleaner side of the spectrum but slamming Zulu at the input. One thing to note, Zulu doesn't have what we identify per se as a threshold. Its not like you'll get the jamba juice to kick in at the same point on every mix or every source. Yes we could measure this with sine waves, scopes and all sorts of fun measurement equipment. It won't tell you a thing about how your mix is going to sound through it. I've listened to our A810, Teac machines and cassette 4 tracks (all devices with books full of specs and measurements) for 2 years straight trying to find the magic point that it all starts to happen and the reality is, these things have minds of their own. Every mix and source will do something different, every setting will shift around the patina, but this is true on a deck too. You listen, you close your eyes and when it sounds so sweet you could cry, look up...those meters are your enemy LOL. Depending on how you set up Zulu, that sweet spot could be -6db, it could be -.5, it could be +10db, you just have to go with it. When I did your prints on this song (dope record by the way), I wanted to try it full passive, especially since Lay Down through Zulu just sounded so damn good when I spanked the bejesus out of it with the mic pres and I wanted to see what the difference was on a production like yours. I noticed the best places to park it where when your mix was +13db on the send to the converters and at +9db on the send. Now mind you that was also because of the settings. I did a test but didn't upload it yet, where I had Enhance at 90%, Bias was Bright and the send level was +8db send to Zulu. Totally different sounding result and it sounded SCHWEET. Regarding your mix level, I didn't mean it as a slant against how you work, but I wanted to share how I'd suggest you approach this particular mix using it with Zulu, if you didn't have any fancy pres and such available to you. Each of these methods has its own dimension of sonics to offer the user. So it makes sense at the minimum to share my findings with each of these scenarios. Now, if you like the way your mixes sound coming out of your converters at -13db vs pushing them at -.5db then the use of a line amp is highly recommended and Zulu appreciates the extra spank. Read this 3 times, there's gold hiding in this statement. In your case, if you like peaking at -13db, then you may want to try strapping a pair of those juicy mic pres you got there (or the Soundcraft board for that matter) on the outputs of Zulu, this mode offers a cleaner sound than hitting it with a mic pre first or using it in a DAC>ADC loop. It also needs less juice from the source to get back a gorgeous sounding result By far this hookup is pure fun. I have a pair of Shure M67 that just slay in this application. I mean just so good! I have to try out my new Dukane and Unified Electronics pres to see how they do. Hope this helps some to illustrate what to expect! Thanks -L.
|
|
|
Post by illacov on Jan 13, 2017 18:22:13 GMT -6
Wiz, was this song inspired by recent political events? Or just musing about the state of the world?
Thanks -L.
|
|
|
Post by illacov on Jan 13, 2017 18:24:58 GMT -6
Right click... download linked file.... cheers Wiz Doesn't work for me. When the quicktime player loads up on your screen (via the web right?) try right clicking on the screen and see if save as appears. Thanks -L
|
|
|
Post by noah shain on Jan 13, 2017 18:28:28 GMT -6
Printing to the 440 now. I may not get to the 1000 today. I'll put up a 440 link in a few min. 👍🏾
|
|
|
Post by scumbum on Jan 13, 2017 19:03:34 GMT -6
I would argue that it's more than a gimmick, it's a sound, which you can hear on the Daptone and Third Man albums. I don't believe those people came up with a gimmick. I think the hear something they appreciate when they use their tape machines. Correct me if I'm wrong illacov , but that's why you made the Zulu. No? It's a "gimmick" if you think just having it is going to get bookings in the buy it and they will come sense & the hipster who thinks all vinyl or analog is better sense. If like you, you know it can deliver the tone you seek and add value , yeah then it's a tool! Yeah it will get the hipsters and the people that appreciate an all analog studio in there . Maybe gimmick is the wrong word . Thing is its something to talk about , its different from the typical studio today . I think Jack White doesn't allow any computers or cell phones in the studio and its all 100% analog . Stuff like that gets people talking and saying , "wow that studio is different and cool , I'd love to go there !" . svart might be on to something . Its kinda the same as it was back in the day . Tape Machines and consoles were too big , heavy and expensive for the typical home studio to have and maintain so there was a need to go the commercial studio to be able to use that equipment . Things haven't changed . If you wanna record all analog its still too difficult for most home studios today . So specialize in something different that few other studios can do .
|
|
|
Post by gouge on Jan 13, 2017 19:09:37 GMT -6
it comes down to crayons and pens.
some people like crayons and some people like pens. how you record your art dictates the outcome. it's wrong to say you can do anything in digital as good as tape because digital is a different format and will produce different results.
in my day job everything i do informs the outcome. do i start with sketches by hand, use a thick pen or a thin pen. do i go straight to software. it all counts.
|
|
|
Post by noah shain on Jan 13, 2017 19:46:08 GMT -6
|
|
|
Post by wiz on Jan 13, 2017 20:09:03 GMT -6
Thanks so much Noah for doing this... the 440 sounds gorgeous...... man... the stacked backing vocals I did sound awesome on that... The other one the 1100 is good too, but that 440.... baby...8) Be interesting to see what everyone else thinks? In my session, I have put Kramer Tape, and VTM in as well.... and its interesting to compare the Plugs, Zulu and your two tape machines.... Wow.. the 440.... dammit 8) cheers Wiz
|
|