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Post by johneppstein on Sept 29, 2020 21:23:21 GMT -6
I think we need to talk about this one. 6. Thou shalt not coveteth thy fellow RGO members' Sta-Leveleth. Scratch that - "Thou shalt not covert thy neighbor's U47!"
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Post by johneppstein on Sept 29, 2020 21:18:54 GMT -6
I usually take the entire month of February off. Can anyone guess why February? Shortest month Got it in one!
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Post by johneppstein on Sept 29, 2020 21:16:03 GMT -6
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Post by johneppstein on Sept 29, 2020 21:14:26 GMT -6
What you get for buying Behringer. Thanks pop. You're welcome, sonny.
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Post by johneppstein on Sept 29, 2020 21:11:07 GMT -6
No it's not rumor - I have not heard anything about the matter from anyone or anything else.
It's pure (and admittedly imperfect) observation.
If anybody can corroborate OR disprove what I've said I would welcome it.
So OK your just going off on the internet saying they must be made in China because they make other gear in China? John, I respect you I consider you a friend but good god your acting like 12 year old girl! I beg of you shut up! The grown ups went and did the adult thing they asked the source and are waiting for a reply! You are through your take on this disparaging a product based completely on speculation. Also just so you know more than one transducer manufacturer has found manufacturering in China equals far better QC, and lower reject rate. So unless you have proof please shut up! I believe that you can get the repair parts and do it yourself to an older mic. I'd do that. SHOULD be a lot cheaper, anyway.
And maybe I'm old fashioned, but I don't use Chinese capsules.
And perhaps I'm overly patriotic (but not political) I'll still go for US (or Euro) made products over Chinese. Any further discussion should be via PM.
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Post by johneppstein on Sept 29, 2020 21:04:23 GMT -6
It's been a few years but it's a flat fee and I want to say it was like $180-ish? Seemed kind of high but the mic was unusable and came back as good as new (in a new case) and I haven't had any issues since. I seem to recall that fee included return shipping too. That may (or may not) have been before the move to China.
I DON'T KNOW.
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Post by johneppstein on Sept 29, 2020 20:45:14 GMT -6
Well, yes - but I do know that most of the new oners ARE chinese. If they're kept the RE mics in the USA they're the only ones. They don't advertise it, but if you look at the box it's there.
And I'm VERY WARY of "changes to improve production" because it invariably means "changes to make the product cheaper to produce" and there is ALWAYS some hit to quality.
Just go to a store that has one in stock and inspect the box.
John, I get it, but at this point your simply going on rumor, now almost every product that has lasted over 50 years have some changes. Fact of life. But when a simple enquire to the manufacturer can confirm a fact, don’t we worry that maybe we should do our due diligence? I mean you get on somebody as comical as Tommy but yet in many ways do the same thing? Oh by the way one of us did take the 3min to enquire with EV and is waiting for a reply. It’s called getting the facts, not guessing the facts. No it's not rumor - I have not heard anything about the matter from anyone or anything else.
It's pure (and admittedly imperfect) observation.
If anybody can corroborate OR disprove what I've said I would welcome it.
As I've said, I DO know that most of their mics are Chinese, but do NOT - to reiterate DO NOT- know about the RE20. And I would like to. Those mics that used to (but no longer) have a "8" or other designation in front of the number are DEFINITELY Chinese. I belive this probably applies to the 635, but am not totally sure. The RE series I DO NOT KNOW FOR CERTAIN.
OK?
I do believe that mics from any large scale maker - EV, Shure, Neumann, Sennheiser, whoever - that are claimed to be "upgraded" for production reasons are at least slightly downgraded. I know this for a fact about Shure, due to having worked on lots of them and can document the changes.
I'm not totally sure that EV will tell the truth, but I think/hope they will. However you need to make certain that the response isw from a person in a position to know, not just an "answer monkey".
Not you, MonkeyXX!
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Post by johneppstein on Sept 29, 2020 20:42:22 GMT -6
All I can say here is this - They need mute buttons on both candidates to eliminate interruptions.
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Post by johneppstein on Sept 29, 2020 15:19:50 GMT -6
It's not a question of age, it's a question of who actually makes it. I don't know whether the new ones are Chinese, but most of the new EVs are, maybe all of them. The problem here my friend while I don’t disagree that they might be made in China you keep repeating yourself, but with no proof. Well, yes - but I do know that most of the new oners ARE chinese. If they're kept the RE mics in the USA they're the only ones. They don't advertise it, but if you look at the box it's there.
And I'm VERY WARY of "changes to improve production" because it invariably means "changes to make the product cheaper to produce" and there is ALWAYS some hit to quality.
Just go to a store that has one in stock and inspect the box.
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Post by johneppstein on Sept 29, 2020 15:12:02 GMT -6
Yeah, but couldn't you just simply take the headbasket off, get rid of the deteriorated foam, and then put the headbasket back on? Yes, and if you're lucky enough to catch it before it disintegrates all over the capsule, you're in ok shape. But why would you want to set yourself up for that shit by buying an old one, when you can have the peace of mind of not having to deal with it for like a decade by buying a new one? I just don't think this is one of those mics where fetishizing vintage models makes any sense. It's just a dynamic mic, and I can attest to the fact that a brand new one will rule in all the applications they excel at. It's not a question of age, it's a question of who actually makes it. I don't know whether the new ones are Chinese, but most of the new EVs are, maybe all of them.
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Post by johneppstein on Sept 29, 2020 15:07:17 GMT -6
I know this was one of the Youtube reviews I watched: and I have been trying out different mics for a while, but I wasn't getting the smooth sound I was looking for. I paid around 100 USD for the V69 with upgraded tube, etc. I got a refund for the bad cable so now I can buy a new one that is better quality. Before the mic research, I was learning DAWs with a cheap mic, and I recognized the limitations. I tried out a high-end large condenser FET/non-tube mic but I didn't get that smoothness. The rest I can edit (EQ, a little compression, reverb/delay, etc.). I tried some tape saturation and other plugins but they didn't provide what this V69 does, and the budget has run dry at this point anyway! Just out of curiousity, have you tried the M88? It's my current choice for live performance and I'll use it for recording in a pinch. I have a roughness and perhaps nasality to my voice that I'm always trying to smooth out. (I usually record with a Pearlman TM1, but that's way out of your price range - trying to get a U47, but that's REALLY expensive...)
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Post by johneppstein on Sept 29, 2020 14:54:03 GMT -6
This seems to be a bit of a sleeper but the other day someone was raving about it. Anyone tried it? Thanks I don't know about the Chinese made ND68, but the USA made ND868 was a great drum mic in general. Any drum in the kit. Really good on kick, but also small enough to sneak in under the cymbals on toms, good on snare, anything. Those mics were some of the very few neodymium mics I really liked - I usually find them too strident. These were not.
But like I said, I don't know about the new Chinese versions. Me, I'd look for the originals whiled they're still cheap.
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Post by johneppstein on Sept 29, 2020 13:35:52 GMT -6
Well, yes, but you should replace it, of course. I would go for an older one.... Did, actually. Twice. But how old is old enough? Very good question. When did they off-load production to China?
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Post by johneppstein on Sept 29, 2020 13:14:56 GMT -6
Gonna change artists $20—$10000 per month to be in the platform. GTFO. #THISWILLFAIL OUCH!
EDIT - I sent Dweezil a message through their "contact us". Bets on whether he responds? I was myself - reminded him that "We're Only In It For The Money" was supposed to be a satire.....
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Post by johneppstein on Sept 29, 2020 13:08:32 GMT -6
After some research, it appears the schematic is that of a Supro S6616. Supro and National were very closely related, if not the same company. They actually used to sell that type of footswitch, i remember seeing them in stores when I was young.
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Dry Day
Sept 29, 2020 12:59:28 GMT -6
Post by johneppstein on Sept 29, 2020 12:59:28 GMT -6
Does anyone ever do this? Yesterday, no bourbon or any kind of whiskey. I'm not a savage, I had wine with supper . . . but no bourbon. I usually take the entire month of February off. Can anyone guess why February?
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Post by johneppstein on Sept 29, 2020 12:54:51 GMT -6
The foam inside deteriorates after a while and then they don't work properly, so I would get a newer one if I were you. Yeah, but couldn't you just simply take the headbasket off, get rid of the deteriorated foam, and then put the headbasket back on? Well, yes, but you should replace it, of course. I would go for an older one.... Did, actually. Twice.
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Post by johneppstein on Sept 29, 2020 12:47:00 GMT -6
I’d rather use digital gain in post....and it’s free! The only thing is that it doesn't transformer load the mic.
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Post by johneppstein on Sept 29, 2020 12:44:30 GMT -6
What you get for buying Behringer. Thanks pop. You're welcome!
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Post by johneppstein on Sept 28, 2020 21:00:14 GMT -6
4. Lack of demand— some may, as in the article, chalk this up to democratization of production means, but I think more accurately this is simply due to shifting, evolving tastes toward music styles that have different production requirements than past popular styles. Film scores, anachronistic big band and brass band music (of which, luckily, there is still quite a lot here in New Orleans), non-chamber or soloist classical musics, and proper drum productions will never be able to be recorded in someone’s garage or living room, but these things are largely not in vogue and do not account for the majority of recorded musics, even in my relatively unique market. I don't believe that for a minute. I think that the problem is ratherr lack of anything worth buying - and a lack of places to buy it if there was.
When was the last time you heard a new song that had you humming it as you walked down the street?
And the streaming behemoth has killed off the record shop in most places. It used to be that you could even buy records at the local supermarket. I remember buying Lightnin' Hopkins and Leadbelly there, on little off label companies. And although I haven't had the records for decades (Thanks a lot, Mom!*), the songs are still in my head.
If those people are truly your friends, why don't you talk to them about kicking down to the creators of their wealth? And to giving some people who aren't the commercial "names" a slice of the pie?
Yeah, I'm dreaming....
Yeah.
We've been lied to and robbed blind.
* - some of those records would be worth hundreds and hundreds of dollars now.
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Post by johneppstein on Sept 28, 2020 20:44:15 GMT -6
That was an interesting read, but oh man, it gives off a real Parisian gallery old guard deriding the upstart impressionist painters kind of vibe. All of the logical fallacies aside, I think their premise that any half-rational professional is looking to the industry in 2020 for a stable, sustainable career, let alone to make it big, is patently flawed. Anyone who’s getting into this business with money as a main impetus has been ignoring the writing on the wall, though maybe it has dulled given it’s been scrawled there for a good thirty-odd years now. Speaking strictly from a recording/mixing engineer perspective, fewer a&r or manager-types in the control isn’t exactly an unappealing prospect... edit: I want to add that I think they’re spot on with it being a top down sort of issue at its root. While I don’t see the democratization on the production and publishing sides as an evil, I do believe how royalties are distributed (or really, not distributed) is nearly-criminally unjust, and is what’s causing the industry to be in a state of flux, thus creating the career vacuums that we’re now faced with. Intellectual property rights in general are being badly mishandled these days, at the cost of the artists and those with whom they work. I wish I had some sort of at all tenable solution to add, though. The old guard IS the record labels. They’re still raking in the money. Not exactly, I think. When I was young the biz was run primarily by MUSIC PEOPLE. Maybe they didn't play or engineer, but they LOVED MUSIC. Those people are mostly gone. Also many companies were run and owned by one or two people. These days most are owned by larger corporations and run by people who are interested in primarily money. Music - not so much.
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Post by johneppstein on Sept 28, 2020 20:34:15 GMT -6
Are the new EV RE20s essentially the same as the older, more vintage RE20s, or has EV ever changed anything on these mics over the years? I haven't ever heard of any changes, but I figured it was worth asking. I have an older one that is my go to kick mic, but I was thinking about picking up a (brand new) second one as a back up and/or for micing bass cabs. Isn't EV having all their mics made in China now? I know a lot are.
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Post by johneppstein on Sept 28, 2020 20:32:39 GMT -6
I picked up a Klark Teknik booster a few months ago to get a little more gain out of my SM7 for a particularly quiet singer and it is thoroughly underwhelming. It makes a difference, but it's so negligible that I'd rather just do what EMRR is talking about and gain up with a compressor or the like (in the case of a vocal, it's going to be there anyway), and not have the extra variable. I'm really glad I didn't spend $100+ on a more popular model. What you get for buying Behringer.
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Post by johneppstein on Sept 28, 2020 19:53:42 GMT -6
Mogaines rock my world. They make my ribbons sound better, and the SM7B too. I’ve tested gain matching with and without, it’s not just the volume increase. Most ribbons need a different input impedance than condensers.
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Post by johneppstein on Sept 28, 2020 19:12:02 GMT -6
The connection people have the most problem with in these interfaces is the connection to the computer. Some people get off scott free and Bob's your uncle. You get a mix of these experiences in online discussions. My Aardvark Pro Q10 lost Windows support very early in its life, and the resale value of it got cut in half or more, I lost a few hundred dollars, moved on to Echo. HAH! My old converters were 3 Echo Layla 96s. Started with 2, got the 3rd later, after they got cheap. Ditched then, and the Lucid clock when I got the Antelope Orion 32. Quantum leap in quality. I think they're still around somewhere, I know the Lucid is. One of the Echos has a weird problem with a channel imbalance (and I do mean "imbalance") on one input. It appears to have lost one side of the balanced pair. Of course by then Echo had unceremoniously dumped support for all their conversion products.
As I 've been saying (and saying, and saying) there's a reason for that mixed response. If you're an egotistical know-it-all who thinks that just because he's installed other brands of converter before he doesn't need to read the instructions, you're bound to screw it up. If you follow the instructions to the letter then it's smooth sailing. And if you screw it up there's no second chance - if installation fails because you didn't do things in the proper order it's going to take a long call to customer support to sort it out. I'm not saying this because I think I'm some super installation guy. I'm saying it because I was forewarned - I saw a post somewhere that outlined the "problem" and therefore made DAMN certain that we followed the manual EXACTLY, and BINGO! It worked. And yes, the problem has to do with the connection to the computer. And to the internet.
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