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Post by matt on Aug 8, 2022 17:22:15 GMT -6
Quality paint brushes of various sizes here. And a cosmetics brush for fine detail dusting.
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Post by matt on Jul 14, 2022 17:08:02 GMT -6
I have discovered that the M7 is absolutely superior to any currently available plugin- and I have too many reverb plugins to compare it with. I recently bought a gently used System 1 (M7M and M10 remote) and liked it so much I immediately purchased two additional mainframes. It blew my gear budget for the rest of 2022 but sometimes you just gotta say "What The Heck". I use 7th Heaven Pro too but I hear the algos as approximations of the hardware, not a replacement for it.
Since incorporation of the hardware, I have had two non-engineering types comment that my mixes sound better than ever. Since my mixing technique hasn't changed, I'm crediting the Bricastis as the major contributor to the improvement. But, I get the hesitation to make the leap- they are sooo expensive!
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Post by matt on Jun 4, 2022 8:39:50 GMT -6
That's a good one, "Fun." It is a "good one". To each, their own.
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Post by matt on Jun 3, 2022 11:31:20 GMT -6
I'm all-in with hybrid summing because I like it. A lot. I went in the box in 2019 and after 18 months I realized that I wasn't enjoying myself nearly as much as when I was surrounded by racks of warm, softly glowing analog gear. I had stored it all away, but brought it back when it hit me that I love integrating the "old way" into my digital studio (however, there's no tape machines here, that's a bridge too far). Are my mixes better now that I can turn knobs? It's a great question. I am unable to judge my own work (of my own music) objectively. But my drummer, who is slowly becoming my assistant, has a great ear, and thinks the latest mixes of our material have more clarity and balance compared to prior mixes. Plus, we are having FUN doing it. We are now recording friends, which I can objectively judge, and I hear an improvement. But it might be that I'm simply a better mixer than I was two years ago. I hope so, but it's hard to say.
Technically speaking, I am using an SSL Sigma, and am expanding to a second unit as soon as I can collect the final piece, an NTP DAD 256 Core so I can go full Dante using Pro Tools Ultimate.
In the end, I suggest that you try it all out. Find a used summing box and/or 2-bus box such as a Silver Bullet and give it a shot. One or both approaches might not be for you. But if it is- look out, your wallet will be constantly depleted!
Of course, the obvious path is to do outboard summing AND 2-bus processing. Have fun, and enjoy the ride while figuring it all out.
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Post by matt on Jun 3, 2022 9:17:09 GMT -6
I've been holding out on this thread. Over the last two years, studio acquisitions include:
Focusrite Red 8 Tascam ML-32D Dante converter x2 (moving the studio completely to Dante later this year)
MOTU 16A
SSL Sigma #2 (to match an existing unit)
Retro Revolver Heritage Audio HA-81A EQ API 2500+
Heritage Audio HA-609A Audioscape D-Comp
Q2 F765-500 Compex A-Designs Pacifica Bricasti System 3 (M10 remote + 3 M7M mainframes) Austrian Audio Hi-65 phones Focal Clear MG Pro phones AEA R88A Shure Beta 52A Shure SM81 x2 United Fet 47 Audix i5 x4 Ludwig Bonham shell pack (in green sparkle, of course) Amazon "Lamp 2700" lava lamp
Still to be purchased:
NTP DAD Core 256 API 5500 Bricasti #4
Whatever else flips my switch
Avid's move to 256 i/o for PT Ultimate native has unleashed the buying beast.
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Post by matt on May 29, 2022 10:29:18 GMT -6
I've been looking into this too. Expensive if purchased new. Connectivity is flexible for both digital and analog. The user manual page 6 documents the options:
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Post by matt on May 29, 2022 9:58:00 GMT -6
More like removing the VST snare (maybe HH) altogether and then recording a live snare (top & bottom) / HH cymbal only as a replacement.. I used to do this routinely using SD3, particularly with all the metal (hat/ride/crash). I'd keep the VI versions in the track but at a reduced level and blend the recorded audio tracks together with SD3 in Pro Tools. It was a pain to do but my drummer got good at it, playing live against the previously recorded midi track. Laying down hat can be tricky though! Now we record nothing but live drums. There is a bit of a tradeoff in sound quality since SD3's sample libraries are so perfectly recorded, but the increase in the quality and feel of performances we capture is so significant we are never going back. We could layer samples into the live performance if we wished. But no, I'm done with drum sample manipulation for now. While powerful, the midi editing process got tedious and just plain old. I'd much rather capture my drummer's playing in the time-honored way using a big kit and a dozen mics. Plus, he worships at the Altar of Bonham, and has killer chops, which helps. It's a beautiful thing!
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Post by matt on May 29, 2022 9:39:59 GMT -6
Hey , first post from a new french member. I've been reading the forum for a long time. I'm starting to buy mixing gear, Welcome to the forum Louis, you will make new friends here!
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Post by matt on May 27, 2022 15:22:04 GMT -6
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Post by matt on May 22, 2022 14:31:27 GMT -6
I just obtained a Retro Revolver, and it is a beautiful thing in parallel on guitars. Or vocals. Or bass. Or drums. It does that vibey, thickening, fattening thing that turns me on. Everything Retro kicks ass.
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Post by matt on May 15, 2022 11:19:50 GMT -6
Tested one last night next to my Notre Dame. The UT 87 has less low end than the 47 clone ND but it's a good thing- I usually end up rolling off the ND's lows anyway. I prefer the Modern setting but Vintage works too, only needing a bit of mid-high shelf to add some fairy dust to the top. Sibilance was not an issue on a country-tinged male tenor but we have not yet put the mic fully through its paces. My first impression is that it's a good mic and will be added to the locker soon. It will not replace the ND but we never anticipated that it would. For us, my vocalist will use it to record at his place and it will be excellent for that.
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Post by matt on Apr 26, 2022 18:40:55 GMT -6
you can manually set your delay in the I/O setting for hardware inserts you just have to manually ping it. Which means just doing some more routing to measure it. Then type in your delay and confirm it's right. I do this using click (the "tic" one, it's short) for all my inserts, printed to two mono tracks, with the insert being measured instantiated on one of them. It's a bit tedious to learn but once understood it can go quickly. I get perfect waveform alignment with this technique- when the manual delay compensation is correct, it is visually sample accurate in the edit window.
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Post by matt on Mar 10, 2022 17:17:33 GMT -6
UA's site is offline for me as of 4:15PM MST. Hopefully they aren't being DoS-ed!
UPDATE- WOW!
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Post by matt on Mar 9, 2022 17:27:58 GMT -6
The place looks clinical with all the lights up. So turn them down, string some Christmas lights, add a lava lamp, and presto! I think I could make it work.
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Post by matt on Mar 9, 2022 11:54:03 GMT -6
I paid almost $4k for my trashcan in 2017. Looks like the new Studio would run rings around it. Same here, back in 2014- and mine was a refurb. It's been a solid performer and I've gotten used to the reality that it has a lot of TBolt peripherals hanging off it (drives, interfaces, 4K monitor). So for me, a Mac Studio would just drop in place. The only caveat is that I need to make sure everything runs native on M1 architecture. Time to look into it.
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Post by matt on Mar 8, 2022 13:04:25 GMT -6
I may have to swap out my venerable 8-core/64GB Trashcan for an M1 Ultra. It's been a good machine, but it's 9 years old, and plugins have definitely become more CPU-intensive over the years. As the increasingly ancient sage Mick says: time waits for no one!
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Post by matt on Feb 21, 2022 14:28:29 GMT -6
Pre-orders and/or waiting months/years for something I’ve already paid for bothers me a lot more. I feel the same way about 100 percent pre-payment. It's why I like the wait list approach- it serves as a "soft" commitment to buy, but is not binding on the customer, and failure to deliver by the seller does not mean that the customer has been ripped off. Plus, a well-implemented first in/first out list is inherently fair, and easy/cheap to manage. It's the Internet version of waiting in line, with no cutting allowed!
Alternately, an "official" order could be placed, but not charged until shipped. If wait times drag on, the customer can cancel. This is how GC/Musician's Friend works. Heck, if GC can do it successfully, then anyone can. VK has a "request delivery ETA" feature for out of stock items. The tech to support this sort of Web storefront functionality is well-known. There are ways to get it done.
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Post by matt on Feb 21, 2022 10:06:04 GMT -6
What I don’t understand is why they don’t give a customer the option of prepayment to secure a unit when available. I would gladly participate in this kind of ordering method. One of the vendors in my other obsession, visual astronomy (Astro-Physics), uses a simple wait list- sign up for a product and receive notification when one is available. Customers are notified in the order they signed up to a particular list, and they have a short period of time to respond and make payment (I don't remember exactly how long, but it's no more than a day or two). They build their products in batches they call "production runs", and from a fabrication perspective, they are much more complex than any piece of audio gear will ever be. There's absolutely nothing unique about their business model. They don't require a deposit, and most of their telescopes and mounts are $10K+. Their owner base (including myself) is rabidly loyal in spite of lengthy wait times for some products. For them, the wait list system works, and customers don't feel at-risk because AP does not demand up-front payment for items that do not yet exist.
I understand that AS is a small company, and may have challenges with suppliers. And their "batches" are very small for everything they make due to various factors including finding, training, and keeping skilled assemblers. OK fine, it's how the world is these days. My hope is that AS can see a way to build their business to meet their customer base in spite of these challenges. And I am ready, willing and able to support their growth with multiple purchases. Heck, if availability become more general, I'd end up owning most of their product line. Otherwise, my gear budget will end up being spent elsewhere, or not at all, which would be a shame.
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Post by matt on Feb 20, 2022 21:16:10 GMT -6
I tried to order a pair of MEQs last night. Starting at exactly 8:00:00 EST/6:00:00 MST, it took me 55 seconds to move through the order/payment process only to see the dreaded "quantity unavailable" message at the end of the transaction. I don't think I can do it any faster. As others have said, it's very disappointing to want a product (and a pair of EQPs too) only to have to play the "concert ticket" game -repeatedly- just to close on a purchase. Because, in the end, ordering a product should not be a game.
It's very clear that demand for AS products far exceeds supply. While it can be an envious position for a company to be in, insufficient product availability can, and does, drive off customers. One of the greatest sins in business is to turn away people with cash in hand. It's a shame, the products are quality- I like my D-COMP very much, which I successfully ordered on my first try! I guess I got "lucky".
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Post by matt on Feb 20, 2022 18:03:34 GMT -6
I bought a ViewSonic VX4380-4K 43 Inch Widescreen in 2020 that may be no longer available (at least on Amazon). Nice monitor, if a little too reflective for my taste. It sits to my left on a small desk I built with a keyboard tray. Due to my old-man vision, I like to sit quite close (18 in) and still I need readers to be able to focus on anything. I tend to edit on phones these days so it works well. All I have to do is swivel right to face my PMCs and four old Euphonix Artist fader packs that I rely on to control levels in Pro Tools. Best setup I've ever had.
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Post by matt on Feb 14, 2022 21:27:02 GMT -6
Long time B2 AD (and DA) owner here. I moved to a Pure 2 several years ago but have switched back recently. I've found that I like it better, I just don't hit it as hard (-18 to -14 on average) as I used to. Now I want a B16 Dante BDA4M/BAD4M as an "upgrade". Figures.
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Post by matt on Dec 22, 2021 16:13:35 GMT -6
Same here. I'm looking for a pair of open backs that don't break the bank- around $300, give or take.
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Post by matt on Dec 16, 2021 22:11:56 GMT -6
I own an HA-81A. It is currently serving snare top duty, handling an SM57 over an LM402 Supraphonic. We tune high (A220) and the Heritage handles the Supra's sharp transients with ease. It is quiet, the EQ section is everything you'd expect in an 81-style pre, and the build quality is very good. It isn't going anywhere any time soon.
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Post by matt on Oct 11, 2021 17:42:46 GMT -6
I've taken a look at this template and it's a simplified version of the massively parallel workflow centered on his 6000 console.
I am a Puremix member and have watched both of his "Start to Finish" series more than once. He says during one episode that the console is his "template". I find his methodology to be inspirational, and of all the content on Puremix, he is the most watchable and a great teacher.
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Post by matt on Sept 9, 2021 17:06:57 GMT -6
I have not used the Stam, but I own a UT and it lives in front of the studio's Ludwig 26" kick. It captures the deep resonance of the front head extremely well. As others have said, it is a great mic.
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