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Post by reddirt on Jan 28, 2017 0:42:45 GMT -6
Here we are talking about the pinnacle of recording quality and I'm surmising that most of us aren't actually working in the very high end environments e.g. Blackbird etc. It's amazing that this quality is available to us ; we live in sometimes vexed but also fantastic times.
I have both Prism Titan and Metric Halo ULN-2 and dare not listen to Symphony! Went back to The MH the other day after using the Prism for a year and felt no reduction in quality just a slightly different flavour - in the absence of hearing Symphony am happy with either..
FWIW , my take out and what I want to add here is that while conversion is obviously a serious link in the chain, our rooms are our weakest link generally speaking; I can make a bigger difference recording a tambourine or sax in my house hallway on a Presonus FS rather than fighting the small dimensioned crap I get from trying to record those insts in my damped control room on the Prism / MH etc.
Not trying to diminish anyone's search for their holy grail but gently reminding us of the IMO , more major importance of the acoustic ; that's where I'm at.
Cheers, Ross
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Post by reddirt on Jan 23, 2017 21:22:10 GMT -6
Am seriously looking at this to make it all sound better and more "right", particularly vox. Not enamoured with any plug ins in this regard and have never used a real 2A. Tell me I'm not (or am) B.S.ing myself guys.
Cheers, Ross
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Post by reddirt on Jan 9, 2017 17:14:46 GMT -6
The Stam wait is a bit of a worry but so far all ultimately seems cool. The price on the 1073s is too good so I understand the desire - I have a no e.q. BAE which is great - my go to on anything remotely edgy. How are you liking your SA2-A?
Cheers, Ross
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Post by reddirt on Jan 9, 2017 16:56:32 GMT -6
Done $25 - what's reasonable John? Good work.
Cheers, Ross
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Post by reddirt on Jan 7, 2017 5:24:53 GMT -6
Hey Quint, what are we talking?
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Post by reddirt on Jan 3, 2017 6:14:32 GMT -6
Guys, I see people dissing UA and particularly their prices all the time and I 'm compelled to ask if they've ever run a company with many employees such as UA does. It's not for the faint hearted and costs a heap even before the cost of innovation is factored in not to mention that others such as Warm, Behringer (Klark Tech) etc, etc lift your designs with impunity.
Personally, i reckon they try hard to be relevant to the market and by and large make excellent, stand up product to be grateful for.
I run a satellite duo , love it and rarely run out of processing power on predominantly acoustic material.
Just another $.02 worth. Cheers, Ross
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Post by reddirt on Jan 2, 2017 19:50:55 GMT -6
You guys must be running some massive mixes if you're running out of processing. Cheers, Ross
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Post by reddirt on Jan 2, 2017 19:45:04 GMT -6
Hi rob 61 , am interested in the Stam as a utility mic in much the same way an 87 is although I find an 87 can be edgy on some vocalists. i certainly wouldn't want the Stam to be worse in that area. Are you able to give some more impressions on how it does and doesn't stack up in relation to your original please.
Cheers, Ross
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Post by reddirt on Jan 1, 2017 6:29:43 GMT -6
I have an SM7B, is it the best mic you can buy? - no. it's a great utility mic which can take a day to day studio battering and sound very good in some instances and will generally work OK in most . If you are set on a dynamic the Senny MD 441 is an altogether better but substantially dearer proposition which works on everything from Kik to H-H to vocals etc, etc, etc. If you are set on a cheaper condensor then I reckon the new Stam 87 copy might be worth a look . Just another $.02 worth. Cheers, Ross
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Post by reddirt on Dec 29, 2016 23:55:15 GMT -6
FWIW, hardly anybody talks about the issue of M/S whereby the side info is cancelled when played in mono which can turn your balance to custard depending on how much of the sides you've used as part of your sound; yeah i know , talking about mono is in those murky waters along with analog recorders but we have 2 local radio stations which still broadcast in mono, one of which is ABC, the national broadcaster so I'm wary of using M/S for that reason even though in ideal situations it sounds good.
Something to consider.
Cheers, Ross
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Post by reddirt on Dec 29, 2016 15:39:47 GMT -6
Just to give you more second guessing John; I've got a pair of one 15's in at the mo and whilst the biggest determinant is my treated heavily but still rubbish room, I think they are a fine speaker and appear to be slowly getting better as they break in. My one query is the 120 - 200 cycles region which appears a little dominant on voices but am hoping break in and better placement will fix that.
Obvious plusses are the stereo placement and generally believable presentation. To my surprise, the bass is actually very good and the separate amp 100 would appear to be doing it's job very well. A great bonus is they marry well with my Grado PS 500 cans (similar voicing) so changes made on one readily reflect on the other.
Also got the Amphion cables at a reasonable discount as I didn't want to 2nd guess that one. (Even though the distributor said he couldn't hear any diff with Mogami.)
Didn't try the 18's as I'm miles from anywhere and can't afford return transport let alone the pricier spkr.
Cheers, Ross
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Post by reddirt on Dec 29, 2016 15:10:22 GMT -6
You have it plugged into 2 separate inputs set at the same level and panned hard left / hard right? As Jeremy says , if it's not happening then, put on a set of cans and move it till it is ( should be reflected in roughly the same recording level on each track).
Cheers, Ross
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Post by reddirt on Dec 26, 2016 16:33:16 GMT -6
Hey Martin, I hear you about the organic and glue thing that occurs with live musicians; I am not a fan of music formed by numbers however I do a lot of recording for others and am now tired of trying to fix things after the event. Mainly I do singer songwriters who I will try to get a good rhythm track from which could consist of an acoustic plus possibly the main percussion element, laying on the other insts afterwards.
Many muso's may sound good live but put them under the studio microscope ( myself inc) and their time can be too suss to use as a basis to build the track from, so sadly I am now going to click tracks but even there many have problems and it's damage limitation rather than easy expression.
In expressing my frustrations , I'm getting round to saying that whilst the idea of live muso's is to my mind, the one to shoot for, the reality is that you need people who are totally invested in what you are doing and who are prepared to rehearse in their own time, coming back in till they get it right and there is the conundrum. They all need to be your best mates to put in that time or you pay good players to do it and you need to be sure they can truly play to the standard you hear otherwise you'll be trying to fix things after the event and that's rarely satisfying and a helluva lot of work.
Even the paid players I find need to have the track beforehand and be prepared to know their part before they arrive at the studio; you hope their pride will push them to get it right in their own time or you need a fat wallet as inducement. I've only found one drummer in many years who could lay it down without question and we cut six tracks in a short afternoon so they do exist but can be hard to find.
Just my evolving, no longer 100% pro experience; hope it plays well for you.
Cheers, Ross
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Post by reddirt on Dec 12, 2016 1:56:13 GMT -6
In response to the OP's comments on the M69, I often see people recommending them but can't reconcile with their opinions; IMO their sound reflected their cheapish price. They could deliver some bottom end in a live kik environment but were a poor man's M88 IME Cheers, Ross
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Post by reddirt on Dec 12, 2016 1:51:44 GMT -6
You're right John, the 202 were a terrific mic on most things including kik but the bass cap used to die in the ++++. The BBC used to use them in their on air studios in the 60s so that says something about their sound quality. I have a studio Project C3 which sounds pretty good through a BAE as does a Beesneez Arabella. Before using that pre with them I'd tend to leave them on the shelf.
Cheers, Ross
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Post by reddirt on Nov 29, 2016 23:02:43 GMT -6
Yeah but those counter clockwise draining toilets scare the crap out of me! They're working, then! Cheers, Ross
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Post by reddirt on Nov 24, 2016 22:34:43 GMT -6
Headphones are such a personal thing and I've had my share...... I've heard but never actually used both; the 650s are a warm inviting can but I would say the 1840s are more accurate; both are very comfortable. At the moment after trying many of the top contenders including owning AT R70s and AKG 712s, I've now got the Grado PS 500 II which are to my ears the best overall for accuracy within my price range however they are not particularly comfortable. You've really got to sit down with tracks you know and take the time with them if you want the best for you; people have opinions but there's no actual stand out winner IME. Cheers, Ross
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Post by reddirt on Oct 25, 2016 5:01:57 GMT -6
Buzz audio?
Cheers, Ross
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Post by reddirt on Oct 25, 2016 4:58:43 GMT -6
Oops forgotteng , just checked to see how long ago you actually first posted - sorry.
FWIW, if you were going to update at any stage I would personally still consider bringing the repaired one up to correct spec.
ericn, I thought it was their Opal which had the 2nd gen tweeter change ; the 2030 as well?
Cheers, Ross
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Post by reddirt on Oct 24, 2016 15:59:11 GMT -6
Further to my previous post, that's got to be incorrect about no tweeters as the 2030s are still advertised on both the US website and the Australian.
The Australian number you should ring is:61 - 2 9648 5855. It's 9.00am in Sydney right now . I'll be surprised if you don't get a "no worries mate".
Cheers, Ross
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Post by reddirt on Oct 24, 2016 15:46:13 GMT -6
O.P. Did you call Event in Australia? i.e. Rode, the parent company because their service is IME excellent; hard to believe they wpuldn't have a spare tweeter or at least make every effort to see you right.
I assume because the repairers replaced the tweeter that it wasn't the amp?.
Certainly mechanical devices can take some time to break in but if the tweeter ain't the same as the other box, I would initially doubt the ability for them to sound the same.
I'd go to the top - check with Rode Australia
Cheers, Ross
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Post by reddirt on Oct 21, 2016 15:23:41 GMT -6
Putting the words Behringer and perfect in the same sentence are not normally something I'd do but you have to say it's perfectly ironic and perfectly sad that Behringer could make a fortune from pillaging other companies ideas and ultimately have enough money to buy the ' jewel in the crown' companies to give themselves cred ( "pre amps by Midas " etc). The fact that in today's market some of those companies would have found it challenging to survive doesn't make it any better.
If I let myself, I get pissed thinking abut it.
Cheers, Ross
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Post by reddirt on Oct 18, 2016 17:49:01 GMT -6
Wow, with the CK12 , 701 and transformer you have the golden ducks all in a row; should be as good as it can get you would think. Congrats. Cheers, Ross
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Post by reddirt on Oct 12, 2016 3:23:59 GMT -6
What about the Royer 121 with a reflexion filter on the back if you need a ribbon. I haven't tried it but like the idea of it. Cheers, Ross
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Post by reddirt on Oct 5, 2016 16:53:03 GMT -6
Smarter brains than mine have already replied but I'm compelled to say the expression, " oppression of compression" can be cause for depression particularly when occurring in a session.
Cheers, Ross
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