ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Apr 23, 2018 7:59:14 GMT -6
What amp are you using with your amphions ? Currently, I’m using a Samson Servo 360. It’s serving me pretty well right now, but I ultimately want to get the Amphion 500 power amp. Man upgrade that Sampson, those things just seam to sound like everything is in slooow motion! If your 1 meter or less a little 50 watt amp like a bryston 2b or a JW modded Adcom 535 will give you 101 DB hell I know a consumer Audiophile who loves his little consumer Amphions in a near field situation with a modded Dynaco Stereo 70 35w per ch tube amp!
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Apr 23, 2018 8:01:40 GMT -6
Best current stuff 8ch of Dan Alexander pre Lexicon 300 Yamaha PR03r Radar V DDA FMR Quested H302’s
|
|
|
Post by cowboycoalminer on Apr 24, 2018 16:46:13 GMT -6
I thought about having it modded but I honestly am afraid it will change what I'm hearing now. My latest mixes are the best I've ever done. Don't like to mess with a good thing too much, you know? I went through the modding phase for years trying to search for what I thought I wanted. I ended up so far away from where I should have been, I took time off and unmodded almost everything and started fresh. Now I'm finally catching up and realizing that the mods did nothing but keep me from honing my skills. I'd say that most people don't need mods, they need time to hone their skills. Mods don't necessarily allow you to skip ahead in progress, they just lead you astray if you're not careful. Sometimes the road less traveled is that way for a reason. I agree with this, svart. You know I think I did some pretty decent stuff in my old room but the caveat was what I heard in my room was not what I was hearing on a final product. That said, I got use to the difference and mixed with that in mind to try and reach the end that I really wanted. When we moved to Carolina, I started over and truly set out to find an exact match from what I was hearing at mix time and what I was ending up with outside my room. The combo I have now is working for that and I've spent far less money on it. Go figure. Haha
|
|
kcatthedog
Temp
Super Helpful Dude
Posts: 15,143
Member is Online
|
Post by kcatthedog on Apr 24, 2018 17:33:08 GMT -6
Maybe one caveat, if you are modding chasing a sound, that’s one thing: maybe you never find it? Or you can mod to improve the measurable performance of a piece of gear, liniarity, phase, harmonic distortion, etc., but I think the point above about knowing your room and gear and mixing into that, is pretty hard to argue with.
|
|
|
Post by mcirish on Apr 27, 2018 12:57:15 GMT -6
I've been acquiring some wonderful pieces of gear in the last couple years and wanted to give a shoutout to some of the companies that make such stellar products. I stay pretty busy in my home studio producing limited pressing records, doing demos, recording vocals, and cutting bass tracks. Here are a few key pieces in the chain. Teegarden Audio Magic Pre Teegarden Audio Fatboy Tube DI (If you don't know, Bret Teegarden is a veteran Nashville engineer and he makes some fantastic gear!) Chandler Limited RS124 Compressor Amphion one15 monitors Miktek CV4 microphone Shure SM7B Radial MC3 Monitor Controller Triad Orbit T2 mic stand (I'm not impressed with things like mic stands very often but this thing is super cool!) Nice-Racks (www.nice-racks.com) - I started with a simple 2-space rack and then last year got a 14-space slant rack. David Tatelbaum does incredible work! These racks are built really well, they look fantastic, and they don't break the bank! I'm interested in hearing about what key pieces are in your studio (large or small). Peace and low notes, Clay Clay, I see you are using the Miktek CV4. Are you liking it? I bought into all the hype and bought one, only to be very unhappy with it. I found the high end very crispy and shrill on some vocalists. I intended to use it on an alto vocal. It was a horrible choice on that. I then modified an Oktava 319 and that worked much better on this voice. After a year, I went back to the CV4 and drew out the schematics. Then, seeing the design, I picked a new capsule for it. I got a Beesneez K7. Wow, what a huge difference. The CV4 is now one of my favorite mics. Smooth top end and controlled lows. So, if you are like me and not really digging the top end of the mic, a fairly simple capsule replacement turns and OK mic into a great one.
|
|
|
Post by Johnkenn on Apr 27, 2018 13:00:57 GMT -6
I've been acquiring some wonderful pieces of gear in the last couple years and wanted to give a shoutout to some of the companies that make such stellar products. I stay pretty busy in my home studio producing limited pressing records, doing demos, recording vocals, and cutting bass tracks. Here are a few key pieces in the chain. Teegarden Audio Magic Pre Teegarden Audio Fatboy Tube DI (If you don't know, Bret Teegarden is a veteran Nashville engineer and he makes some fantastic gear!) Chandler Limited RS124 Compressor Amphion one15 monitors Miktek CV4 microphone Shure SM7B Radial MC3 Monitor Controller Triad Orbit T2 mic stand (I'm not impressed with things like mic stands very often but this thing is super cool!) Nice-Racks (www.nice-racks.com) - I started with a simple 2-space rack and then last year got a 14-space slant rack. David Tatelbaum does incredible work! These racks are built really well, they look fantastic, and they don't break the bank! I'm interested in hearing about what key pieces are in your studio (large or small). Peace and low notes, Clay Clay, I see you are using the Miktek CV4. Are you liking it? I bought into all the hype and bought one, only to be very unhappy with it. I found the high end very crispy and shrill on some vocalists. I intended to use it on an alto vocal. It was a horrible choice on that. I then modified an Oktava 319 and that worked much better on this voice. After a year, I went back to the CV4 and drew out the schematics. Then, seeing the design, I picked a new capsule for it. I got a Beesneez K7. Wow, what a huge difference. The CV4 is now one of my favorite mics. Smooth top end and controlled lows. So, if you are like me and not really digging the top end of the mic, a fairly simple capsule replacement turns and OK mic into a great one. Tons of info about CV4 mods here on the site...
|
|
|
Post by mcirish on Apr 27, 2018 13:10:35 GMT -6
I mix in the box due to how many projects I juggle as a writer. Some of my gear: (1) Wunder CM7GT/S M7 (1) Miktek CV4 (beesneez K7 capsule) (3) ATM230's (best tom mics I've ever used) (3) Oktava 319 (mods) (2) AT4050, (1) AT4060, (1) AT4047 (2) MD421 (1) i5 (1) ATM63 Hardy M1 94 channels) Midas XL48 Presonus MP20 (jensen) Lynx Aurora 16 (TB) Dangerous Monitor ST Dynaudio Air 6 Equator D5
Lots of instruments. I do mostly writing/recording for the band I'm in and a few side projects with other writers. It's a small 20'x20' single room studio in my home with quite a bit of treatment.
|
|
|
Post by nashbass on Aug 13, 2018 14:27:45 GMT -6
Clay, I see you are using the Miktek CV4. Are you liking it? I bought into all the hype and bought one, only to be very unhappy with it. I found the high end very crispy and shrill on some vocalists. I intended to use it on an alto vocal. It was a horrible choice on that. I then modified an Oktava 319 and that worked much better on this voice. After a year, I went back to the CV4 and drew out the schematics. Then, seeing the design, I picked a new capsule for it. I got a Beesneez K7. Wow, what a huge difference. The CV4 is now one of my favorite mics. Smooth top end and controlled lows. So, if you are like me and not really digging the top end of the mic, a fairly simple capsule replacement turns and OK mic into a great one. Hey all, sorry for being non-responsive. I've been absent for a bit as I've been on the road and finishing up a couple record projects. mcirish, I have quite enjoyed the Miktek CV4. I've used it on alto female voices and male tenor voices (smaller voice male and the very strong-voiced Chris Rodriguez), as well on acoustic guitar. I actually got the mic slightly used from my pal Jim Daneker who is the MD for Michael W. Smith. Jim produced MWS's "Hymns" record and used this CV4 on Michael's vocal, Susan Ashton's guest vocal, and Wes King's acoustic guitar, then sold it to me. Thanks for the insight on capsule replacement. So far, I'm good. But I've been made hip to Mic Rehab here in Nashville and I've heard they can really up the quality of a studio mic, taking it from good to great.
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Aug 13, 2018 16:06:32 GMT -6
Hey all, sorry for being non-responsive. I've been absent for a bit as I've been on the road and finishing up a couple record projects. mcirish, I have quite enjoyed the Miktek CV4. I've used it on alto female voices and male tenor voices (smaller voice male and the very strong-voiced Chris Rodriguez), as well on acoustic guitar. I actually got the mic slightly used from my pal Jim Daneker who is the MD for Michael W. Smith. Jim produced MWS's "Hymns" record and used this CV4 on Michael's vocal, Susan Ashton's guest vocal, and Wes King's acoustic guitar, then sold it to me. Thanks for the insight on capsule replacement. So far, I'm good. But I've been made him to Mic Rehab here in Nashville and I've heard they can really up the quality of a studio mic, taking it from good to great. Shannon can make a CV4 sound like a million bucks, Micrwhab all the way.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Aug 16, 2018 5:17:41 GMT -6
Has to be the Dyn's and Trident monitors that made the biggest impact and / or are my "key pieces", I can accuratley gauge bass levels and EQ which is 90% of the battle for me..
You have to focus more with the Dyn's than the Tridents because they can be a little flattering at times but you also get the gist of casual listening too, whilst retaining decent sound stage and accuracy, the Tridents are not "hard to listen to" in the slightest but they are ridiculously revealing which is cool for more "analytical stuff".
I can just trust them though, I don't find myself turning towards headphones or car checks etc. etc.
Most things I can live without, these I could never.
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Aug 16, 2018 8:18:38 GMT -6
Has to be the Dyn's and Trident monitors that made the biggest impact and / or are my "key pieces", I can accuratley gauge bass levels and EQ which is 90% of the battle for me.. You have to focus more with the Dyn's than the Tridents because they can be a little flattering at times but you also get the gist of casual listening too, whilst retaining decent sound stage and accuracy, the Tridents are not "hard to listen to" in the slightest but they are ridiculously revealing which is cool for more "analytical stuff". I can just trust them though, I don't find myself turning towards headphones or car checks etc. etc. Most things I can live without, these I could never. Nothing like having 2 sets of very different speakers you trust and know and a room they can work with. Harvey Giest who designed those Tridents knows as much about speakers as anybody who ever walked the earth.
|
|
|
Post by Guitar on Aug 16, 2018 17:13:28 GMT -6
I mix in the box due to how many projects I juggle as a writer. Some of my gear: (1) Wunder CM7GT/S M7 (1) Miktek CV4 (beesneez K7 capsule) (3) ATM230's (best tom mics I've ever used) (3) Oktava 319 (mods) (2) AT4050, (1) AT4060, (1) AT4047 (2) MD421 (1) i5 (1) ATM63 Hardy M1 94 channels) Midas XL48 Presonus MP20 (jensen) Lynx Aurora 16 (TB) Dangerous Monitor ST Dynaudio Air 6 Equator D5 Lots of instruments. I do mostly writing/recording for the band I'm in and a few side projects with other writers. It's a small 20'x20' single room studio in my home with quite a bit of treatment. Ninety-Four channels of Hardy M1?? This is a typo??
|
|
|
Post by guitfiddler on Aug 16, 2018 17:51:00 GMT -6
Tons of info about CV4 mods here on the site... I had the CV4 and CV3 here for a couple weeks on demo. Very capable stock, but very curious to hear them modded.
|
|
|
Post by Guitar on Aug 16, 2018 18:31:22 GMT -6
I don't know if any of my gear is cool but I would say
Focal Aria 906 monitors Marshall DSL amplifiers CAPI 312 modified preamps "claire" 251 DIY microphone designed by me multiple racks of DIY guitar pedals I built some vintage amps and synthesizers
I guess that stuff would cover a lot of what I'm doing
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Aug 17, 2018 6:38:26 GMT -6
I don't know if any of my gear is cool but I would say Focal Aria 906 monitors Marshall DSL amplifiers CAPI 312 modified preamps "claire" 251 DIY microphone designed by me multiple racks of DIY guitar pedals I built some vintage amps and synthesizers I guess that stuff would cover a lot of what I'm doing If it gets you where you want to be it counts in my book!
|
|
|
Post by subspace on Aug 19, 2018 11:18:08 GMT -6
Cool gear in my studio:
Mackie SDR24/96 - I was working on a noisy channel on the Trident last night and wanted some test audio, but didn't want to futz with the Mac so I powered up ye olde hard disk recorder. After getting the dirty switch sorted, I let the session play for an hour or so while riding the desk faders and rewinding certain bits over again. I miss this, it's cool. The fan is a bit loud and the converters are from 2002 but functionally it's just a cool recorder. 24 tracks at 96k with a fast ATA drive in the dock, which can be pulled, connected to the Mac and the session opens directly from the drive with current versions of Tracktion. There's three sets of lightpipe for 12 channels of external A/D and D/A at 96k, which would cover my primary channels during tracking, but the stock converters are decent. They were the Sydec iBox OEM design, which they built for Neve and SSL at the time, the latter who then bought Sydec after Mackie spun it off. It's not about the logic though, the ergonomics of recording to a dedicated 24-track recorder with full meters is just cool, not to mention it actually monitors a punch-in 100x more elegantly than my native DAW.
Westlake BBSM-6 monitors - Mid-fields that never hurt when you crank them just make recording fun. Dual woofer Westlakes above the meter bridge say 'you're in a studio now and it's going to be cool.'
Lexicon NuVerb - Dude, I still have an SDR24/96 fully wired into the bay, you think I'm fussed about keeping a PowerMac 8100/80AV running for a NuBus card? A 300 minus the pitch algos in the most obscure format Lexicon produced? Yep, cool.
Ok, just so you know I'm not entirely about pre-2000 burlap-covered aesthetics;
audient ASP2802 - How does everybody not have one of these? HUI control of PT/Logic on one layer, eight automated VCA faders on the other, with a full master section yet it fits on the desktop with my MacBook Pro. Monitor control is the same ASP8024/Centro design with bigs/smalls/phones, L & R mute/dim/polarity/mono, pfl/afl/solo-in-place/solo-in-front with solo safe and 3 stereo XLR sources plus an iJack, which can all be summed. Talkback can use the built-in mic or a separate XLR in with phantom, and the artist cue output sums it's source selections with the cue bus independently. The master fader has a switchable insert that can be summed in parallel as well as a bus compressor that can be separately patched with it's own blend knob. The channels each have the ASP8024 mic pre, which rules on cymbals and acoustics, and in-line monitoring of a separate DAW return which can be routed to the stereo bus, along with 2 stereo fx returns which can be switched into the cue or main mixes. It's discontinued but the Dual Layer Control functions will be supported as long as audient supports the DLC module for the ASP8024 desk. It is also cool.
|
|
ericn
Temp
Balance Engineer
Posts: 14,967
Member is Online
|
Post by ericn on Aug 19, 2018 11:19:54 GMT -6
Cool gear in my studio: Mackie SDR24/96 - I was working on a noisy channel on the Trident last night and wanted some test audio, but didn't want to futz with the Mac so I powered up ye olde hard disk recorder. After getting the dirty switch sorted, I let the session play for an hour or so while riding the desk faders and rewinding certain bits over again. I miss this, it's cool. The fan is a bit loud and the converters are from 2002 but functionally it's just a cool recorder. 24 tracks at 96k with a fast ATA drive in the dock, which can be pulled, connected to the Mac and the session opens directly from the drive with current versions of Tracktion. There's three sets of lightpipe for 12 channels of external A/D and D/A at 96k, which would cover my primary channels during tracking, but the stock converters are decent. They were the Sydec iBox OEM design, which they built for Neve and SSL at the time, the latter who then bought Sydec after Mackie spun it off. It's not about the logic though, the ergonomics of recording to a dedicated 24-track recorder with full meters is just cool, not to mention it actually monitors a punch-in 100x more elegantly than my native DAW. Westlake BBSM-6 monitors - Mid-fields that never hurt when you crank them just make recording fun. Dual woofer Westlakes above the meter bridge say 'you're in a studio now and it's going to be cool.' Lexicon NuVerb - Dude, I still have an SDR24/96 fully wired into the bay, you think I'm fussed about keeping a PowerMac 8100/80AV running for a NuBus card? A 300 minus the pitch algos in the most obscure format Lexicon produced? Yep, cool. Ok, just so you know I'm not entirely about pre-2000 burlap-covered aesthetics; audient ASP2802 - How does everybody not have one of these? HUI control of PT/Logic on one layer, eight automated VCA faders on the other, with a full master section yet it fits on a desktop with my MacBook Pro. Monitor control is the same ASP8024/Centro design with bigs/smalls/phones, L & R mute/dim/polarity/mono, pfl/afl/solo-in-place/solo-in-front with solo safe and 3 stereo XLR sources plus an iJack, which can all be summed. Talkback can use the built-in mic or a separate XLR in with phantom, and the artist cue output sums it's source selections with the cue bus independently. The master fader has a switchable insert that can be summed in parallel as well as a bus compressor that can be separately patched with it's own blend knob. The channels each have the ASP8024 mic pre, which rules on cymbals and acoustics, and in-line monitoring of a separate DAW return which can be routed to the stereo bus, along with 2 stereo fx returns which can be switched into the cue and main mix. It's discontinued but the Dual Layer Control functions will be supported as long as audient supports the DLC module for the ASP8024 desk. It is also cool.
|
|
|
Post by mcirish on Aug 20, 2018 10:37:39 GMT -6
I mix in the box due to how many projects I juggle as a writer. Some of my gear: (1) Wunder CM7GT/S M7 (1) Miktek CV4 (beesneez K7 capsule) (3) ATM230's (best tom mics I've ever used) (3) Oktava 319 (mods) (2) AT4050, (1) AT4060, (1) AT4047 (2) MD421 (1) i5 (1) ATM63 Hardy M1 94 channels) Midas XL48 Presonus MP20 (jensen) Lynx Aurora 16 (TB) Dangerous Monitor ST Dynaudio Air 6 Equator D5 Lots of instruments. I do mostly writing/recording for the band I'm in and a few side projects with other writers. It's a small 20'x20' single room studio in my home with quite a bit of treatment. Ninety-Four channels of Hardy M1?? This is a typo?? How I wish this wasn't a typo! I actually have four.
|
|