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Post by jin167 on Jul 27, 2017 16:59:06 GMT -6
Coming sometime next month. I know I'll have trouble sleeping waiting on this one.. Image link is broken for me.. Hopefully, it's been fixed!
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Post by jin167 on Jul 27, 2017 14:04:29 GMT -6
Coming sometime next month. I know I'll have trouble sleeping waiting on this one..
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Post by jin167 on Jul 24, 2017 1:45:09 GMT -6
immersive as in obsolete and a PITA to use? Yeah, sure.
Try working in a modern music production environment with tape as your only transfer medium and see how that works out.
I agree with Mr. Shain that tape is an inferior transfer medium compared to other options that are available to us in the year 2017.
Does that mean that tape sound is bad?
Nope.
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Post by jin167 on Jul 14, 2017 17:51:13 GMT -6
lucky Americans..
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Post by jin167 on Jul 14, 2017 14:35:46 GMT -6
I get that -- I'm just pointing to the whole digital element here. You don't need analog attenuation. And don't get me wrong here -- I'm an absolute whore for headroom at every possible stage -- but once those analog signals are in the digital world, the "analog guidelines" of headroom give way to the "absolute rules" of digital headroom. If I'm introducing another analog stage (which I almost always do), establishing the output level into that stage can be done in the digital realm without any harm. And don't get me wrong again -- I'm not arguing "against" peaking at -6dBFS... I just don't find it to be really any different than peaking at -3 or -1 or -12dBFS. *Some* headroom is just good form (if absolutely nothing else). How much headroom on the other hand... My point also. My opinion is that there's more to lose in using an analogue line amp stage to attenuate or boost level when compared to changing levels in digital domain. 6dB headroom is like I said a 'good practice' to keep around but not a rule as long as one understands how digital audio works. Note that none of my comment has anything to do with the dynamic or loudness. It's a different subject.
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Post by jin167 on Jul 14, 2017 1:32:36 GMT -6
I'd rather choose dither over noise floor of ANY analog line amplifier in existence. Point missed Don't think so. I'm not saying it's the only reason but it is one of many reasons. Mr. Williams also made a good point about the maximum output of a converter and leaving 6dB headroom but even then it's something a mastering engineer should be capable of dealing with in digital domain. Mixing with 6dB headroom could be a good practice to follow but not necessary as long as you know what you're doing (if you don't know what you are doing then yeah sure, leave the 6dB headroom).
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Post by jin167 on Jul 13, 2017 11:52:46 GMT -6
I'd rather choose dither over noise floor of ANY analog line amplifier in existence. You might not have 15 years ago. I can agree with you and that's what I mentioned in my previous comment. Also proves that 6dB headroom thingy is no longer valid.
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Post by jin167 on Jul 13, 2017 11:04:50 GMT -6
I'd rather choose dither over noise floor of ANY analog line amplifier in existence.
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Post by jin167 on Jul 11, 2017 10:32:23 GMT -6
Random thoughts from a mixing *and* mastering perspective (I don't mix much anymore, but when I do...) HEADROOM: Digital is digital. *ANY* headroom on the 2-buss is fine. 6dB, 3dB, 12dB, 1dB -- As long as it's there "naturally" (not the limiter) and what not, it's enough. The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Probably from guys who want to "take credit" for loudness. And as guilty as I am as the next guy for contributing to the loudness war (under protest in my case), I would hope that the client would already know how their mixes are going to handle "volume abuse" - which brings me to: LIMITING THE 2-BUSS: And this is something that I always did when mixing, even long before digital. I'd get the mix where I wanted it (admittedly, usually with a dB or two of "glue compression" but more for the character of the compressor than anything else) --- and then I'd crush the hell out of it. It's revealing. "Back in the day" it would let you know how it would handle broadcast -- Is the side information whacky? Do the vocals get swallowed? Is the snare snapping out? Is the release on the kick compressor too fast (or too slow)? Are there noises that I didn't hear earlier? I *encourage* clients to smash the living hell out of their mixes as a tool. There are so many places for the mix to be subject to dynamic changes -- The mastering phase, broadcast, "SoundCheck" type algorithms in portable players -- I wanted to know how my mixes were going to hold up against the worst abuse and more times than not, I'd make certain changes after "weaknesses" were revealed by that limiter. Might be tapping a little 200Hz down on the snare. Might be 400Hz on the kick. Might be less top on the kick. Maybe the hat is too loud. Maybe the vocal needs a little air. Maybe the reverb disappears. Maybe it takes over completely. So I'd have a mix that sounded "fine" and then I'd thrash it mercilessly to see how it held up, then possibly make a few minor adjustments that -- in most cases -- made it a better sounding mix in the end anyway. Then I'd print those mixes (without that limiter, of course) and drag them over to the mastering studio (there was no electronic delivery at the time) and know that unless he did something stupid, they were going to sound fine. OF COURSE, back in the day, the "war" wasn't in full-swing yet. But the same tools still apply. words got twisted somewhere down the chain probably. Or perhaps from the days when the bit-depth of the processing program was limited. Nowadays it should be about leaving the dynamic range (or PLR) of the music intact because once it's gone, it's gone.
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Post by jin167 on Jul 9, 2017 7:25:47 GMT -6
plenty of cheap brystons can be found on ebay as well so you've got a lot of options on your hand.
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Post by jin167 on Jul 9, 2017 2:15:24 GMT -6
it seems that they have made a few changes on their gen 3 models so I'm not sure how they compare to the gen 2 models. SMPS and modular system.. I don't know but if I was you I'd stick with gen 2
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Post by jin167 on Jul 8, 2017 2:59:43 GMT -6
I've tried XPA-2 on amphion 18s and it slew the amp100 with ease.
gen2 can be bought for around $600 and they can be sold relatively easily so give it a go if you can.
It does 500 W per channel (4 ohms) btw.
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Post by jin167 on Jun 20, 2017 0:36:57 GMT -6
Tyler offers a partial upgrade for all of his products so you can just ask him to put in whatever units you want to put in your speaker. I paid $400 to put in the millennium tweeters. They are passive speakers and I'm planning on using emotiva xpa 2 for the time being because I've heard that they are great for their price. Maybe I'll upgrade to something else when I can (or not if I'm happy with emotiva ) I'm sure ST and Hilo are great but for the monitoring purpose, but I think m905 is hard to beat from a functionality point of view. Gotcha! So in that case, you would put in your order directly through Tyler, not one of his distributors? I very well may get a pair sometime down the line as my towers, and use the Amphions as my nearfields. I'm not familiar with the tweeter you're going with, is it one of his tweeters that's of higher quality or 3rd party? After getting the advice on here, I'm realllly considering the Crane Song Avocet IIA, or possibly the Grace. Since they are both self contained, and I believe both have optical / digital inputs, that may be my best get. And it'll save me about $1,000. I'm going to do some research on the Grace's conversion vs the Crane Song's conversion.... though I'm biased cause I love the Dave Hill stuff. Yes, I'm dealing with Tyler directly (he offers a good price on some of his speakers so make sure to ask!). Tweeters are made by SEAS (http://www.seas.no/index.php?option=com_content&view=article&id=367:e0011-06-t25cf002&catid=50:excel-tweeters&Itemid=360) which is the same company that makes the woofer units for Amphion speakers. As for the monitoring controller, go with whatever that suits your workflow. I rekon DA section of both Avocet and Grace is top notch and in the end, it all comes down to the ergonomics.
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Post by jin167 on Jun 19, 2017 23:33:23 GMT -6
I'm using pure2 as my DA and lyra2 as my AD as well as my monitoring unit at the moment but when I have enough fund I'm getting a grace design m905. Best monitoring controller + DA in its price range in my opinion. *I have a pair of Tyler D1x with SEAS Millennium tweetwers installed coming my way massivemastering. Can't wait to hear them! Great to hear! Those Tyler's look incredible, I've been thinking about those as well vs the Amphions. What is the process of getting the new tweeters installed, and what is the cost? Also, the D1Xs are passive, correct? What amp are you going to go with? So do you think the M905 would be higher quality than the Dangerous Music ST paired with the Lynx Hilo Thunderbolt? Tyler offers a partial upgrade for all of his products so you can just ask him to put in whatever units you want to put in your speaker. I paid $400 to put in the millennium tweeters. They are passive speakers and I'm planning on using emotiva xpa 2 for the time being because I've heard that they are great for their price. Maybe I'll upgrade to something else when I can (or not if I'm happy with emotiva ) I'm sure ST and Hilo are great but for the monitoring purpose, I think m905 is hard to beat from a functionality point of view.
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Post by jin167 on Jun 19, 2017 22:46:24 GMT -6
I'm using pure2 as my DA and lyra2 as my AD as well as my monitoring unit at the moment but when I have enough fund I'm getting a grace design m905. Best monitoring controller + DA in its price range in my opinion.
*I have a pair of Tyler D1x with SEAS Millennium tweetwers installed coming my way massivemastering. Can't wait to hear them!
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Post by jin167 on Jun 4, 2017 2:51:20 GMT -6
is everyone listening to their music in an anechoic chamber through their converter with infinite bit depth and noiseless/distortionless/infinite BW amplifier/speaker? jesus.. hearing something that can't be measured. pff. We hear stuff that can't be measured all the time. Test gear is not really the ultimate arbiter - that's why it periodically gets better. And anechoic chambers make very poor listening environments.you clearly don't understand the aim of my statement.
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Post by jin167 on Jun 4, 2017 2:10:28 GMT -6
is everyone listening to their music in an anechoic chamber through their converter with infinite bit depth and noiseless/distortionless/infinite BW amplifier/speaker? jesus.. hearing something that can't be measured. pff.
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Post by jin167 on May 15, 2017 6:08:51 GMT -6
It's just like church people getting really mad when physicists and engineers point out the fact that some of the phenomena in the bible are not physically possible and should be interpreted in a symbolic manner. Sometimes simply stating a fact can rub people the wrong way.
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Post by jin167 on May 7, 2017 9:55:18 GMT -6
ah... it's always fun to watch those who struggle to keep up with time and try so desperately to hold on to their past glory days.
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Post by jin167 on May 5, 2017 9:36:24 GMT -6
blind test is overrated.. the look of the gear and its brand is the biggest part of its sound didn't you know silly
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Post by jin167 on May 2, 2017 23:12:47 GMT -6
during mixing/tracking stage spectrum analyser could be useful but not essential but mastering without a good analyser is like trying to walk around the house while blindfolded. Sure, you can find your way around if you get used to the blindfold but why not just remove it in the first place? Makes things easier for you.
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Post by jin167 on Apr 29, 2017 21:57:05 GMT -6
that'd be awesome thanks sopwith
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Post by jin167 on Apr 29, 2017 9:36:04 GMT -6
holy shite....
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Post by jin167 on Apr 29, 2017 3:42:48 GMT -6
www.google.com/earth/It seems there has been a major update on google earth and it's crazy... 3 dimensional map of pretty much everywhere on earth. A little bit clumsy at the moment but with more data it will become a monster.. can't wait for this tech to become VR compatible. Future is coming people..
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Post by jin167 on Apr 17, 2017 20:49:36 GMT -6
Thought about getting them but after some thought decided to add baseone25 to my existing pair of one18s. Too expensive for its size.
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