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Post by nnajar on Feb 8, 2019 15:19:04 GMT -6
The answer is that you need a second bricasti.
I am fortunate in that my tracking rooms sound good, so I get my room sound with mic distance. Anything that needs reverb for size or weight gets the bricasti. I do mostly very acoustic music around here so even though the lex random hall still sees a bit of use, most reverb comes from the M7 these days. And because of how it sounds, you can often use one program on the M7 in varying degrees where in the past you needed to use 2 or 3 different programs of other reverbs. But for the most part, the M7 here is being used as if it was a plate sitting in a room out back. My favorites are London plate or silver plate if I want something a little brighter. Tweak decay time and pre delay to taste.
I am super happy still to use eventide stereo room and the lex pcm on electric things, synths, artificial productions, etc... but for most of the stuff around here, those other reverbs sounded fine in the past, but the M7 makes you not want to use them for those purposes anymore....
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Post by nnajar on Jan 23, 2019 11:17:24 GMT -6
Hdx user here, Oxford eq does nearly everything you could ask for. Equilibrium for the few things you cannot get from Oxford....
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Post by nnajar on Dec 22, 2018 9:20:09 GMT -6
If you’re primarily mixing and any recording is overdub based, you’ll be more than happy with hd native. We’re an hdx house here and it’s necessary because of the full ensemble tracking and cues that go along with it.
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Post by nnajar on Dec 21, 2018 22:12:36 GMT -6
Buzz audio tonic is super smooth and sounds really beautiful on voice, bass, acoustic guitar....
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Post by nnajar on Dec 21, 2018 21:43:12 GMT -6
I found a Bryston 4B-ST used. Does anyone know much about this amp? Yes, it has plenty of power, sounds terrific and won’t ever stop working. i have a 3b powering some old mcintosh 4ways in my living room. Wonderful amps. the room down the street from me has a whole rack of 4bs in each room. They use them for the ns10s and also for the low and mids on the bigs. The tweeters on the bigs are powered by Manley tube monoblocks because they’re a little softer. older Brystons are a good deal these days too.
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Post by nnajar on Jul 14, 2018 9:43:25 GMT -6
The c12 is like a cream tea in Devon and the 251 is like a cream tea in Cornwall
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Post by nnajar on Jul 13, 2018 1:54:35 GMT -6
Lucas CS1
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Post by nnajar on May 8, 2018 13:36:12 GMT -6
None of those ever worked for me. I prefer the real deal whether stock or hot-rodded with stuff like hard hammer tips, electronics etc. I was listening to a 1983 CD is did with the hard hammer tips into a pitch detune, best "DX-7" sound I ever heard, like bells from heaven. That's the problem with the real stuff, you get spoiled quickly. A buddy of mine is a singer songwriter and he’s been self producing a very nice sounding record at our other friend's great facility down the street. But I’ve been sort of occasionally "additional producing" when he brings things over and says "what do you think about this?" so so one really cool tune he has a nice, well played and tracked real Rhodes part (a local guy who does a lot of session work played it and sent in the part) and he has some sort of phaser plugin on it in logic. I said "give me that dry track" and I loaded it into PT and ran it through the Tri stereo chorus on an insert. Man if that isn’t the most beautiful ballad electric piano sound you’ve ever heard.....
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Post by nnajar on Apr 4, 2018 12:50:48 GMT -6
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Post by nnajar on Mar 24, 2018 21:18:31 GMT -6
Folk blues? Definitely single mic mono. Get your ambience from your reverb. Or single mic and a further back spaced Omni pair for stereo natural ambience.
I’d go schoeps mk22 for the main mic. Doesn’t need compression, shouldn’t need eq. Put the mic the correct distance for your desired tone and balance and then just get the performance right.
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Post by nnajar on Mar 15, 2018 23:20:30 GMT -6
Fantastic!
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Post by nnajar on Mar 15, 2018 4:24:21 GMT -6
There can be really good deals on radar these days, I’d do that if I wanted a computer less setup.....
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Post by nnajar on Feb 18, 2018 21:17:39 GMT -6
A 2012 Mac Pro is super powerful and very inexpensive now. I got a 12core last summer for 1k.
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Post by nnajar on Feb 12, 2018 0:31:34 GMT -6
Since I went HDX I can’t really imagine working without
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Post by nnajar on Feb 10, 2018 11:47:18 GMT -6
You should try the schoeps v4u
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Post by nnajar on Jan 28, 2018 22:25:51 GMT -6
Fantastic nnajaf. Where is Klaus located? I forget. Klaus is in Oregon. i asked him about tearing apart the new reissue to compare and he said as soon as someone loans him one for a week he'll do just that.
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Post by nnajar on Jan 27, 2018 16:54:35 GMT -6
Not a reissue of course.
An old 67 I bought 4th qtr of last year and had sent to Klaus Heyne to give it a full restoration/clean bill of health.
he brought it up to spec, cleaned everything, replaced components where necessary and then optimized the thing.
this Mic sounds extremely beautiful and opulent. What a gorgeous sound! I’ve just done some speaking tests and some instrumental test recordings. I have an excellent soul singer coming in two weeks and I’ll try it on him. But Klaus really knows what he is doing. and I’ve used 67’s before and they always sound terrific, but this one really sounds special. It’s also the quietest tube mic I’ve ever used. He really did a fantastic job.
I have had a Klaus modified u87 for about a year now and the 67 is a great addition to the locker.
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Post by nnajar on Jan 20, 2018 22:31:33 GMT -6
My red 336 was the one that got away because it was such a great guitar and I had gotten it for such a good deal. I sort of quit playing the electric guitar a number of years ago and sold everything. What a mistake. The only thing I missed was that 336. Last year I stumbled across a sunburst 336 in a shop a mile from my house- we went for a walk to the coffee shop and just popped in to say hi- it was priced fairly but when they told me what I could have it for with cash it was such a good deal it was a no brainer. So years later the one that got away is back.
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Post by nnajar on Jan 20, 2018 22:26:41 GMT -6
Many mics will sound good on cello. It has more to do with how everything sounds together in that room. I’ve used schoeps. U87, Coles 4038, aea r84, lots of different things and they’ve all sounded fine. Don’t get too close.....
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Post by nnajar on Jan 17, 2018 1:35:33 GMT -6
I like the chamber algorithm with about 2.5sec rt60 and bass 1.5x, pre delay to taste.
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Post by nnajar on Jan 9, 2018 18:58:53 GMT -6
Shit. This will drive the price of the originals into the stratosphere. Gosh I really hope so and not the other way around. I bought one a few months ago and it’s currently getting a clean bill of health from Klaus. I got a good deal but I’ll still have a bunch of money in it when all is said and done!
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Post by nnajar on Jan 7, 2018 21:24:32 GMT -6
The oldest trick in the world is masonite pegboard over the absorption. Bookshelves work great. Once you get some diffusion happening, you'll probably want to remove some of the absorption. In my drum room I have 4x8 free standing “flats” in the entire room. They’re filled with Roxul AFB, one side is covered in fabric, the other side is 1/4” hole Masonite pegboard. They’re fantastic because you can spin them around and either have lots of absorption or some mid/high reflection and still have low absorption. They’re simple and quick to build and surprisingly versatile depending on what type of sound you want.
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Post by nnajar on Jan 5, 2018 16:03:07 GMT -6
A bass player who plays with control over his dynamics and good time.
Barring that a daking fet 2 and slice and dice.
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Post by nnajar on Jan 4, 2018 22:31:47 GMT -6
47fet arrived last week
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Post by nnajar on Jan 4, 2018 1:49:37 GMT -6
That looks really great
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