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Post by stormymondays on Apr 19, 2021 13:56:07 GMT -6
Well, it's decided then! When I win the lottery or get a few extraordinarily well paid jobs I'm getting 6xAPI 550A and 2x560, as johneppstein suggested. That, plus the hardware I already have, would be almost as having a console, minus the parts I don't really need and can't fit in my studio anyway.
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Post by stormymondays on Apr 19, 2021 9:33:02 GMT -6
I'd say mastering is genre-agnostic, but I understand your point of view. I can heartily recommend Miles Showell at Abbey Road. He usually runs everything through his custom built Fairchild and Sontec EQs... He's mostly a "classic rock" guy, does a lot of the vinyl reissues.
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Post by stormymondays on Apr 17, 2021 18:25:30 GMT -6
Focusrite Clarett Octopre does the job for me.
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Post by stormymondays on Apr 16, 2021 15:22:14 GMT -6
I went for the “default” of drive on 5 although I know this console’s drive is different. I need to re-read the manual about this and also about the compressor modes.
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Post by stormymondays on Apr 16, 2021 4:30:29 GMT -6
I thought that was funny, too, because the 560A is a cheap compressor and I've owned almost 8 of them. Sold every single one of them though. Not bad at all. DBX brand. I believe Dr. Bill likes them. I got a pair of those! Still on the fence, haven't really had time to test them. And the 560 (not 560a) is API's graphic EQ.
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Post by stormymondays on Apr 16, 2021 0:12:09 GMT -6
Yeah, I was speaking to 550A's. Did I miss a memo? Idk. In the original post he mentions 2db steps and fix frequency but then says 560...so idk haha My fault, I was thinking about the 550A but typed 560A!
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Post by stormymondays on Apr 15, 2021 14:52:47 GMT -6
I've had a really good time mixing a record with my Console 1 and the Softube API emulation ("American Class A"). I love the fixed frequencies of the eq, the fixed steps, how a 2dB boost REALLY boosts things, etc.
That got me thinking... how AWESOME would it be to fill an API lunchbox with 8 560A modules? It's still eye wateringly expensive, but unlike The Box, I could actually fit the damn thing in my studio!
So, if any of you has an API desk or is running 8 or more channels of API EQ, I want to hear from you...
Edit: I was really thinking of the 550A, not the 560!
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Post by stormymondays on Apr 12, 2021 14:50:56 GMT -6
Thanks for the suggestions. I haven’t done any proper troubleshooting since there’s a project I need to finish but I’ll get to the bottom of this, and probably learn something too! I’ve already learned that bypass switches on hardware can and do click often!
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Post by stormymondays on Apr 12, 2021 12:00:04 GMT -6
After talking with an electronic engineer friend of mine and some basic tests, I've ruled out DC offset. It would be extremely rare for it to be present in a recording studio, since mostly everything is designed to block CD. And anytime the signal goes through a transformer it would be eliminated too.
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Post by stormymondays on Apr 11, 2021 14:56:53 GMT -6
As soon as I finish my current project I’m going to take one morning and really get down to this, starting from scratch.
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Post by stormymondays on Apr 11, 2021 8:03:35 GMT -6
Isn’t Pro Tools Carbon the solution to that?
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Post by stormymondays on Apr 9, 2021 14:49:37 GMT -6
Little update, it's awesome for tracking vocals (as expected). And since I'm mixing a mono album, I decided to put it on the master buss. Sweet!!!
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Post by stormymondays on Apr 9, 2021 6:35:05 GMT -6
That would be tough for me! Out of phase speakers make me feel like my brain is being sucked out of one ear!
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Post by stormymondays on Apr 9, 2021 3:17:06 GMT -6
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Post by stormymondays on Apr 9, 2021 3:16:02 GMT -6
This is a follow up to my topic about digital clicks (that I will update with this), where I was having a problem on start/stop. Well it gets weirder.
I have realized that I'm getting clicks whenever I bypass any hardware unit, but only when they are passing sound. I'm getting clicks with my Chromas when switching from A to N, clicks on my EM-PEQ when switching from bypass, same on my Weight Tank, etc.
The little knowledge I have on this points to DC offset, but that's all I know! I also believe this started to happen little by little.
Stuff I have ruled out: -It happens on headphones too, so it's not on the monitor controller/monitors. -It happens if I send signal from the DAW to an external piece of hardware and crudely plug that into a headphone amp+headphones. So it seems to be caused by the D/A conversion? -It happens across all DACs. I have two additional units connected by ADAT lightpipe to my RME Fireface 802. Another Fireface 802 and one Focusrite Clarett. It doesn't matter where a unit is connected. I have some that go in/out the same DAC, some that go out of one and into another.
All the hardware is connected to patchbays (Samson, quarter inch) and all the connections are balanced.
I welcome any testing procedures, ideas or hints. Thanks!
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Post by stormymondays on Apr 8, 2021 12:02:07 GMT -6
The thing about ribbon mics is that the nulls are really, really deep, much deeper than a multi-pattern mic. I need to try this with the U67 though!
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Post by stormymondays on Apr 8, 2021 7:37:10 GMT -6
I wanted to share a great studio experience I just had. I was having trouble nailing the pitch of some vocal harmonies while using headphones. You know, it happens to everybody once in a while... Since we are recording a ribbon-only, mono EP (cool project, not my own), I turned off one monitor, pointed the null of my Royer R101 to the active monitor, got a comfortable sound level and sang with no headphones. Bleed was absolutely minimal, only noticeable between phrases. And my pitch was spot-on! I have a single room studio. I've grown to become more comfortable with bleed, if it means a better performance. As soon as I see that a performer's headphones are getting in the way, I will try a recording without cans. It's amazing what you can get away with, and not just with guitar amps. I've even recorded mandolin with bleed and no cans, sounding great (KM84).
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Post by stormymondays on Apr 6, 2021 16:22:19 GMT -6
Any planned dealer in Europe?
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Post by stormymondays on Apr 6, 2021 13:57:19 GMT -6
On one particular occasion the Nord + Twin Reverb did beat a real Rhodes 73 (DI’d at another studio) by a mile. But it’s one of those “you had to be there” things. I now have a Wurly in the studio and nothing can touch it though!
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Post by stormymondays on Apr 6, 2021 12:40:59 GMT -6
I agree. We use it live, but it doesn’t hold a candle to a real Hammond in the studio.
One thing that works really well is Nord’s electric pianos into a Fender Twin Reverb. That really sounds nice, as good as the real thing!
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Post by stormymondays on Apr 6, 2021 9:56:06 GMT -6
I haven't used an original lately, only at another studio and that was a long time ago. All I can say is that my pair of Golden Age Comp 3A can hold its own against my most expensive compressors. I never feel I'm using a lesser product when I use them. They do what they are supposed to do, the compression action is good and the sound is good.
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Post by stormymondays on Apr 6, 2021 7:03:08 GMT -6
Golden Age Comp 3A. Sounds great, very affordable, looks the part too.
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Post by stormymondays on Apr 5, 2021 11:19:24 GMT -6
Very interesting topic. And I love "Sullivan Street" and that album.
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Post by stormymondays on Apr 4, 2021 15:19:47 GMT -6
Another shortcoming: no MIDI I/O, which I use for plugin control for my Bricasti. However, since this is the 21st century, a simple cable/MIDI interface fixes this!
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Post by stormymondays on Apr 4, 2021 15:06:49 GMT -6
The Summit is one of my favorites. I hadn’t realized that Softube is all AAX...
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