|
Post by topshelfmg on Feb 3, 2017 2:22:50 GMT -6
I didn't quite read through the rest of the thread, so I'm sorry if this was mentioned already... but I HIGHLY suggest the Advanced Audio CM67se. It is most likely my favorite microphone that I own.
|
|
|
Post by topshelfmg on Feb 3, 2017 1:20:44 GMT -6
Thank you everyone for the info! I believe there are JJs in the EF86 position now, so I'll let you know if these Mullards fix the problem. It is channel two, and it passes signal but there is a static-y sound that goes up and down with the gain. Since the unit was originally built in the late 50s I would love to see how these NOS tubes affected the sound, even if it is very subtle. Also, I trust Shannon's word and ears more than anyone else in the world when it comes to microphones just about, along with Dave Thomas at Advanced Audio (who recently joined the forum), so that definitely is a compliment with some meaning to it!
|
|
|
Post by topshelfmg on Feb 2, 2017 1:22:41 GMT -6
Hi thanks, I have a Warm Audio WA76 and a lovely UREI 1176F and I couldn't tell you which is which when I feed them from the same signal; then bring them back up on two channels of the MXP3036. I have been using 1176 compressors since they came out in 1968. We had 3 of them in the concert PA system and I remember using one as a +8dbm Line Level "booster" to send the output of Led Zepplin's 6 channel mixer to the Altec House system in Vancouver late 1969. I think Bryce did an amazing job choosing the WA 76 input transformer and re-designing the circuit board to be more ergonomic. Plus the WA76 has brand new 1% resistors and 5% capacitors. The WA76 is Class "A" while the 1176F has a balanced IC input stage and Class A/B output stage but they were more stable. It takes a bit of finessing to get an older 1176LN or an early 1176D to settle in. However, Bryce has build a more stable 1176D class "A" version with very high tolerance components for an incredible price. It has the transformer input stage the Class A output stage but improved "detection" circuit of the 1176F. I can't even buy an 1176 kit and built it for that price. When I bought the pair of 1176F compressors for Ocean Sound studios they were about $400 each. I once bought a box of 3-1176 compressor "as is" for $250 but those days are long gone. It took the longest to get the older 1176LN to operate properly and the other two were 1176D models. I want a pair of the Warm Audio Pultec type tube EQ's next. I used to have a pair of real Pultec EQ at Ocean Sound and we just loved them. Has anybody tried Bryce's version. I talked to a few clients in Nashville last June at the NAMM show that loved theirs. I also have 4-URIE LA4 compressors that I have completely re-built in my studio. You have to be a bit of a DIY guy and source adapter sockets from JLM Audio so you can fit two OP275 IC's in each of the 3 sockets. Upgrade the 4-filter capacitors, and change out all the tantalum capacitors in the audio chain for new ones, clean the switches and pots then calibrate it. The Silver face LA4 kind of "suck a bit" with the original 4136 IC which had a slew rate of <1 (very, very slow). The OP275 has a slew rate of 22 and an output impedance nearly 10 times lower than the 4136. An upgraded Silver Face is now superior to a stock Black Face. I often prefer their lower 2:1 compression rate when cutting vocals but the LA4 also has selectable 4:1, 8:1, 12: and 20:1. The 1176 has 4:1 as its lowest setting which I like to save for the mix. The LA2a tube compressor has a fixed 2:1 ratio and its also a favourite on vocals. These optical compressors have a slow attack and an instinctive release that changes with gain reduction. I like to having a vocal compressor in the chain on the way to the recording medium but I want it to do as little damage to the transients as possible. It was a great privilege for me to work last year with my friend Malcolm Toft on our MT8016 preamp design based on Malcolm & Chris Potter's Trident Series 80 microphone preamp. I also got some great advice on the preamp build from my friend Tom Graefe who designed the Sony MXP3036 console and makes a killer boutique tube guitar amp. Tom and Malcolm both (in my experience) tend to build well thought out designs that are musician, engineer and producer friendly. I just love talking with them about circuits and audio in general. I just received a TLM103 which we will now use in the studio as the reference microphone for all our sound clips. Next week we plan to record some tracks comparing the TLM103 to our CM87, CM414 and the new CM48T 3-pattern tube microphone. Cheers, Dave Thomas aamicrophones.com Welcome Dave! I don't know if I've been on GS since I was shown this site, haha. I also wanted to briefly state that if you are in the market for an original U87 style microphone you may want to check out one of Dave's CM87s or CM87SEs. He recently sent me a test between a well maintained and serviced original U87 and his CM87 (or was it the CM87se Dave?), that was sent as a stereo file with the U87 being the left channel and the CM87 being the right channel. When I split the audio into two mono tracks, I thought I had made an error and that I had accidentally loaded in two of the exact same files! It wasn't until I flipped the phase 180 on one of the tracks that I was sure they were two different files / microphones playing back. And there wasn't a whole lot left over when the polarity was flipped, for the record. His CM67se is also my favorite microphone that I own. As for the Warm Audio Pultec clones, the EQP-WAs, I have a pair with a gain pot added to the back for better matching when used for stereo applications, and though I do not have an original Pultec EQP-1A, they certainly beat out any plugin I've heard modeled after them, that's for sure. They have served me very well for the price. Chad at Warm Audio explained that some have said the original Pultecs having more of a "transformer sound", and the Warm Audio version having more of a "tube sound" saturation wise, though this is apparently very subtle. Hope this helps.
|
|
|
Post by topshelfmg on Feb 2, 2017 0:20:54 GMT -6
Don't discount the possibility of an EF86 being noisy. Those early mesh Mullards sound sweet but are very noise-prone. I find few of them that I can use for sensitive stages. Try swapping the 12AU7s in their respective positions and seeing if the noise changes. I don't have a schematic in front of me but I thought the 12AU7 was used in an output, or some later stages in those units. Anyhow, that's usually the case with the 12AU7. Because they're lower in gain, you'll rarely find them in input stages. In those situations, the 12AU7 can contribute but you don't want to spend a ton on a 12AU7 for a couple reasons. One being that, unless it's your end-all preamp, it's better to put the money into the more influential tube (EF86 in this case) and just get a competent 12AU7. The other is that there are a lot of nice 12AU7s that get overlooked, but rival the quality of some of the sought-after names when used in an output stage. I usually steer my customers toward some of the more reliable and cost-effective 12AU7 options like certain versions of Sylvanias, RCAs, etc. Some prefer to go all-out and put Mullards and Telefunkens in every stage. But, in many 12AU7 stages, the difference between a Telefunken and a good Sylvania are very subtle. I greatly appreciate the quick feedback. My tech said he used to use the type of EF86 I just bought in U67s when there wasn't a Telefunken EF86 on hand, and that next to the Teles, they are his second favorite EF86. He went on to state that putting a tube in a mic was the ultimate "noise test", so I am really hoping that I get as lucky as he seemed to with Amperex branded tubes, that two out of three are quiet enough. They tested extremely strongly, and all have matching values. After reading your response, if the EF86 solves the noise problem, which I have a feeling I will, I'll most likely stick with the RCAs in the output stage that I have now. Thanks! If the I lose those odds and those three Mullards are not quiet enough for this application, leaving me with an unneeded EF86 cache, what would you recommend? I spent $65 after shipping total for the three so luckily it won't be a catastrophe, just an inconvenience.
|
|
|
Post by topshelfmg on Feb 1, 2017 22:59:11 GMT -6
I have a heavily modded stereo Ampex 601 preamp, and since one of the channels has gone noisy, I've decided to replace the tubes on both channels starting with ef86s I just bought, but want to gather some experience about NOS 12au7s. There is a Cinemag input transformer, the original output transformer, a 12au7 and ef86 in the signal path of each channel. It uses a tube rectifier though I know that hardly matters. I figure the ef86 is what went noisy due to their nature, so I just picked up 3 NOS (tested NOS, and actually NOS), mesh plate Mullard ef86s made in the Blackburn factory, branded as Amperex bugle boys based on the recommendation of my tech. Got a great deal on eBay, and I figure having a 3rd tube in the bunch reduces the risk of eBay tube shopping.
ANYWAYS... if this does not fix the noise, it has to be the 12au7's, so I figure I'd start gathering some info since I'm not super knowledgable on tube mojo. There are currently NOS RCAs in the 12au7 position, though I couldn't tell you what type, since they came in the unit when I bought it and most of the markings are faded. Anyone have tonal favorites for NOS 12au7's? I honestly may go ahead and replace them for the heck of it, even if the noise is solved with these ef86s just for fun and to experiment with the tone a little bit.
Cheers
|
|
|
Post by topshelfmg on Nov 23, 2016 15:55:05 GMT -6
Wouldn't you have your full mono mix on theeft and right? That's not what you're looking for. I believe he means to use the mono mix just to determine the EQ settings. Then route the left and right channels separately through the EQ using those settings. It seems like it should work, though I've never tried it. Sounds feasible to me, unless something unexpected happens with the phase. A pain in the butt, but feasible. I'm going to most likely be selling a pair of Warm EQP-WAs pretty soon, with the output trim mod of the back of each, allowing them to be matched on stereo sources. Picking up one or both would also work on a stereo mix.
|
|
|
Post by topshelfmg on Nov 23, 2016 15:46:51 GMT -6
The Sennheiser's are also a bit more plastic-y than expected. I guess that extra raw material budget went to shipping from Europe, haha. I wouldn't be surprised if they were slightly more comfortable than the Shure's, but I'm sure the Shure's (there was no easy way to avoid that) are plenty comfortable, plus they are made of "aircraft" aluminum and stainless steel.
|
|
|
Post by topshelfmg on Nov 23, 2016 15:43:30 GMT -6
Thanks! Darn, I saw a well priced Master Room not too long ago that I let slip. Now the only one I see is about $1,200! I guess that is only $600 per channel, but is it worth that price to you? Anyone else have any recommendations, or know anything about the Innersound? I'd love to have a spring verb for vocals, keys, guitars, aux percussion, etc.
I would not pay that much. In fact I keep an eye on them in case I can grab a cheap spare and that $1200 unit has been up for a long time. I think it actually started at $1500 which is 'flower pot guy' crazy talk. I paid $650 for mine on auction. That was 3 years ago. Most recent sales are around the same price. I can say that if mine ever went down I would find another as soon as possible. It really works for my style of music. A friend has the AKG BX-5 and its really good too. Has adjustable decay time which the Master Room lacks.
Gotcha. I was going to say, that seemed like a lot for that unit. There is a BX5 up now for $800, which still seems a bit steep. Kind of leaning towards the modern side VS the vintage side at this point after some research...
|
|
|
Post by topshelfmg on Nov 23, 2016 15:41:52 GMT -6
Wow, now that is quite a bit of cash for some spring reverb. Granted, its 4 channels and 2 decay times, with EQ, but still... I unfortunately don't think I could justify that right now haha. Sounds nice based on that short video, though I'd love to heard what 100% wet sounds like to get a better feel for what I'd be using as a send. Again, the end result sounds nice. I am kind of leaning towards a Demeter now, as it would be whisper quiet and gives me 2 decay times. Heck, I could probably even get 2 eventually and essentially have the IGS minus the EQ, and either EQ on the buss in my DAW, or throw an EQ after the reverb.
|
|
|
Post by topshelfmg on Nov 23, 2016 15:36:54 GMT -6
In an unexpected turn of events I believe we have decided to give the Sennheiser's to a family member as a Christmas present, as they seem more "all purpose" and more pleasant for casual listening, and I am going to get myself a pair of Shure 1840s for mixing and mastering reference.
|
|
|
Post by topshelfmg on Nov 23, 2016 11:46:22 GMT -6
BTW, Greg also has a B-Stock hardware sale on his website. Some good offers if you're in the US. Thanks for the heads up, I'll check it out.
|
|
|
Post by topshelfmg on Nov 23, 2016 11:45:25 GMT -6
I have tried quite a few springs. Not the one in question but... I ended up sticking with the Master Room 305 and the Fisher Space Expander. The Master Room has a lot going for it in terms of eq and vibe. Its very smooth and 'dark' if you will. Something magical about that one for me. I keep it on my mixer's aux line. The Space Expander is just plain fun. I love it on percussion like clave and well, just about anything where you want the spring to be a bit more obvious. If and when I come across an AKG locally she will be mine. Thanks! Darn, I saw a well priced Master Room not too long ago that I let slip. Now the only one I see is about $1,200! I guess that is only $600 per channel, but is it worth that price to you? Anyone else have any recommendations, or know anything about the Innersound? I'd love to have a spring verb for vocals, keys, guitars, aux percussion, etc.
|
|
|
Post by topshelfmg on Nov 23, 2016 10:57:42 GMT -6
Bump now that it's not 1am?
|
|
|
Post by topshelfmg on Nov 23, 2016 1:04:44 GMT -6
The RTZ 9762 Dual Combo, based on Randge's recommendation, and man is it a nice preamp. My new personal favorite, as Randy said it would be. I know they still have the 500 series models available, but I think I scooped the last dual mono unit for a while. As soon as they pop up, give them a go. I also got an old Tube Tech LCA-2A that has had some slight mods done to it, which I love on BGVS, certain drum busses, and certain (typically more natural, slower, or acoustic sounding mixes), and even certain acoustic instruments with very subtle compression (guitar and cello is what I've tried so far). I think it's a great unit, and it's fast as all hell if I need it to be. On that note, I also picked up a Serpent Audio SB4001 in the last couple weeks I deciding on after posting on here, and that is awesome as well. Mix buss and drum buss for heavier or denser mix busses or drum busses, and Randy got great results on a piano of all things with it when I brought it over to his place. It had the boost side chain mode engaged, and a 2:1 ratio I believe. I've been gear binging as of late, haha.
|
|
|
Post by topshelfmg on Nov 23, 2016 0:52:06 GMT -6
I am personally a fan of the subscription model. I would greatly prefer a "rent to own" model as some plugin companies are starting to offer, but as someone who owns a crap ton of plugs, I like the idea of renting them for a negligible amount of money, and either loving them, or not renewing my subscription. It is rare I go out of my way to spend a chunk of my gear budget to buy a plugin anymore, since I have my digital bases covered and then some, and want to continue my hardware kick. These models allow me to do both, which is cool. The Kush plugins in particular are pretty badass based on the little bit I've heard them, so I may be giving this a try.
|
|
|
Post by topshelfmg on Nov 23, 2016 0:38:22 GMT -6
I have a bad habit of watching just about any piece of pro audio gear that I find either interesting or unique, in addition to the normal stuff (mics, pres, compressors, etc). Needless to say, I get a lot of notifications. Anyways, I just got a notice that an Interwound RV100 spring reverb went on sale (I don't particularly remember watching it), and I could get it for a decent price. The EQ alone on this thing looks killer, and it seems to be in excellent shape. I've wanted to grab a rack spring verb unit for a while now, and just haven't gotten around to it, but this may have given me the excuse I needed. Anyone know anything about this unit? The seller claims they have a "cult following"... which thinking about it, so did some serial killers and that didn't mean they were good. Ideally, I was looking at some stereo or dual mono units, or even something like the Demeter with 2 separate channels with different decay times, but this thing seems pretty cool. Has wet/dry in addition to the 4 band EQ, and that just about does it for parameters besides input gain. I also see it has a "peak" LED indicator, so I'm not sure if that implies some half hazard limiter, or simply a clip indicator. I'm guessing the latter. Waiting to hear back from the seller on roughly what the decay time is. Also waiting to hear back on its age, and if it's balanced or unbalanced (I'm guessing / hoping balanced), and if it's balanced is it transformer coupled or what. Can't find a manual anywhere online, and the only schematics I can find, I'd need to buy. Worth picking up, or should I hold off for something like a Demeter, Orban, AKG BX-5, etc? Or maybe even a Furman RV-2 or similar Furman model as I've heard they sound surprising nice?
|
|
|
Post by topshelfmg on Nov 21, 2016 19:11:01 GMT -6
Nice problem to have- 1840's are supposed to be nearer the 600's but not tried them ( use AKG 702 & BD 880T ) Open back are supposed to give less resonant cavity effect. Most higher end ones are really comfy too. I know, right! Luckily a lot of my friends are audio geeks like me. So, are you saying the 1840s are supposed to be "one tier" below the HD650s?
|
|
|
Post by topshelfmg on Nov 21, 2016 16:30:41 GMT -6
A group of friends / family pitched in together to buy me a pair of nice open back headphones as an early Christmas present. Why open back headphones of all gear? Not sure, but I think that's pretty cool and I'll take it, as I only have a few pairs of closed backs right now for referencing. They couldn't decide between the HD650s and the newer SRH 1840s, so they got me the tried and true HD650s this morning, though they said it would be just as easy to swap them out. Anyone feel strongly towards either or? It's my understanding the HD650s have a wider frequency response, with lower bass, while the SRH 1840s have a bit more clarity and a tighter low end? I was personally leaning towards the SRH 1840s, but now I am very much on the fence, as the Sennheisers have been an industry go to for many years, for good reason. Is there enough of a, if any, improvement with the 1840s over the HD650s to justify swapping them out? They obviously won't replace my mains or reference monitors, it will just be a nice additional monitoring option. Would also be nice to be able to take them, and maybe an Apogee Groove on the road, if I need to get some on the go cans mixing done before I get back to my studio.
I'm going out of town for a while so I personally wouldn't be able to try them out right away, so I figured I'd gather some experience and opinions on here while I'm gone.
|
|
|
Post by topshelfmg on Nov 14, 2016 1:20:13 GMT -6
So...... do I just get a long extension cord and plug my next power conditioner into the next room?
|
|
|
Post by topshelfmg on Nov 14, 2016 1:17:40 GMT -6
A more simplistic way of looking at this, if breakers were quick enough we wouldn't need surge suppressors! Any True sine wave Regeneration UPS system is a going to involve many pieces and those pieces are going to be rated pretty close to the systems rating so they are not going to be able to deliver those Quick demands! also the UPS system isn't able to look ahead and see those quick demands it's a dumb box ! I'm not going to say an investment in say a Tripplet or Permapower system isn't a good Idea, Most power products marketed specifically for audio have solve specific problems that an electrician on site is better equipped to diagnose and solve than a guy over the phone. Spending less money with a good electrician on site is probably going to go a lot further as well. Gotcha, scratch that idea then. Just posted above but I hoped it would be simply passing the power from the mains in a safer way than going into a power strip / surge protector, until an outage occurred, solving the lack of outlets problem.
|
|
|
Post by topshelfmg on Nov 14, 2016 1:16:09 GMT -6
This subject is probably too deep and technical for me to explain in a forum posting. It really takes a couple of text books and study time. I have degrees in Nuclear Power and electronic engineering, as well as music. I have professionally worked in all three fields. I say this so you know I am not guessing about this. I will give it a final go here. quote author=" Quint " source="/post/109691/thread" timestamp="1478960815"][quote timestamp="1478926615" source="/I don't at all have a misconception about how breakers work but, as far as I've been aware, UPS's similarly will pass instantaneous power essentially uninhibited. You disagree and say that UPS's can limit the instantaneous power available. A UPS supplies AC load via its inverter output circuit. Any given inverter will naturally have a max power design limit. A limit where it cannot physically keep up with power demand. Usuallly inverters are rated for average load, say 100w. But it's the peak instantaneous power that is important for audio loads. As with my previous example, we need 1200W peak very quickly. The inverters/UPS that I have been aquanted with don't keep up when demand gets that high while your breaker and outlets will keep up easily. In addition, I have participated in several controlled listening tests. Not one of the bonanfide mixers, producers or mastering engineers preferred The UPS. I am sure there probably exists a UPS of sufficient ability to perform essentially as a breaker. I am just not aquanted with them. At least not with any that a studio or home recordist:is likely to afford or install in their apartment. If you know of a specific, super performing UPS, please do share. I would be interested in that. quote author=" Quint " source="/post/109691/thread" timestamp="1478960815"]Speaking of instantaneous power demand in a power amp. That's what the capacitors are for, no? To supply a reserve of power for the peaks and then fill back up in between. If the power supply in a power amp or any piece of gear has sufficiently large caps, doesn't that render all of this moot anyway? No. To be clear, I am talking about AC power into the amp, not audio output power to the speakers. Typically, the larger the reservoir caps,-> the smaller the conduction angle -> the greater the instantaneous power spike to fill the reservoir caps back up each cycle. Anyway, that's about as much as I want to say on that. . If you have further interest all this can be found in engineering text books. [/quote] Ah ok, I figured the UPS would simply be passing the power from the mains, not trying to run from a battery or the power itself is producing. I was starting to think / hope the UPS wouldn't act as, well, a UPS unless it really had to during a power outage. It would have been nice to essentially have safe extra outlets with a worst case, transient destroying, scenario back up.
|
|
|
Post by topshelfmg on Nov 14, 2016 1:00:25 GMT -6
Fingers crossed Softube ends up releasing a native version like they have with most of their other plugs. Have yet to invest in a Satellite, though UAD seems to be consistently giving me new reasons to take a break from hardware purchases. Interested in hearing the Curve Bender as well.
|
|
|
Post by topshelfmg on Nov 14, 2016 0:55:49 GMT -6
Black T's out of stock👎🏻 Any plans to re-order? Let's buy some of the grey ones so there is a chance of that!
|
|
|
Post by topshelfmg on Nov 11, 2016 19:29:25 GMT -6
Any plans to reprint the black ones?
|
|
|
Post by topshelfmg on Nov 11, 2016 19:28:01 GMT -6
I understand that current limiting can be a problem but your breaker is a current limiter too and nobody complains about those? Your breaker still lets quick transients through . What would you recommend then?
|
|