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Post by reddirt on Jun 16, 2017 19:01:46 GMT -6
Thanks for the reply Kcatt, it's 7 reliable years I've enjoyed which is sensational in Computer land. If something died and it has to soon, it would be silly (I think) to fix it as something else would be liable to go at any time after that.
The biggest issue with my 2010 machine is I'm still on the zero problems Snow Leopard which precludes me from updating software, so pragmatism says update the whole shebang and use a dock to interface FW/USB devices.
I welcome more thoughts. Cheers, Ross
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Post by reddirt on Jun 16, 2017 17:42:15 GMT -6
Further to my last post; the connectors are TB 2 and USB 3 on the pared back model so perhaps it's silly investing in older systems?
Cheers, Ross
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Post by reddirt on Jun 16, 2017 17:38:49 GMT -6
They also have a "new" pared back model with no touch bar ( sounds like a way to move old stock) based on the Halliwell chip as opposed to The Kaby lake. It's a 2.2 quad core i7 .
Given that I'm still running a 2010 2.53 dual core i5 with no issues, do i really need to be paying the extra for the high power machine or is it just false economy to think this way.
Anyone care to comment?
Cheers, Ross
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Post by reddirt on Jun 14, 2017 15:01:00 GMT -6
Yep, it's a connundrum , i'm still on Snow leopard with 'Tools 10.3.9 and it's super stable. Means i can't access any new plugs which is probably a god send to my pocket.
Cheers
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Post by reddirt on Jun 14, 2017 14:42:18 GMT -6
A quick P.S. Proper after sales service is worth paying for.
Cheers
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Post by reddirt on Jun 14, 2017 14:35:49 GMT -6
A sad irony of this whole Music Group thing is that Behringer got their big leg up by ripping off well established companies like Mackie / Boss etc and manufacturing those rip offs at Chinese manuf prices. After " colonising" the world in that way they now have the finance to buy out who they like and once again do what is to my mind, another rip off i.e. use the once proud names -Midas / KT etc to legitimise their product. That must be so galling to the people that sweated blood to make the original companies. Certainly those once proud names found it tough going in a digital world and probably would have died in the bum anyway but if any of us believe in integrity, scruples, right and wrong etc then we should see this for what it is.
As to the Warm / KT price issue; Music Group have the wherewithal to lose on product or at least make no profit for a time in order to dominate and possibly kill Warm. Again, scruples or lack thereof.
Further to that, we all would like a decent wage but in killing or undermining Western made product, Music group and any other ascendant cheap producer is part of the 'globilisation" ensuring that the idea of a decent wage as we once understood it is never going to be again - that's the new reality.
And whilst I'm on my high horse, disclosure: I have bought a Stam 87. Yes, it could be construed as hypocrisy but I (arguably) justify it by knowing that Joshua puts heart and soul into his product, attempting to improve it even and I'm willing to take a chance that his version obviates to some degree the issue for me (edginess) with current Neumann 87s which has previously stopped me buying one..
I'm obviously no expert but just adding a 2 cent opinion.
Cheers, Ross
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Post by reddirt on Jun 11, 2017 22:06:34 GMT -6
Been away for a few days hence the late reply. Wasn't attempting any negative in my comment about price. I'm up to around AUD $1250 w/o Customs duty, whatever that will be. Certainly not a 'cheap and cheerful ' unit but if it's quality is what I'm hoping, I'll be very happy because a good U87 could /should be a studio staple. I haven't come across one that i like at a price i can afford, hence the Stam .
Cheers, Ross
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Post by reddirt on Jun 8, 2017 19:27:31 GMT -6
Just received DHL notification that the SA 87 (w/ Sowter) is on it's way to Central Australia.
Am keen to see how it stacks up as the general purpose 'all day every day' quality mic.
When exchange rate, transport and whatever customs charge is factored in, it's no longer a cheap mic (although less than half a Neumann 87) but am hopeful that with the care and attention Joshua has
directed to it in order for it to be 'up there', that it is a great addition.
Will keep you all in the loop.
Cheers, Ross
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Post by reddirt on Jun 8, 2017 19:06:37 GMT -6
Oops , meant to say ' Don't be like that they might sue you!'! Cheers, Ross
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Post by reddirt on Jun 8, 2017 19:04:52 GMT -6
Arrogant Profit Producing Litigious Enterprise
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Post by reddirt on Jun 6, 2017 7:38:22 GMT -6
Just to add my 2 cents: I am the Australian who offered to buy Chase's unit and while I have misgivings which i have previously stated regarding the continually revised ETA of Stam pieces, I do not wish my name to be used in support of Chase's issue with Stam Audio or anyone else's disagreement with anyone, particularly on a public forum unless I have agreed to it.
This is not said in anger or to embarrass Chase, just keeping a clean(ish) sheet.
And now, back to the normal program
Regards, Ross
Wait a minute............. (read this with a smile), Hey Joshua, if you are reading, how's my due in Feb, SA 87 doing?
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Post by reddirt on May 30, 2017 17:36:51 GMT -6
yeah, I question all my in the box revs (Lex bundle, UAD 224, 140, 250) as they don't fill me with a sense of what I got from cheaper HW verbs . Maybe that's some mis-placed nostalgia but this discussion has lifted the scab of the wound for mine, The little LXP5 although a little middly was a great box, the LXP15 11 never lived up to it's promise IMO , the Roland 330 that was the basis for their 1680 recorder's revs was very good as was the Alesis Q2 (if a bit noisy) that EricN mentioned. I wanted to like the Kurzweill but it had a metallic resonance that didn't win me. The Ensoniq DP4 was meant to be great - my DPS16 plus had great effex so I can believe the hype. Keep talkin........ Cheers, Ross
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Post by reddirt on May 25, 2017 22:19:24 GMT -6
Thanks for bringing this up JK ; whilst my mid teenage years were excited by Sgt Pepper, in retrospect the apex of relaxed / perfect sound was achieved for me 3 or 4 yrs later on McCartney's Admiral Halsey (Hands across the water) trk. If you don't / didn't rate it because it seemed a bit "naff", check it out again. So right it got out of the way and let the (very creative) music speak perfectly ; a lot to learn from those times. Cheers, Ross
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Post by reddirt on May 19, 2017 0:14:49 GMT -6
Lip-syncing; phew! For a while there I believed all my experience and conclusions that recording soloists with 2 or 3 cardioid mics particularly so far from the source, meant phase cancellations had been rendered null and void by these mics. Can now jump dpwn off the scrap heap! Whatever, they still sound really good and if we couldn't make a great record with them it's definitely not the mics' fault. Go you good things. Cheers, Ross
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Post by reddirt on May 18, 2017 16:02:18 GMT -6
Very nice Martin, thanks for putting yourself out there - good song well played and sung. The mics certainly are up to par and I doubt anyone would be surprised if they were a U 47 and Km 84s instead of the Soyuz. What pattern did you run the 0-17 in as there's an impressive lack of phase cancellation, everything sounds full, natural, yet not over bloated. Cheers, Ross
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Post by reddirt on May 16, 2017 16:22:16 GMT -6
Sorry, a little off topic but relevant seeing as the thread has Stam's attention - Joshua, how are you going with delivery of the SA 87 ; I ordered in early Jan so am keen on seeing it on my Mic stands asap. Cheers, Ross
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Post by reddirt on May 7, 2017 1:28:04 GMT -6
FWIW, for me, my favourite is a very good version of the 50 yr old Shure 548. very little proximity effect compared with the 58s so can be worked on and off with consistent tone. They are a bit more susceptible to 'plosives but if you know how to work them they are great and the mid stands apart without being peaky, mind you it has to be a primo example and they are hard to find. I had my best one stolen recently, the one i'm using now is 85% as good and really a bit edgy and no better than anything else but I'm a creature of habit.
Cheers, Ross
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Post by reddirt on Apr 29, 2017 8:25:04 GMT -6
Guys, I own the new CMV 563 so I'll give you my opinion. It's a great mic on things that it suits e,g, accordion which is a long way away from the premium "jack of most trades"vocal mic I'd hoped it would be. With the stock tube (russian) it is quite broad band middly and a little deficient in the highs. however I have swapped it out with a NOS Telefunken EF 86 from the fantastic Christian Whitmore - (Bowie on this forum) whose service is right up there if you need valves. The Telefunken has definitely given it more tops but surprisingly , less lows. I like it a bit better better now though and it definitely still sounds quality but I reckon if I had my time around I'd seriously look at the Redd. I used the 563 yesterday as a backup on a singer guitarist's voice where I also had a Beesneez Arabella in fig 8 on his voice and a Blue Woodpecker on the 12th fret (fig 8) with an SP C3 on the body in fig 8, the guitar mics panned hard right, hard left. Because it was a back up and I was really just checking out the new tube, the CMV was into a Presonus FS pre whereas the Beesneez got the BAE 1073 as it's worked well in this configuration on this artist before. The CMV although only cardioid sounded pretty damned good and the off axis guitar sounded very real however adding the guitar mics for the right balance made the guitar sound a little middly due to phase and the image died so didn't use it, I stuck with the Beesneez. My take from that session is I think with proper placement the CMV could probably do the one mic only capture of vox and guitar pretty well.
The short of it is that whilst it can be terrific , knowing what I know now I wouldn't lust after it particularly at it's price, having said that it can be terrific on the right instrument and may be perfect for the right voice as it's that sort of source specific piece.
cheers, Ross
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Km84
Mar 30, 2017 0:13:45 GMT -6
Ward likes this
Post by reddirt on Mar 30, 2017 0:13:45 GMT -6
The 84 does have a present mid but it's by no means harsh.
Cheers, Ross
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Post by reddirt on Mar 30, 2017 0:09:48 GMT -6
Don't discount DR Bill"s modded Apex 205 suggestion; there was a GS thread where he had piano takes he'd done with them and they were terrific; I bought one on the strength of that and it's a winner. Also love it on clarinet, clean lead or front of Kit etc. Vincent you may well find your overall mics pick up enough of the brass but the Apex would be a cheap b/up in case and useable in other endeavours as well.
Cheers, Ross
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Post by reddirt on Mar 18, 2017 14:51:52 GMT -6
Now that I'm started MYN - the 940s are a different beast to the 840s in build and sound, the 940s are quite/too bright and as you've noted relatively break susceptible according to other's experience; I seriously think you are missing a good option if you don't at least audition 840s as they are a quality workhorse much like an SM7 of cans. I've had 2 pairs in 2 different daily used situations alongside HD 280s, M50s and HD 380s over 5 years. I'm on the case because of the apparent lack of knowledge of how useable these cans are in our (studio engineers) environment at a great price. As to sonics on any cans mate ; reviews can only be a bit of a guide at best; I live in a remote area so bought the M50s after reading so many glowing reviews and also owning the very first M 40s years ago (which were great). I was quite disappointed with the 50s and wondered if I had a dodgy pair as the bass lift was too obvious; point being , you have to audition yourself as cans are so personal. Best of luck. Cheers, Ross
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Post by reddirt on Mar 17, 2017 16:06:49 GMT -6
Nice looking machine; there are elements of the sound that you are going to love, particularly in my tape experience, how easy it is to get a wide vocal sound that feels simple and natural. Keep us posted. Cheers, Ross
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Post by reddirt on Mar 17, 2017 15:51:01 GMT -6
Hey Myn, the build quality of the Shure 840s is Ok, I've had mine for 5 years , the wires do stick out a bit from the head band so have judiciously used a bit of gaff tape to obviate any problems snagging them on something as can happen in the studio. Their bass is not perfect but they are a very good combination overall; on a scale of 1 to 5, I give them a 3.75, the M50s about 3. Sadly for you, the 840s have a coiled cable but it is detachable and thus replaceable.
As to the 1540's. I would buy them any day of the week if they didn't have a bass boost which cruels potentially great cans. They are wonderfully comfortable, sound fantastic except the bass is a bit hyped and at that price I want more accuracy.
My experience with the Beyer 770s is 25 years ago so take it for what it's worth but I recalled them being very comfortable , sounding impressive but with a smiley faced curve so no final gold star.
If i had the money I would audition the newish Beyer 1770s . I currently use my 840s for tracking and Grados as mix aids.
Cheers, Ross
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Post by reddirt on Mar 17, 2017 0:57:28 GMT -6
Clean electric leads sound fantastic on my Modded Apex 205 . Maybe Uncle Bill could chime in on his use on piano ( very cool)
Cheers, Ross
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Post by reddirt on Mar 16, 2017 18:47:56 GMT -6
Shure 840s are a good option, easily up to par with the M5Os with less broad band bottom end rise and a more open sound to me ; not perfect but easily up to par.
And yes the 380s, while it's all there, sound a bit plastic.
Cheers, Ross
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