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Post by reddirt on Aug 12, 2017 18:45:39 GMT -6
Nothing empirical here to add Vincent but I have a CMV563 which I quickly shot out against a Flea 49 Next in the shop when I bought it. For me, the CMV sounded smoother and yet subsequent use in my studio shows that M7 (in the CMV) to be a little dull in the upper (8k approx and upwards) frequencies. Probably hasn't helped your cause at all but there you go.
What I do know is i've spent a s**t load on mics over the years and I'd be really, really sure before I paid big bucks again i.e. near enough isn't good enough. Having said that, I would include the REDD 47 in you deliberations (no I haven't heard it).
And while i'm at it , a big shout out to our tube man 'Bowie" on this forum. he's already provided me with a NOS Tele for the CMV which improved it but didn't get to where i hoped to go so he took it back and he's now gone extra miles to find a quiet 1958 Amperex and send it to Australia on his dime. Great stuff; a lovely bloke to deal with so you all know where to go for tubes in the future.
Cheers, Ross
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Post by reddirt on Aug 12, 2017 18:26:11 GMT -6
Hey John i understand your desire to do a great job and work well above and beyond to achieve it : i understand how we second guess ourselves when clients are critical of that work and I also understand how you don't want to descend into petty behaviour when God knows you could be forgiven if you did.
This sounds like real insecurity going on with these clients and the truth is you are the scapegoat for their issues. You are probably never going to win and neither are they anywhere else. Just put it behind you; file it under experience however galling.
I don't, for my own health's sake, take on projects that are going to cruel my musical love anymore but I get that you may need anything and everything to put food on the table so the best course of action may well be to take non-recording work that doesn't eat up your love for music and brings in a regular wage.
ironically, with all the jumping through hoops you've done for them, you probably learned quite a bit about your craft. (certainly about people!)
We're with you mate
Cheers, Ross
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Post by reddirt on Aug 8, 2017 17:01:50 GMT -6
A salient point is that if you want to run a business a la Roswell and stand by your product with decent R & D , quality control etc and pay employees and yourself a decent wage not to mention advertising, rents etc then it's going to cost so much more than the itemised cost of components. What the customer receives in return is a guarantee of quality and for most of them, a product they could not build themselves.
As to the KM84, I have used them often as a vocal mic and placed correctly they sound 'expensive". I did record an acoustic album before DAWs were common place , direct to DAT with a KM 84 on vox and another on guitar which sounded fine until that one pop which is it's Achillies heel if you don't get the placement right. (The ruin of a great take caused protracted angst between the artist and myself!)
Cheers, Ross
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Post by reddirt on Aug 8, 2017 16:37:32 GMT -6
Wichita Lineman along with All along the watchtower and White Room - three of the best from my teenage years; in fact , all my years. R.I.P. Glenn
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Post by reddirt on Jul 31, 2017 20:09:33 GMT -6
If I recall correctly, Oliver Archutt before he passed converted one or two TM 149s to 49s with very happy customers so it can be done. Cheers, Ross
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Post by reddirt on Jul 15, 2017 23:31:40 GMT -6
This is a bit like a big chain store coming into town and luring custom by selling e.g. milk at $1.00 for a 2 lire bottle because they have the size to absorb losses. The ultimate result is the diverse little stores with real investment in the community i.e the owner and family live there and thus profits go back to that community by and large, gets squeezed to the wall ; I'm sure you know what I mean.
Diversity and choice are killed because there's a shark in the pond with no conscience or raison d'etre other than making money for shareholders
Try getting Warm's one on one and attention to detail response out of Music Group ' it ain't gonna happen.
If that's the community we want then buy that product. Don't ever hope to get a reasonable wage again as extrapolation will tell us that if we all purchase in this way then there will be no domestic industries unless we sell our labour at Asian rates. The truth is probably that this is how it will end up and the life we remember is exactly that...a memory.
It seems glib to say cheers but anyway - Cheers, Ross
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Post by reddirt on Jul 13, 2017 19:19:25 GMT -6
Yeah Wiz, my voice is fairly sibilant and it didn't accent that .
It has a very broad cardioid response and seems to still sound nice when well off axis.
All the files are from 6" away (except when 12" as noted)
The cello shows it's no light weight there's depth and no edge so am keen to push it with a decent vocalist in the near future to find out more.
Cheers, Ross
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Post by reddirt on Jul 13, 2017 2:40:30 GMT -6
I asked in an earlier thread if there was a fader which could be the 1st insert at the top of the channel and can be automated like any fader ; it becomes an automatable quasi-clip gain which to me would be the duck's; in the absence of a fader I insert an eq but just automate the gain and turn the eq's off. Hardly ideal but it's the best I came up with. Used as you want it, clip gain can be ultra useful particularly in keeping things sounding natural and not choked by compression.
Cheers. Ross
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Post by reddirt on Jul 13, 2017 2:30:23 GMT -6
Looks beautiful, but where to start?
Cheers, Ross
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Post by reddirt on Jul 12, 2017 20:31:32 GMT -6
01 Stam Cardioid 6 12 inches.mp3 (887.37 KB) 01 Stam Cardioid.mp3 (900.59 KB) 01 Stam Fig 8.mp3 (829.67 KB) 01 Stam Omni.mp3 (946.44 KB) 01 Stam Cello 1.mp3 (508.11 KB) 01 Stam SA 87 extra switches.mp3 (525.25 KB) Hey Guys , thought I'd throw something into the mix. These are 192 MP3s so not perfect but should be enough to get across the message It's me speaking a piece from a written advert so no Vincent Price and as you'll realise each piece is an individual performance with energy and distance not being absolutely the same as the next. The 6 and 12" file is in cardioid and hopefully gives a sense of volume and tone change with typical distances although the room sound does compromise it a little Also, it's in my lounge (the studio is in disarray) which has tiles with a carpet and distant hard walls, I've got 1 Auralex 2' x2' canopy 1' above the mic to mollify the effect of a 10' hardboard ceiling. Vincent asked for some cello so here's a short totally unadulterated piece done virtually the day i got the mic; about 2 ' away , 2' off the floor, directly out from the f hole . We had no time to experiment with position as the cellist had a sick child and I took what I could get. I had intended to have vocals but the client is still getting things together but intend to do that when poss. I won't post my thoughts till later as I don't want to prejudice any opinions Also, don't confuse this as a piece to show the sound of the mic; it's purely to show it's axis response etc. Cheers, Ross
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Post by reddirt on Jul 9, 2017 23:49:47 GMT -6
"I would recommend 10" or 12" speakers and then add a small sub. No one wants to lift 15" on and off a pole every night."
Thanks but not interested in a sub as that's more space in a vehicle and more dollars; I'm good with lifting 60lbs onto a stand.
The contendors so far are EV ETX15, Yamaha DSR 115 , HK Pulsar 15, Turbosound IQ 15 ; any comments on those and possible other options are welcomed.
Cheers, Ross
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Post by reddirt on Jul 9, 2017 1:35:44 GMT -6
Thanks Wiz - powered
Cheers
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Post by reddirt on Jul 8, 2017 23:18:50 GMT -6
Hi guys, any among you have the knowledge of what is the best sounding / most reliable of the current crop of 1x15 / horn , PA top boxes. Thinking along the realms of Yamaha DSR 115 / EV ETX 15 etc, etc; any and all brands considered. Am not wanting a sub and all that entails hence 1x15 as opposed to 1 x 12
Currently have RCF HD 12 (plastic box) , not overly impressed so will retire them to in fill or monitors.
Wanting it to do do high quality but not loud reinforcement for acoustic act with a bit of bass : i.e. 2 acoustics, sax, upright bass, 3 vox
I'm miles from anywhere so can't audition for myself.
Cheers, Ross
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Post by reddirt on Jun 30, 2017 7:08:50 GMT -6
Second guessing can cripple my state of mind e.g. I think the mix I did 3 weeks ago sounds better than after i made all these "essential" changes.......... or does it?
Take heart though; Bruce Swedien reckoned mix 4 (or thereabouts) was the one for Billie Jean but Quincy urged him on to get more out of it. After they had 90 something mixes in boxes of 456 stacked on top of one another in the control room, they went back to Bruce's preferred #4
Cheers, Ross
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Post by reddirt on Jun 30, 2017 6:57:54 GMT -6
John, on a very quick "first impressions' listen , I preferred B. A was a bit unwieldy with the extra sub base content.
Cheers, Ross
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Post by reddirt on Jun 26, 2017 19:00:16 GMT -6
Rowmat's trick of duplicate/editing/ phase reversing is the absolute duck's, guys. Just working on a track I was by and large going to let go except for a couple of manual edits and just had to post how bloody happy I am with this trick. Previously I would manually edit but it was a bit of "experienced guess work" as to how much to lower each sibilant piece and futz around till it was near enough. Now you can automate each bit according to what it needs. Love it, love it , love it!
Cheers Ross
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Post by reddirt on Jun 24, 2017 23:22:57 GMT -6
As others have alluded to ; get the singer to sing past the mic, by angling it i.e. not directly into the capsule.
Years ago we used a rubber band to hold a pencil vertically, flat against the wind screen in the middle of the capsule; can't actually remember if it worked but the idea was to disturb the air movement and was hot property at one time - give it a go.
Another is, if a gap in the front teeth is accentuating it then small bit of discreetly placed chewing gum to plug the gap, could work.
Cheers, Ross
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Post by reddirt on Jun 22, 2017 22:00:07 GMT -6
Geez, it's not rocket surgery...........I have no idea how many FOH "engineers" get this ridiculous POV; it's like they are situated in a massive null. Get a massive wall shaking kick drum going and then try to add the rest on top of that - who hires these people?
Properly mixed performance at an acceptable level is a pleasure for the punters and is what they paid for.' I did a "folk/roots festival" show last weekend (don't do many live mixes - to protect my hearing) featuring a West Australian Blues 3 piece - upright slap bass, dobros, mandos, elec guits etc. called '10 Cent Shooters.' (Youtube them) Wiz and Rowmat may know them; - wonderful band, would have been somewhere around 85 db at the mixer (guessing) , so I moved up the front to check there - somewhere around 90 ish but IMHO well mixed and solid. The largely 45 - 75 year old audience were totally rapt for the hour, nobody left, many congratulated me including the band and then out of 175 punters they sold over 40 CDs. That's not trying to blow my own trumpet , that's how it's meant to go.
As to the guitarist being so loud it's like, "it only gives me the sound when the output valves are breaking up and anyway I like it like that" (Why you never give a guitar player final say on any mixes; a big generalisation but you get my drift) Another issue is that guitarists have their speakers at lower leg level so aren't hearing the level like those off stage. Try getting them to lean the amp back if possible.
it's not hard unless the PA sucks, the room sucks or the "talent" sucks; throw in a mixer that sucks and people stop going to live shows.
We as paying punters have a right to be pissed if it's shit, and as mixers, have an obligation to the band and punters to give them a great show.
I'm surprised there's not a lot of law suits against venues for causing hearimg loss
Cheers, Ross
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Post by reddirt on Jun 21, 2017 3:27:07 GMT -6
Thanks for your interest Vincent; I'll see what the client says but am not confident. Will do a major test and post it when I get a vocalist I work with often , in next week.
Cheers, Ross
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Post by reddirt on Jun 21, 2017 3:22:33 GMT -6
Probably most of us are engineering and tracking in the same room so it's very difficult when the clock is ticking to record, listen, make changes, record, listen in finitum. You may say ,"what about listening through cans?" Yes, I do but the volume required to hear with discernment above the acoustic sound is often I find injurious to my aging ears. What I do is, hopefully I know my mics well enough that I can guess what's required and take a reasonable stab at placement and if it's not obviously sucking upon ist listen I'll run with it. It's not ideal and i would love 2 rooms but I have to trust my experience .
L F headroom suckers can normally be seen on meters or in woofer movement if you know what you're looking for (and you should be looking if working with small speakers) It certainly can be (a not insurmountable) conundrum though, for sure.
Cheers, Ross
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Post by reddirt on Jun 18, 2017 21:39:57 GMT -6
Feeling like the father of a new born with all the fussing and carry on; meant to say,. will post some audio when the time is right.
Cheers, Ross
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Post by reddirt on Jun 18, 2017 21:36:34 GMT -6
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Post by reddirt on Jun 18, 2017 21:20:10 GMT -6
Nah, I'll get it
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Post by reddirt on Jun 18, 2017 21:13:47 GMT -6
file://localhost/Users/user/Downloads/IMAG0310.jpgfile://localhost/Users/user/Downloads/IMAG0305.jpgfile://localhost/Users/user/Downloads/IMAG0312.jpgfile://localhost/Users/user/Downloads/IMAG0313.jpg
Hope this works, Cheers
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Post by reddirt on Jun 18, 2017 21:09:45 GMT -6
Mic arrived today; Chile to Aust was quick ; inside Australia when left to Aus post took over twice as long.
The case it came in is very nice; not like a large piece of luggage that some come in ; approx 11" x 11" x 6". The cut out rubber is very solid; the lid rubber is typical egg shell foam. Also comes with {Shure type} pouch and solid generic shock mount.
The external of the connector is threaded but there is no collar ; if Joshua reads this he might explain (maybe there's an optional shock mount in the line).
The mic feels solid and is heavy; definitely not your typical knock off light as a feather piece of proverbial; so far everything inspires confidence before listening.
Have a few photos if someone can tell me how to post please.
A cool thing for you other Australians is I paid no Duty - WTF! so all up around Aus $1250; if initial impressions transfer to the sound it'll be a humungous bargain
Cello session late this arvo ; am feeling optimistic.
Cheers, Ross
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