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Post by Martin John Butler on Jun 5, 2019 21:10:50 GMT -6
It's been a long time since I had the 0-13 here, but it had massive gain compared to the KM84. Perhaps the "noise" people mentioned was simply not turning gain down a little. I heard no unusual noise whatsoever.
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Post by ragan on Jun 5, 2019 21:47:24 GMT -6
OK, so I finally got around to posting these for you guys. It's all scratch tracks, but I actually quite like how they came out. I recorded the tracks a few months back. Here was the setup: Mix #1, the "dry" mix: L channel: a Soyuz 013 pointing just in front (towards the neck) of the soundhole on my 25yr old Taylor 810. Back about 14", give or take. Preamp was a Stam 1073MPA. Through a Stam SA-2A catching peaks. My SA-2A is noisy, so this test will not give you anything to go on in terms of the Soyuz self-noise. R channel: a Soyuz 013 slightly below the neck pointing up towards the neck/body joint on my McIlroy A36c with strings approaching 3yrs old. Back about 12"-14". Preamp was also a Stam 1073MPA, through a Stam SA-2A just like above. Vocal: a Soyuz 013 about 12" over my head and to the left, pointing roughly down towards my nose-ish area at an angle from about 8:00. I was sitting crumpled up in my desk chair to sing. I wanted to get as real world on this shit as possible. This was a really casual placement, and I was singing essentially straight forward with the mic over me at 12" or so, so I was singing past the capsule underneath it. This definitely qualifies as an off-axis placement. Preamp was once again the Stam 1073MPA, and through the Stam SA-2A to push the vocal forward a bit, peaks hitting 5dB maybe. I did a totally "dry mix" with the following on the 2-bus: - Silver Bullet in "N" mode with Tight filter and Vintage filter. Because regardless of any kind of similar test, the SB is going to be parked on my 2-bus.
- Audioscape SSL Bus Comp with slowest attack and Auto release. Needle baaaaarely moving.
- Finally, a DMG TrackLimit set with a ceiling of 0.3. I think it grabbed two quick little spots by 1.3dB.
The dry mix is: House of Broken Dreams dry mix for RGOOr, old school: drive.google.com/file/d/1_P2z2WYZW_MhQNRSTrTHWyM1Y5NBL7EY/view?usp=sharing---------- Mix #2, the "wet" mix: All the parts were recorded in the same way, because they're the exact same takes I then did a "wet mix" for Martin John Butler , because I know he likes to hear some reverb on these tests. The "wet" mix consists of the following: - Silver Bullet in "N" mode with Tight filter and Vintage filter.
- Audioscape SSL Bus Comp with slowest attack and Auto release. Needle baaaaarely moving.
- Zulu on MX mode, Bias as low as it goes (to "-"), Headroom to "Pro", Deck to "Hi", Enhance to one click up from zero. I swear every time I change the settings on my Zulu, I need to take a freakin' class to tell me what everything does. I wish the box were simpler, honestly. But man, it sounds great.
- 3 layers of reverb and 2 layers of delay. Not much there, though. Just kissing things in various combinations. Just wanted to get some depth and a bit of width.
- Deesser on the vocal and on the reverb and delay sends.
- Finally, a DMG TrackLimit set with a ceiling of 0.3. I think it grabbed two quick little spots by 1.3dB.
And here is the "wet mix": House of Broken Dreams wet for RGO
Or old school link: drive.google.com/file/d/14WqJAoQ0nvaSpooW9_9x0-SQyp6CWODy/view?usp=sharingI wanted the wet mix to lean more towards what I would really do if I were mixing this basic arrangement, hence the verbs/delays, deeser, and the Zulu. I tried a bunch of different EQ options on the guitars and especially on the vocal, and I chased my tail for awhile: on my Sennheiser HD 600s, I wanted to calm the top of the vocal a bit, but that sounded a little dull on my mains and on my ATH-M50s. On my ATH-M50s, I wanted to carve out a bit of 200-300Hz, but that made the vocal sound a little thin on the HD-600s and on the mains. I tried all kinds of EQs and eventually decided I was just chasing my tail in circles, so i removed all of my EQ attempts and let everything stay flat. Only exception was leaving the SA-2A on my voice in the mix. So this is probably as much a test of the Zulu as it is of the Soyuz SU-013. I hope you guys find it helpful, and I look forward to hearing your comments. Takes some guts to post scratch tracks. The links are to .mp3 files, but I can supply the 24-bit, 44.1kHz originals if anyone really wants to hear them. Gonna finally get to fire this up shortly...
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Post by ragan on Jun 5, 2019 22:23:59 GMT -6
OK, so I finally got around to posting these for you guys. It's all scratch tracks, but I actually quite like how they came out. I recorded the tracks a few months back. Here was the setup: Mix #1, the "dry" mix: L channel: a Soyuz 013 pointing just in front (towards the neck) of the soundhole on my 25yr old Taylor 810. Back about 14", give or take. Preamp was a Stam 1073MPA. Through a Stam SA-2A catching peaks. My SA-2A is noisy, so this test will not give you anything to go on in terms of the Soyuz self-noise. R channel: a Soyuz 013 slightly below the neck pointing up towards the neck/body joint on my McIlroy A36c with strings approaching 3yrs old. Back about 12"-14". Preamp was also a Stam 1073MPA, through a Stam SA-2A just like above. Vocal: a Soyuz 013 about 12" over my head and to the left, pointing roughly down towards my nose-ish area at an angle from about 8:00. I was sitting crumpled up in my desk chair to sing. I wanted to get as real world on this shit as possible. This was a really casual placement, and I was singing essentially straight forward with the mic over me at 12" or so, so I was singing past the capsule underneath it. This definitely qualifies as an off-axis placement. Preamp was once again the Stam 1073MPA, and through the Stam SA-2A to push the vocal forward a bit, peaks hitting 5dB maybe. I did a totally "dry mix" with the following on the 2-bus: - Silver Bullet in "N" mode with Tight filter and Vintage filter. Because regardless of any kind of similar test, the SB is going to be parked on my 2-bus.
- Audioscape SSL Bus Comp with slowest attack and Auto release. Needle baaaaarely moving.
- Finally, a DMG TrackLimit set with a ceiling of 0.3. I think it grabbed two quick little spots by 1.3dB.
The dry mix is: House of Broken Dreams dry mix for RGOOr, old school: drive.google.com/file/d/1_P2z2WYZW_MhQNRSTrTHWyM1Y5NBL7EY/view?usp=sharing---------- Mix #2, the "wet" mix: All the parts were recorded in the same way, because they're the exact same takes I then did a "wet mix" for Martin John Butler , because I know he likes to hear some reverb on these tests. The "wet" mix consists of the following: - Silver Bullet in "N" mode with Tight filter and Vintage filter.
- Audioscape SSL Bus Comp with slowest attack and Auto release. Needle baaaaarely moving.
- Zulu on MX mode, Bias as low as it goes (to "-"), Headroom to "Pro", Deck to "Hi", Enhance to one click up from zero. I swear every time I change the settings on my Zulu, I need to take a freakin' class to tell me what everything does. I wish the box were simpler, honestly. But man, it sounds great.
- 3 layers of reverb and 2 layers of delay. Not much there, though. Just kissing things in various combinations. Just wanted to get some depth and a bit of width.
- Deesser on the vocal and on the reverb and delay sends.
- Finally, a DMG TrackLimit set with a ceiling of 0.3. I think it grabbed two quick little spots by 1.3dB.
And here is the "wet mix": House of Broken Dreams wet for RGO
Or old school link: drive.google.com/file/d/14WqJAoQ0nvaSpooW9_9x0-SQyp6CWODy/view?usp=sharingI wanted the wet mix to lean more towards what I would really do if I were mixing this basic arrangement, hence the verbs/delays, deeser, and the Zulu. I tried a bunch of different EQ options on the guitars and especially on the vocal, and I chased my tail for awhile: on my Sennheiser HD 600s, I wanted to calm the top of the vocal a bit, but that sounded a little dull on my mains and on my ATH-M50s. On my ATH-M50s, I wanted to carve out a bit of 200-300Hz, but that made the vocal sound a little thin on the HD-600s and on the mains. I tried all kinds of EQs and eventually decided I was just chasing my tail in circles, so i removed all of my EQ attempts and let everything stay flat. Only exception was leaving the SA-2A on my voice in the mix. So this is probably as much a test of the Zulu as it is of the Soyuz SU-013. I hope you guys find it helpful, and I look forward to hearing your comments. Takes some guts to post scratch tracks. The links are to .mp3 files, but I can supply the 24-bit, 44.1kHz originals if anyone really wants to hear them. Sounds really nice. I do like that Soyuz on acoustics quite a bit. It's a mic I've been continually curious about. Gives a nice picture of the instrument. Sounds quite good on your voice too. Nice singin', dude. The feeling comes through, which is the main thing in my book. Kinda wanna try out one of these. Thanks for posting!
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Post by mondoslug on Jun 17, 2019 2:42:20 GMT -6
Wonder how these compare to the Beyerdynamic MC 930. Greetings, has anybody?
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