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Post by johneppstein on Aug 8, 2023 10:53:49 GMT -6
Must have hardware eqs in 2022? None. You're buying a BMW because you can't handle a Honda. I dunno... I think it's the music you're dealing with and what you expect out of an EQ. And not all EQs with similar features (and even specs) are created equal. Also it depends on your experience level. An inexperienced person can get totally lost real quick if confronted with a stereo, 4 band, fully parametric EQ. And if you want an "atmosphere" type of EQ then you're talking analog technology. You need a balance. Use each technology where it excels.
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Post by johneppstein on Aug 5, 2023 17:13:16 GMT -6
Seems weird to me. I bet most are using a blend knob wet/dry so they are accomplishing the same thing? I’ve known a lot of sound guys and they’d often tell me simple recipes for success, and leave out the important details so that it’s impossible to recreate. One example that tortured me while learning: always use top/bottom snare mics! They never mentioned invert polarity and why you ALWAYS have to. Same with bass DI and mic I use neither top nor bottom snare mics. I use one KM84 in the middle of the side of the drum, a couple inches off from the vent hole. You use the mic position to get the balance between top and bottom, and in that position your KM-84 is not likely to get whacked. And there's no phase problem.
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Post by johneppstein on Jul 27, 2023 11:24:33 GMT -6
I love my Heiserman type-19 on pretty much most things. Oh, if only it wasn't for the blue LED. Paint It, Black!
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Post by johneppstein on Jul 18, 2023 8:42:52 GMT -6
If you want an accurate sound, it's easy to beat. I generally HATE "kick mics" with the EQ rolled in because I almost invariably hate the taste of the idiot who chose the tuning. And I don't like the Beta series in generral. Sure, I guess, but how often do "accurate" sounds sit in a busy mix? Also, OP is talking about live sound... I assume time is of the essence even more so than in a studio environment. In a world where sometimes the venue sticks you with a measly line check, a mic that you can just toss in, not really worrying about a stand or positioning, and already has some of curve to help it cut through guitars, bass, keys or what not, doesn't sound too bad to me. No one with ear plugs in is hearing the minutiae of the kick... it just needs boom and click. You can also turn off the EQ notch on the Beta 91A, too. In the studio... thats different. I think I use a different kick mic every session, depending on drum, tuning, part, genre, etc.. etc... but live, simple and easy can be good when you got 5 guys yelling at you for this and that and you're trying to scroll through the 5 sub menus in the Midas just to turn up the kick send. I DO NOT WANT people who have never heard what I'm recording making non-reversible EQ decisions baked into the microphones. Yes, EQ might, and often is, neccessary. But when it is I want to do it myself based on the music, not have some lab dweeb who I've never met making decisions for me based on nothing more than his lack of taste.
And I HATE clicky kicks! It is my opinion that the whole "click" thing was developed when metal bands were usually doing clubs that miced the kick with a 57 and needed to make it carry. And I'm talking about bands who would eventually make it really big. Unfortunately they never updated their drum EQ.
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Post by johneppstein on Jul 16, 2023 14:14:20 GMT -6
Or something old - I tend toward classic honkeytonk country with a good dose of Dwight Yoakam.
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Post by johneppstein on Jul 16, 2023 8:51:45 GMT -6
Though not a dynamic, its hard to beat a Beta91A, IMO, as a general purpose, easy kick in mic. No stand needed, it usually sounds good just popping it in on the floor of the drum (or pillows), and its EQ curve gets you part of the way there without going too far and boxing you into something. A session guy around my parts has one permanently suspended in his kick, with an XLR connection built into the shell. If you want an accurate sound, it's easy to beat. I generally HATE "kick mics" with the EQ rolled in because I almost invariably hate the taste of the idiot who chose the tuning. And I don't like the Beta series in generral.
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Post by johneppstein on Jul 14, 2023 11:15:16 GMT -6
Well, although I have met Mr Sneezby (really nice guy), I have never used any of his mics, so I have no criterion to judge by. Therefore I must decline to enter what could only be qa guessing gave for me.
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Post by johneppstein on Jul 14, 2023 10:35:54 GMT -6
(When you already have dynamics for backup).. Every once in a while a place would bring out 414 for inner kick. That was fun, ..big stage though. Now the 214 exists maybe it’s something to consider? And there’s all the boutique brands now who have nice solid state mics. Just brainstorming Mounted permanently inside the drum? I don't think so.
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Post by johneppstein on Jul 14, 2023 10:25:15 GMT -6
I will second the ATM25, good for rock but rather natural. I really love the M88 for a nice natural kick that you can sculpt. Telefunken M82 and AKG D12vr are also nice and have some cool eq presets. D6 for me is too much of a one trick pony. I also use the SM7 a lot for kind of of woody mid focused sound, sounds great for indie, folk stuff. M88s are great mics but they can be fragile. I've head of them suffering diaphragm damage from a too energetic drummer.
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Post by johneppstein on Jul 14, 2023 10:17:03 GMT -6
The line is only fuzzy in the eyes of a buyer, from a gear manufacturers point of view it’s crystal clear; has the pattent or trade mark expired? Fuzzy ? We are talking about Behringer the guys who made such a good copy of an Aphex that it said Aphex on the PCB ! The price of reproduction of LA2’s 1176’s Neve etc went down because the market expanded for these products and it didn’t hurt that a lot of the non critical parts are now sourced from China. Simply go look at what kind of discount you can get on something as simple as a resistor if you move down the columns by buying in quantity. When I had my ADL’s I know Anthony built them, my Purple MC76’s were built by Andrew. These were basically one or 2 man shops. As much as I like to be an educated buyer, I don't have the time or knowledge to understand who owns a patent or trademark. Are you aware of who owns the copyright to the Prophet synths Behringer is cloning? Are companies like Sweetwater breaking the law in selling them? Are we talking about ethics or legalities in this case? In regards to the ethics of buying LA2A and 76 clones, I'm not sure if I understand your point above. Are you saying if I buy clones from a small two man shop they get an ethical pass but Behringer should not? I'm honestly not trying to waste our time arguing Eric, and I find most of your posts here highly educational. I'm not an apologist for Behringer. I own one powered speaker they made (still works fine) and one crappy plastic pedal that's meh. If someone refuses to buy Behringer because of past sins I fully respect that. A lot of the heat is/was caused by the fact that in earlieer days, Uli cloned a lot of stuff that was still in production. He doesn't seen to be doing that these days - now he goes for classic stuff that has been "out of print" for years,or he simply buys companies with good reps that have fallen on harder times.
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Post by johneppstein on Jul 14, 2023 9:57:01 GMT -6
That is the main thing, the professionals amongst us and those who wish to be understand our compensation is based on intellectual property rights, to see someone tread all over the intellectual property rights of those who have built reasonable priced tools for us to simply deliver lower quality tools at lower prices seam wrong. Exactly. Anyone who wants to make money off their creative works (music) should honor the creative work of others. Where would synths be without Dave Smith? Yes, but -The statutary time limits vary greatly between patents and copyright, with copyright being much longer. To extend patents many companies update designs on a regular basis, but companies that are defunct andf the patent owner can't update designs, or if not sell their patents to someone capable of improving the design frequently have their patents on old gear lapse.
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Post by johneppstein on Jul 14, 2023 8:45:15 GMT -6
Things are vastly different. Pandemic destroyed my band, and now my lead guitarist (the last member) wants to move and go live with his relatives - he's complaining about getting old - and he's about 8-10 year younger than me!
Don't know what I'm going to do, especially given all the medical problems I've had over the past year. I don't want to quit music - it's all I have left...
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Post by johneppstein on Jul 12, 2023 12:58:19 GMT -6
Quite honestly asking for a friend . . . What's your favorite dynamic for a permanently mounted kick mic inside a drum shell? Obviously a built in clip that is rigid would be essential. My thoughts include EV RE320, Tfunk M82, Audix D6 (I believe that's the model). Def does not want a D112 or SM52, as he dislikes those... and who can blame him? Well, a few years ago I would have said a D12E, but they've got got scarce and hard to get serviced. Now? Well, I've used an RE20 a lot. There was also a small, almost bullet shaped EV- the ND408. The one I'm thinking of was USA made andf the current versaion is Asian and has a slightly different model number. Looks the same, but I haven't heard the new version. There's another EV, THE ND-868, that I use live a lot It does have some slight "built in eq" but it's not nearly as obnoxious as some others. I generally dislike "Pre-EQed" mics. Usually way too much "KLICK!!!"
I share your animus toward the D-112. Not even good for a backstage football game with that stick coming out of the side!
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Post by johneppstein on Jul 12, 2023 12:14:41 GMT -6
I wasn't aware that Bill Gates had any actual partners, he's always been a competitve SOB. What a strange stance. Most big companies were built with people trampling on others. There are exceptions, but most of the big ones were created on unethical grounds. Also, Steve Wozniak was a billionaire before donating his wealth. Politics is also rife with corruption. That doesn't mean I'm not going to vote. Well. for some reason I was particularly offended by the way Jobs treated Woz. Maybe it's because at that time I was hanging out in some of the same circles in Sillycon Valley as the original Apple and Atari people, so it was pretty close to home...
Also, Apple and Amiga were bitter rivals. I think I still have my old Amiga - with fuill blown Video Toaster rig- in storage somewhere...
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Post by johneppstein on Jul 7, 2023 15:40:31 GMT -6
I don't support people who screw over their partners, especially when that partner did all the work. So you don't use Microsoft either, then. The plot thickens. I wasn't aware that Bill Gates had any actual partners, he's always been a competitve SOB.
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Post by johneppstein on Jul 6, 2023 9:06:05 GMT -6
I don't use an Iphone, or Apple anything, really. Helpful comment. I don't support people who screw over their partners, especially when that partner did all the work.
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Post by johneppstein on Jul 3, 2023 16:15:30 GMT -6
I don't use an Iphone, or Apple anything, really.
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Post by johneppstein on Jul 3, 2023 8:19:42 GMT -6
You can't make an LA2A in a 500 series format. It is sadly not possible due to consumption limitations on 500 series racks. I made a 2 tube and 3 tube version and it just doesn't sound like my LA-2A, it sounds very similar to an LA-3A. I strongly advice you get the AS 2A if you are after an LA2A sound (or mine or Warm and change the transformers and T4B cell) Nothing wrong with the 500 series, they sound good but they are no LA2A's. You can't honestly or correctly make one, not close to the spec . . . but you can make an LA3a or LA4 in a 500 series, and those are two very useful comps! There is no way you could squeeze an LA2A into such a small format and expect it to sound the same. Most tube gear is that way to some extent.
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Post by johneppstein on Jul 3, 2023 8:15:02 GMT -6
You can't make an LA2A in a 500 series format. It is sadly not possible due to consumption limitations on 500 series racks. I made a 2 tube and 3 tube version and it just doesn't sound like my LA-2A, it sounds very similar to an LA-3A. I strongly advice you get the AS 2A if you are after an LA2A sound (or mine or Warm and change the transformers and T4B cell) Nothing wrong with the 500 series, they sound good but they are no LA2A's. You can't honestly or correctly make one, not close to the spec . . . but you can make an LA3a or LA4 in a 500 series, and those are two very useful comps! OF COURSE you COULD build a good LA2A clone, but it would not be easy like doing a 500 series kit. And it wouldn't fit a 500 format for sure!
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Post by johneppstein on Jul 3, 2023 8:12:17 GMT -6
Thanks everyone for your input, I just ordered the Opto-comp from AudioScape. You'll love it.
I tend to be very skeptical about the idea of squeezing large rackmount gear (like an LA2A) down into a 500 sized format. Especially tube gear that runs at high voltage.
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Post by johneppstein on Jul 3, 2023 8:07:15 GMT -6
Has anybody mentioned Willie Nelson? He didn't even start doing his best stuff until he was what? About 40 or so?
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Post by johneppstein on Jun 27, 2023 11:29:58 GMT -6
This is why I do my dry month in February.
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Post by johneppstein on Jun 23, 2023 9:52:54 GMT -6
@rociante and eric are totally right. I don't have the drive I had 15 years ago...I've probably written over a thousand songs...and had each one of them rejected an average of ten times each. You start to get jaded. And like Eric said...everybody and their mother is writing their diary to music and calling it music. In all honesty, it's entirely NOT about the song. It's about selling an image...doesn't matter what you say anymore. But I'm not bitter. Being a little bitter is OK if you're chocolate!
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Post by johneppstein on Jun 20, 2023 8:56:19 GMT -6
BTW, I've always used 20 amp 12 GA STRANDED wiring. Not a place to skimp. Drawn in conduit.
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Post by johneppstein on Jun 16, 2023 16:55:14 GMT -6
It surely depends what your running! 15 amps is a lot of current for the average home project studio. My entire rig, which is quite big can run off a power conditioner that only has a 3 amp fuse in it! 20 amps is good I imagine if your adding in heating, lighting, AC and a large desk (though those systems are best kept separate of course) My studio is fed by it's own dedicated fuse box (RCD) and is a 13 amp ring. Heating, lighting and AC should always be electrically separate from audio.
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