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Post by johneppstein on Mar 19, 2024 10:42:16 GMT -6
How do you find the opto? I have an Opto. It lives on my vocal feed. IMO it's probably the best LA2A out there, worth far more than they ask for it.
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Post by johneppstein on Feb 26, 2024 17:16:41 GMT -6
opr /Mark I wasn’t suggesting anything negative or questionable about the quality of your work, just that I didn’t know the business name. Takes a lot of knowledge and judgement to recreate a classic Mike and I acknowledge and respect that. My suggestion would just be a means to have a respected 2nd party do a thorough and objective assessment of the Mike, which, I believe, would be to your benefit! Thanks for your suggestions Kcatthedog I appreciate it and I completely understand what you were saying, A lot people ask me to send mics for their assessment but I'd prefer to send the mic to a person who has the intention of buying it.
Having said that I'll be getting some sound samples happening soon.
Also I have a 7 day no questions asked return policy so if anyone were to buy and not be happy they can return it for a refund. minus Paypal fee(if used) and shipping costs.(No restocking fees or or other fine print hidden costs) or I can tailor the sound for them the 67 has a feedback EQ network that allows for the top end to be adjusted allowing for more or less HF roll off. The standard tuning is the baseline.
Anyhow It's much better to try in your own setup and on your own voice as that way you'll know immediately weather the mic is for you. In the development phase I've measured and tested this mic up against Vintage OG's and definitely It holds it's own I certainly wouldn't put it out if it didn't cut the mustard.
seven Days is better than nothing, but is not enough for many studios. 30 days would be much better.
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Post by johneppstein on Feb 24, 2024 9:49:39 GMT -6
A motor can still be functional and not function well. While severe wow and flutter/pitch bending can be cool on some things, it's not necessarily something you want on everything. I'm sure problems may have been fewer and farther between in years past, but it's been almost 35 years since the last one was produced and I think over time, its only natural for anything with moving parts to start showing signs of wear and tear. Besides mine, I know of at least 3 others that friends had or were in studios I worked out of that had to have the motors serviced. Of course the motor can have problems but I'd first replace the pinch rollers, tape tension spring, felts, tape, lubricate everything that needs to be lubricated after cleaning, check the tape tension, recap PSU etc... If those won't fix the wow and flutter then it could be the motor. But as you wrote that you've repaired Space Echoes I'm sure you know all of this. Hopefully you'll find time to fix yours soon! If people don't treat the motor well and just neglect it in some place that is less than clean any electric motoor can be made to malfunction. That isn't the motor's fault, it's the owner's. Just like driving a car until it throws a rod or bogs down from using cheap gas and oil. Mechanical devices MUST be maintained properly, Space echo motors are no exception,. although they are a good deal more durable than those used in many other tape echoes.
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Post by johneppstein on Feb 23, 2024 15:42:26 GMT -6
The EF-X3 is just a blast to use. It's pretty clean, especially using the balanced input. The instrument input goes through an Echoplex-ish input which can be overdriven. The echo sound itself isn't as colored, and the motor is very stable. My favorite way to use it is to pre-treat the input signal for extra vibe, and connect some kind of modulation source to the motor speed CV input. I'm tempted to try the new Boss BP-1w preamp/boost pedal in front of it recently. The 201 has such a useful sound still. How many playback heads?
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Post by johneppstein on Feb 19, 2024 9:42:00 GMT -6
I had 2 of these as well as an Echoplex back in the day and I couldn't WAIT to replace them with something quieter, more versatile, and didn't require cleaning tape heads and replacing worn out tapes. I had both a 101 and a 201. What is it with these things that everyone is willing to pay stupid money for them? I don't get it. I bought the Echoplex new in 1974 and sold it just a few years ago. It still worked but needed a new tape. It sat unused in a closet for decades. When digital delays and reverbs came out I was in heaven. Not going back, EVER! Replacing a worn out Space Echo tape is easy as hell. It's in a damn CARTRIDGE fer chissakle! None of the nonsense you need to go through with other tape echoes. And they're pretty quiet, as tape machines go.
Kids these days are SOOooo lazy!
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Post by johneppstein on Feb 12, 2024 11:36:33 GMT -6
What is it that it does for you? Is it a saturation thing a size thing or something else? I know about the modulation effect of tape echos having had some forever but that's nothing I can't do with about any delay plugin out there. They have "A Sound" that you can't get elsewhere. No, it's not saturation, it's tape! and unlike other echoes Space Echos used a fairly long loop that didn't constantly rub against itself, so tape didn't wear like it did in an Echoplex. And there's the multiple playback heads, available singly or in combinations, The only other echo that was in the same class was the Korg Stage Echo, whjich used the same technology. (and cost a bit more...)
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Post by johneppstein on Feb 7, 2024 10:47:33 GMT -6
Oh OK. I get the context now. How much do you guys think of the "Curator Role" approach now? (so much music out there now vs. Past) Like hosting shows for people ACTUALLY into learning about Genre(s)/History/Stories/etc? Chris Thaty wound be aqn interesting plan but for one problem - The vast bulk of the audience is not really interested in "Curator Shows" unless the subject is already hugely famous. People aren't much interested in learning about things the don't already have some interest in.
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Post by johneppstein on Feb 7, 2024 9:34:01 GMT -6
People do LOVE engaging music as a foreground experience where they aren't doing anything else. They just don't get that experience very often today. Exactly! When I was 16 (44 years ago) music was the center of our youth culture. We gathered at each others houses around the record player and listened endlessly to the bands we loved and followed. Forward 44 years and I watch what music means to my 18 and 21 year old son's and it's generally background noise whilst they are playing video games, watching Youtube tomfoolery and on socail media. It's a very obvious shift in importance and focus to youth culture, they will then take that attitude to music through to their adult lives. My hero's were super star musicians from the bands I loved. Their hero's are Youtubers, social media "influencers" and Youtube comedians/pranksters. All of whom are pretty useless and often destructive. There is no real art there. Our culture is being activrely destroyed for the benefit of the tech business.
This could probably be corrected through careful legislation, but the odds of that happening are about nil
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Post by johneppstein on Feb 7, 2024 9:21:11 GMT -6
Back then, even the shittiest label had to invest money back into music. Now streaming turns a big part of the profits to computer companies that don't give a rat's arse about musicicans. So what happenes if you bleed and bleed? Have a guess. I try to explain that to people that tell me streaming is soo good. Well, watch the path you're following, it might not lead to a place you wanted to be. What a blessing we get to pay Spotify et al 30 cents of every dollar made for using my music without my consent. And Spotify does f* all to promote music for their 30 cents. That's not the music industry. That's Big Tech raping the corpse of music.
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Post by johneppstein on Feb 7, 2024 9:15:58 GMT -6
Exactly! When I was 16 (44 years ago) music was the center of our youth culture. We gathered at each others houses around the record player and listened endlessly to the bands we loved and followed. Forward 44 years and I watch what music means to my 18 and 21 year old son's and it's generally background noise whilst they are playing video games, watching Youtube tomfoolery and on socail media. It's a very obvious shift in importance and focus to youth culture, they will then take that attitude to music through to their adult lives. My hero's were super star musicians from the bands I loved. Their hero's are Youtubers, social media "influencers" and Youtube comedians/pranksters. I don't want to "like" this, because I actually hate it -- but it's true all too often. Music is no longer the center of youth culture. You're missing the point. The point is that there is no longer much new music that is saleable, without financial backing.
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Post by johneppstein on Feb 7, 2024 9:12:35 GMT -6
At least musicians will go back to making music for the right reasons - cause they love it. The people (musicians, engineers, producers) chasing the charts / hits / success etc are doomed. This is a good thing IMO Even though I have worked with many successful artists, most of my work is done with people who love to make music, they don't expect to make a living from it. The ones that do often teach music as a job - others have a completely unrelated job for income. They tour, do great gigs locally and internationally, record great music, make some merch, and have enough fans to cover expenses, and have a great time making albums and performing, and if all goes well, have some cash left over to inject into the next album. Success is viewed through a realistic lens. "Realistic" lens?
So you say not being able to support yourself with your art is a GOOD thing?
Speaking as a broke musician, I don't think so. Not at all.
Nearly all the great music of the last sentury was probuced courtesy of the music industry. It would not have happened otherwise. The Beatles would have spent their carrers in the Cavern Club. the lesser artists would never have seen the light of day.
And if you have to work some menial day job to pay your bills and to eat you're not going to have much, if any time to work on your music - it doesn't just happen automatically, you know.
Success IS viewed through a realistic lens, but you lens is so far out of focus as to be useless.
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Post by johneppstein on Feb 3, 2024 12:41:49 GMT -6
When I'll tell my mum (93) about the woes of the industry I went into at 18 she reminds me about her youth. My parents rocked the night way (well till 10.30pm) to the sound of Dance Bands in Dance Halls run by Mecca. She said, so fantastic was the sound of a Dance Band (Big band) in full swing that they and the musicians thought .... This is going to last forever! Evolution driven by technology and fashion saw that prophecy turn to dust. Then came Rock 'n' Roll .... I stood in fields and stadiums at 20 watching Zepp, Rush, Genesis complex LOUD amazing music, so fantastic was the sound, I thought and the musicians thought .... This is going to last forever! Evolution driven by technology and fashion saw that prophecy turn to dust. Rinse and repeat. And erven that is being threatened by the onslaught of AI.
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Post by johneppstein on Jan 20, 2024 14:35:07 GMT -6
Given that use case, I would totally try an EV RE 10/11/15/16. All essentially the same mic. The RE11 has been the easiest to find for me the past couple years. Cardioid, no proximity effect, no big vocal boost, no pinch at 1-2k, unobtrusive on camera. Done. Man, it really sounds like those vintage EVs might be the best option out there. I love the sound of an RE15 but prices have really jumped on those in recent years. Mark, honest question for you or anybody else who can answer...why don't they (EV, or anybody else) make dynamic mics that are voiced like those anymore? Becuse in many ways they're not the same company aned also because thery don't make many (or any?) mics is the US anymore?
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Post by johneppstein on Dec 26, 2023 12:02:45 GMT -6
facebook. Im in a ton of really good audio pages/forums on facebook. Only reason I still have it honestly at this point.
I'm not welcomed there.
You see, I was given a great responsibility when I was in the service because of my advanced scientific decision making and ethical grounding that was part of a great protection system for the people of the United States. So people connected to a certain secrete society that spans into the world leaders and politicians attack, slander, and ban me even without provocation once they find out who I am. I'm sure over time, after these last few things that will come to pass, it will be better for me. Some are still shocked on how their leader bend to my requests at the top. When they are ordered to do the psychological warfare to me. This is not only limited to online. I notice GS is a British Empire corporate entity and what I experienced there may be a product of the current world events. Even though I started to alter things for the US because of other's unethical scientific things.
Needless to say, my dark mirror opposite of me of that responsibility will not prevail, and I would like to fix everything. But unfortunately. I'm out numbered and the secrete society people purposely don't want me to cross into the political realm to accomplish this. Their new world order agencies erased my existence, and my files ended up in both of the "leader's" houses. Some of the politicians know who I am and they came to my defense and go forward with my suggestions to them. Because they served too in the armed services and knew of my existence.
My life has been so crazy. And it never really dawned to me until recently why some of the good agents referred to me as "Captain America" until I picked up one of those comic books and it showed so many parallels existed between me and a fictional character made decades before I was born.
There is a few things I can say to the people of the US. I was their protector of certain matters in a special group of people and I'm the one who is preventing them to use their weapon of bioterrorism: "the mask". Because I know it would do the same thing here in the US, that is causing a certain plague of pneumonia with the unethical groups' co-wager, China.
The thing about Farcebook is that almost no one there spells the name properly.
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Post by johneppstein on Dec 24, 2023 10:21:02 GMT -6
Was (as often) partly kidding. But the truth is, the "signal to noise" ratio is higher here versus GS. There are some super cool members, that mainly/entirely post there of course. But more relaxed here. Sometimes I think from the "Junior" Pack level like me... To the Big Dogs that hang at these Forums... We're sorta a Support Group for all us fellow Gearheads. The Low Tech to High, etc. Mainstream people "just don't understand". LOL! Chris I disagree about the S/N.
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Post by johneppstein on Dec 24, 2023 10:13:34 GMT -6
Lovely. so now one can be a "recording engineer" without really knowing anything at all! Just what we all need.... It's what the vast majority of new 'recording engineers' are already doing anyhow... they have no idea what they're doing, but watch youtube instructional videos for a couple of hours and think they know it all. And we need MORE of that?
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Post by johneppstein on Dec 24, 2023 10:08:21 GMT -6
Lovely. so now one can be a "recording engineer" without really knowing anything at all! Just what we all need.... You obviously didn't watch the video Why should I? I need an AI reverb like I need a hole in my head. And I don't need an AI 'saving"me time - As far as I can see many or most AI made choices are not what I want. Damn thing can't even do a spell check right, let alone a reverb - or anything else audio.
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Post by johneppstein on Dec 24, 2023 10:04:13 GMT -6
Mary Cristness abs a crunchy New Year to all!
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Post by johneppstein on Dec 24, 2023 10:01:05 GMT -6
duplicate
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Post by johneppstein on Dec 12, 2023 14:01:10 GMT -6
Lovely. so now one can be a "recording engineer" without really knowing anything at all! Just what we all need....
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Post by johneppstein on Dec 12, 2023 12:24:34 GMT -6
Gibsons deserve Grover Rotomatics. I have the 18 to 1 ratio ones on my J-200. Feels great and in this climate it hardly ever goes out of tune. And the gold doesn't tarnish.
I would not use any 3 on a plate tuners that I've ever seen - not reliable.
I personally don't like the added weight to neck (feel the same way about the Grover's on my Les Paul Classic)...but if tuning is a problem I can always change it back Grover and Gibsons have gone together as long as I've been playing about 60years now... Damn, I'm getting old...
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Post by johneppstein on Dec 11, 2023 10:41:28 GMT -6
I upgraded my J45 with a bone nut, bone saddle and bone pins. I also threw a set of vintage style tuners. They were hard to find, but made a HUGE difference in terms of feel. Changed the balance of the guitar, not so neck heavy. I’m thinking similar things…bone nut and saddle and some Gotoh Vintage 3 on a plate style tuners…probably the “Deluxe” with the 1/18 turn ratio. I don’t gig so I’ll probably take the electronics out because they pretty bad 😆 Gibsons deserve Grover Rotomatics. I have the 18 to 1 ratio ones on my J-200. Feels great and in this climate it hardly ever goes out of tune. And the gold doesn't tarnish.
I would not use any 3 on a plate tuners that I've ever seen - not reliable.
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Post by johneppstein on Dec 9, 2023 13:56:28 GMT -6
Just got a new M88, in case I need to send my other one in for service.
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Post by johneppstein on Dec 7, 2023 12:44:41 GMT -6
I was cleaning out a box of stuff we used to use for our live rig way, way back in the day and found a pair of EV N/D 468's. Our drummer did sound for us in those days (when we did our own sound) and I think used these for toms. Pretty sure he also used them on a recording we did but I can't judge off of that cuz... well let's just say my mixing/engineering skillz left something to be desired at the age of 22. Anyone use these? I like how low profile they are but it's a bit of a hassle taking down my current tom mic array and setting up a new one to test it. Worth the time? Yeah, they used to be some of my favorite tom mics, back when I was doing a lot of close micing. Beat the pants off of 57s and a lot more rugged.
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Post by johneppstein on Dec 1, 2023 12:12:21 GMT -6
Reducing the squeaks via signal processing will "work" but will also damage other parts of the signal. There's another old saying, "Acoustic solutions for acoustic problems." Nah I could totally edit those squeaks without introducing any show-stopping artifacts. Then EQ out a little low end/low mids, compress a little, done. Next instrument. But it's better not to have to...
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