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Post by Quint on Sept 13, 2022 15:20:42 GMT -6
I looked into the idea of ceiling tiles, but the issue I kept encountering, that kept me from trying it, was that, if I wanted the pink fluffy insulation above said tiles to do the bass trapping job it was intended to do, it seemed like the ceiling tiles would prevent air flow into the pink fluffy insulation.
Without the air flow, the superior gas flow resistivity (GFR) of the pink fluffy insulation would be inhibited by the ceiling tiles below them blocking the ability of air to move into the pink fluffy. At least that's how it seemed to me.
Traditional advice involved using a breathable fabric to cover pink fluffy. The problem is that, if used on a ceiling, you would get a lot of sag. The ceiling tiles would provide some nice rigidity, but reduce the overall gas GFR.
Anybody got any further thoughts on this?
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Post by Quint on Sept 8, 2022 16:22:44 GMT -6
I have been really impressed with the Beezneez clips I’ve heard. Yeah, a pair of the Beesneez is definitely on my prospective list one of these days.
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Post by Quint on Sept 8, 2022 10:05:10 GMT -6
So I know this conversation is focused on e-drums, but if noise bothering your neighbors isn't a problem (which I recognize is a problem for some people), then is there still any advantage to using e-drums over just using a regular kit and then converting those hits to midi in the daw to then replace that with samples? I imagine you'd have much better, more granularity in your editing ability. After using the e kit the other day, I feel like I'm gonna end up with very satisfying drum tracks. I suppose I could see that. Though, from a playability/nuance side, I think I'd still want to use real drums to create the proper playing feel and stick to head/cymbal interaction, and let triggers mounted to the real drums do the midi capture. That is, unless e-drums can do a better job of capturing the granularity than triggers on real drums can? I honestly have no idea. This whole concept is largely foreign to me, but I suppose I'm interested in what is possible. I have real drums and a place where noise is largely not an issue. My primary reason for even kind of being interested in some of this stuff is mostly for sonic/acoustic reasons. I don't have a live room as good as Hansa, nor do I have their vintage mic locker. I used to turn my nose up at the idea of samples drums, but I've come around to it, at least a little bit, based on some of the things I've heard in recent memory. It's come a long way over the years, sonically, and I also like how their seems to be legit drum replacement tools that seem to allow for pretty simple and easy replacement without a ton of headaches. It always seemed like such a chore before, but maybe not as much anymore. I need to read up on some of this stuff, I guess.
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Post by Quint on Sept 8, 2022 7:29:01 GMT -6
So I know this conversation is focused on e-drums, but if noise bothering your neighbors isn't a problem (which I recognize is a problem for some people), then is there still any advantage to using e-drums over just using a regular kit and then converting that audio to midi in the daw to then replace that with samples?
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Post by Quint on Sept 8, 2022 3:32:30 GMT -6
The P/J rig isn't that odd its been around for decades. My old studio partner had a 90s USA P with Lace Sensor P/J pickups stock. Is this for you or a general studio instrument for people to mash around on? It's for both situations. Well, it's really for any and all situations. I've got a great playing and sounding jazz bass that I've had forever, and have borrowed/rented other basses in the past, but lately I've been interested in also permanently having a P bass around too.
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Post by Quint on Sept 7, 2022 10:18:48 GMT -6
Thinking as a bassist? If the P plus is on the table I wouldn't hesitate for a second. IMO the active P/J setup and Quan style hi mass bridge is a superior rig. But if you want a P bass that's just a regular old P bass? One pickup volume & tone... passive? Standard player is probably a fine choice. Bought my strat mailorder. First time in 30+ years I've ever done that so its not like I had a huge sampling size. Got it from sweetwater which overall was a good experience. Local dealer didn't really have anything that caught my interest and yeah, they can order something but that guitar gallery? I bit. Pickups & stuff? Too soon to tell I still need to get real strings & full setup done but I'll tell ya what I told my pal Mike... he asked if I'm gonna rip the pots & pickups out... put in Fralin's or whatever? The old MIM strats, 90s era were cheap guitars with some kinda junky parts. Like the pot metal import/non USA vintage spaced bridges... 4 & 5 piece poplar bodies... shitty ceramic pickups and yeah, the necks may or may not have been cut on the same CNC machines but no question, the USA stuff was finished nicer. Initial impression the player at geez... almost $1000 by the time 'ya get with taxes & adding a case? They don't even give us the crappy dust cover gig bag anymore? Its not that old instrument. And it kinda meets my quality expectations. The neck & body fit & finish is basically flawless. Can't find much of anything to complain about. The new MIM player strats I think (?) have the same bridge as the previous generation Am Std so yeah, it'll probably be good over the long haul. Setup out of the box was rough but everything adjusted fine, neck & fretwork is solid enough... no hot/dead spots. Pickups? Haven't spent much time yet but it sounds like a strat. Now, when I did the A/B with my other strat? Mid 70s hardtail w/80s Chandler neck & DiMarzio Velvets? Yeah... that's hipper. More stout. Muscle. But its a 'real vintage' guitar with heavier strings... and I've had it forever so the setup & pickup heights are totally dialed in. Not really fair. Get back to me in a couple months. But I'm not about to rip 'em out just for the sake of it even though I have at least two sets of strat pickups in my parts box... Basically I opted for the player over a USA or P plus because end of the day I wanted a regular old strat like my old '95 Am Std that I went though college with & had forever until the body cracked. No fancy switching etc and honestly? IMO most of the current USA colors are ugly. I was after basic black or candy apple red. Pickups & whatnot are easy to change so as long the instrument itself was solid I'm happy, and that's what I got. I've owned & played numerous vintage guitars & custom shop stuff... the player obviously ain't on that level. And I don't think changing parts will get 'ya there... but if you want a brand new "modern style" instrument? Not bad. Man, that's all excellent info. I may have to pull the trigger. At first glance, I was just after a standard P bass, and the Player model seemed pretty cool for the money. That Player Plus though, with the sort of P and J hybrid thing going on, does sort of tempt me. Yeah it's kind of an odd bird with the hybrid setup, but I could also see it being really versatile. In either case, these Player or Player Plus models that Fender is now offering over their entire range of guitars and basses do seem to hit a sweet spot of quality for the money. Maybe I'll stroll on down to GC this weekend to check out some and see if that pushes me one way or the other. Sweetwater has them on sale right now for 10% off and long term financing, so that may end up being too much to resist if I go play one this weekend and like the sound and feel.
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Post by Quint on Sept 4, 2022 21:34:09 GMT -6
I bought a player strat a couple weeks back whatcha wanna know? Overall quality & especially at $850 for made in Mexico? Its a much nicer, better instrument then the 90s MIM ever were. That's the sort of thing I'm looking to hear. I was considering picking up the P bass. The price seems right. How are the pickups and hardware? Do you feel a need to replace either? I'm also interested in the Player Plus P bass models which go for $1149.
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Post by Quint on Sept 2, 2022 13:40:36 GMT -6
Anybody had any experience with these? The $849 price seems to be nice for what you get, but I'm wondering about some first hand experience here.
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Post by Quint on Sept 1, 2022 14:31:33 GMT -6
Are you guys that are using EZ Drummer/SD3/etc. using those samples to augment your recorded drums, or just straight up replacing them 100% with samples like the Hansa? Doing a ton of programming and midi editing at this point. But yes, it’s the best sample replacement tool I’ve used, personally. The beauty is that you can trigger just close mics, or rooms, or all of it and blend later. Very flexible augmentation. I'm not terribly interested in the programming/editing side of things, but the audio to midi features could be interesting. I'd mostly be interested in something like this for sonic reasons, not so much for ways to improve performance. I mean, I don't have a room or mic locker like Hansa has, so I suppose I could be convinced to try it out for that reason.
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Post by Quint on Sept 1, 2022 12:19:42 GMT -6
SD3 is pretty huge step up from EZ. I love it. Their audio-to-MIDI features are great, btw. A really good audio to midi functionality would definitely be a required thing for me if I ever were going to delve into the drum sample world with both feet.
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Post by Quint on Sept 1, 2022 12:08:30 GMT -6
Are you guys that are using EZ Drummer/SD3/etc. using those samples to augment your recorded drums, or just straight up replacing them 100% with samples like the Hansa?
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Post by Quint on Aug 28, 2022 7:57:04 GMT -6
I wonder why he's selling these?
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Post by Quint on Aug 25, 2022 20:37:13 GMT -6
Km83 is a killer mic. I had one in the early 80s. Neumann made a round foamie then that took care of plosives and I recorded female vocals to an otari multi track. Loved it. I would love to check out the Serranos in omni. That also takes care of the off axis issue. By the way, the km83 was $245 new back then. I wonder what a KM56 used to cost? A pair of those would kind of be the ultimate SDCs to own, I imagine. I've never heard one, but I sure would like to.
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Post by Quint on Aug 25, 2022 20:31:47 GMT -6
In my very limited time of having a small drum tracking studio, I've noticed that my preamp choices (CAPI VP28, BAE 1073 or Rascal Audio 2V) are not nearly as important as my room mic choices or placements. Clean or dirty, all of my preamps make less of an immediate difference to my ear than just moving the mics around. My room is pretty small, so the placements really matter. The Transient Designer really helps make my room mics sound more like room mics, and that is probably a bigger factor than any preamp as well. That being said, I've been using the BAEs recently and driving them pretty hard with EQ engaged but not cutting/boosting anything and I like it. I've been working on two and three mic setups, really trying to get some character out of just a stereo room pair plus one extra mic right over the bass drum rim between the snare and floor tom. I like taking those tracks and then sending them back through some driven VP28s to get more beef, and it seems like you get a tiny bit more grit and some compression. I've been on an Electrovoice 635a room mic extravaganza recently, and they seem sort of lo-fi and cut back on the cymbals nicely, especially with the driven preamps and any compression I add. Its not a very clean sound, but it can get very vibey very quickly.
I recently picked up a pair of 635a myself, specifically to use as room mics. How are you using them? I was thinking about placing them up high in the corners, about 20 feet from the drums.
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Post by Quint on Aug 25, 2022 18:40:23 GMT -6
Has anybody made such a comparison? Yes. On 53's (AC701) with 83 caps. Omni's are VASTLY under-rated. Try putting it right up on your sound hole. 84's won't work well there. Generally. But 83's?? Agreed. I like omnis there too. So you compared the 53 to an Oktava with an omni cap? Granted, that's not an apples to oranges comparison.
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Post by Quint on Aug 25, 2022 10:35:30 GMT -6
I just got my pair in. I'm looking forward to trying them out.
One thing I don't seem to see much discussion on is the KM83. I don't have a KM83, or know anybody with one, but I'd be curious how the Serrano with the omni cap compares to the KM83. For that matter, I'd be curious how both of those compare to the Oktava MK012 with an omni cap.
Since the discussion of KM84s always tend to revolve around the off axis response capabilities, I'd surmise that maybe it's easier to achieve a similar sound in a clone when we're talking about the KM83 and clones of the KM84/83 utilizing an omni cap. But maybe not. Has anybody made such a comparison?
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Post by Quint on Aug 24, 2022 14:11:06 GMT -6
You can add color later, but can’t take it away, right? Yeah, though I do tend to like color. Since I'd have another 8 channels of clean preamps with the ASP800, I was thinking I might dedicate those to four channels of room mics plus a secondary set of piano preamps and then I'm not sure what I might do with the last two channels. Maybe additional drum channels? This is all mostly just thinking out loud, as I tend to do, but I was just curious on people's preferences for color when it comes to room mics.
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Post by Quint on Aug 24, 2022 14:07:14 GMT -6
Thone81 and indiehouse. Fancy finding the both of you here. I know you guys have both indicated that you like the Sebatron pres. I have a VMP4000e myself. I know that Tbone has also indicated that he likes the Audient ASP800, though I'm not sure about indiehouse. I too have an ASP800.
Anyway, it sounds like we have similar tastes in preamps. I'm thinking of picking up a second ASP800 right now, but I'm eventually planning on also getting a second Sebatron VMP4000e.
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Post by Quint on Aug 24, 2022 13:46:08 GMT -6
I feel like a lot of people treat drum room mics as an after thought. Like any mic/preamp combo will do...which seems a little crazy to me. A huge part of my drum sound (usually) is from the room mics. So while I'm not too fussy over what preamps I use, as long as they're good, I prefer something more colored than clean. I thing of them no different than every other part of the drum kit. Just my 2 cents If we were talking about other acoustic instruments I might feel different. I tend to go coloured on room mics myself, but I was kicking around messing with clean channels for room mics. Truth be told, I'm looking at picking up a second Audient ASP800 for eight more channels, the goal being to have enough total channels so that literally everything is miced up all the time and ready to go in a "stations" sort of setup. I'm just kicking around which channels or instruments I want to place on the Audients, which are cleaner, and which ones I want to dedicate to my coloured channels.
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Post by Quint on Aug 24, 2022 13:38:35 GMT -6
i can only see that in terms of wanting detail or not, and that's after the same decision tree about the mics. Almost all my pre's are wildly more colored than anything anyone else uses, or any preamp shootout anyone's ever posted..... Yeah, I tend to agree with the idea of choosing on detail/no detail. What's your most coloured pre? I tend to go for coloured instead of clean, myself.
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Post by Quint on Aug 24, 2022 13:13:24 GMT -6
I have plenty of preamps to go either way, and have liked both clean and coloured preamps in this application for different reasons, but I'm just curious what kinds of preamps you guys prefer to use for room mics? Clean or coloured?
It doesn't necessarily matter what instrument we're talking about here, as I record room mics for all kinds of different stuff, but I suppose we could focus the discussion on room mics for drums, if we had to.
So clean or coloured? Why do you prefer one over the other?
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Post by Quint on Aug 23, 2022 8:23:47 GMT -6
I’ve had two clients lately that are complete recording novices and suggested they buy the Warm 67. One of the guys can be painful in the mids on the wrong mic. Both sent back files that were awesome eq wise. Both were recorded with cheap interface mic pres. So I’ve been extremely impressed with the Warm 67 videos and tracks I’ve heard. Enough to where I want to buy one - but just don’t need it with the Soyuz. I haven’t heard the fet version, but I’ve heard they’re very similar. I like my pair of WA87s (though I may eventually swap those for the Serrano 87s) just fine and was curious about the WA67s. Though, now with the Beesneez 67s out, and for not a whole lot more money than the WA67s, I might have shifted my gaze to a pair of Beesneez 67s now.
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Post by Quint on Aug 22, 2022 8:46:20 GMT -6
Yeah, in this situation, I see a lot of reasons to stay put where you're at.
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Post by Quint on Aug 19, 2022 14:16:33 GMT -6
I know its only a small thing, but I really like the wooden box. It seems to be made so much better then some other more expensive mics that I have had shipped in and have fallen apart. Pming about where you get these from. I thought the mics come with those wooden boxes?
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Post by Quint on Aug 19, 2022 9:54:44 GMT -6
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