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Post by stormymondays on Apr 4, 2021 14:24:21 GMT -6
I do believe "the real thing" is the Stager SR-2N! I own the R101 and a pair of Stagers. The R101 never gets used in electric guitars anymore. I know The R101 is a bit different than the R121 but it's not THAT different, from what I gather.
Seriously, if you have an amp that's sounding great in the room, you just need to put the Stager in front of it and hit "record". Done. I don't even fiddle with positioning anymore.
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Post by stormymondays on Apr 4, 2021 14:14:06 GMT -6
Come to think of it, I’ll never use the 34 simultaneously, so I could do the same! Softube C1 integration is only slightly worse than Logic, I think I could live with it.
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Post by stormymondays on Apr 4, 2021 13:24:57 GMT -6
Very nice report!!! I also need to investigate Console 1 integration with PT, which I think is a weak point.
From what I see, it looks like I need PT Ultimate to use the 34 outputs?
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Post by stormymondays on Apr 4, 2021 11:11:35 GMT -6
I can see that compared to my RME Fireface 802 I’d be losing 4 mic/line inputs and the digital AES that I use to run my Bricasti. That means rethinking my setup a bit. It might be doable. It’s not a problem for tracking, only for hybrid mixing. I’m using two external 8/8 units via ADAT.
In comparison, I get two extra line outputs and two extra headphone outputs. And the talkback mic, which I like! Really great for tracking bands, for sure.
I’ve also read something about PT Native having a limit of 32 outputs while the unit has 34. That is probably going to suck big time, since I’d be using all 34 outputs. Comments on this?
EDIT: I see my 2014 MacBook Pro is not qualified. I will wait until they put out a new model I guess...
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Post by stormymondays on Apr 4, 2021 10:44:38 GMT -6
Bump for opinions and thoughts!
I’m getting tired of Logic’s inconsistencies, and as much as I dislike Avid, I won’t switch “sideways” to another DAW. It’s either keep up with Logic’s workarounds or get back into Pro Tools via Carbon.
I’m going to review the thread but - are there any obvious shortcomings/quirks in Carbon?
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Post by stormymondays on Apr 2, 2021 3:46:54 GMT -6
Thank you all, I have a bit of testing to do once I’m back at the studio. My interface is supposed to block DC but I’m not ruling out anything. I’m glad I asked instead of suffering in silence! However, now I know that at least PT and Reaper do this quick fade on stop/start that would cure this problem for anyone that had it. I’ll report back my findings.
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Post by stormymondays on Apr 1, 2021 7:32:26 GMT -6
Thanks. I’m going to test this for real when I’m back at the studio. I might send you a track for testing if you don’t mind. I’ll PM you.
If it’s not something that happens to everyone with a similar setup, then I need to fix it!!!
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Post by stormymondays on Apr 1, 2021 6:21:57 GMT -6
i don‘t get those clicks as you describe. i have a RME fireface. That’s interesting information. Maybe I am getting DC offset in my tracks. What’s your DAW? I see that quite a few do the tiny fade that avoids clicks.
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Post by stormymondays on Apr 1, 2021 3:07:18 GMT -6
Thanks, I’m not talking about edit clicks, I don’t get those. Just solo a deep bass, and press play and stop during one sustained note. Those clicks! 🤬
Edit: I wonder if this is interface specific (I have an RME Fireface 802).
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Post by stormymondays on Mar 31, 2021 16:26:01 GMT -6
Thanks, it might just work! I’ll be back at the studio tomorrow probably and can test it.
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Post by stormymondays on Mar 31, 2021 15:58:13 GMT -6
I wonder if such a thing exists. I know Pro Tools has a transport auto fade setting, but I don’t know about other DAWs. Logic Pro X certainly doesn’t! (Or I can’t find it)
I’m getting tired of the clicks and pops causing by hitting stop or play on a non-zero crossing audio file, which is everywhere on a full song.
If anybody is aware of a solution, let me know! I suppose the right developer could code this as a plugin in no time. I might even send the idea to a few developers.
All the plugin needs to do is to detect the transport and create a fade. I’m sure it can be done on start, not so sure about stop, but if a reverb tail can sound after stop, I suppose a plugin on the master bus could do something too?
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Post by stormymondays on Mar 30, 2021 13:51:40 GMT -6
I almost went into a crazy rabbit hole when I made the stupid test of checking if my analog mix buss hardware chain, all set in bypass, would null against the ITB mix. If it’s all in bypass it should probably almost null, right? RIGHT? 😅
Well, it turned out that stereo AD/DA plus cables, patch bay, and whatever method was chosen for signal bypass in the different hardware units really does change the signal a fair bit. It won’t null, no.
I thought briefly of trying to debug this and find the culprit. Fortunately I decided to keep my sanity and not do it. It’s not that I was hearing any signal degradation anyway.
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Post by stormymondays on Mar 30, 2021 6:02:05 GMT -6
Only a few regrets. $29 Waves (of course): Abbey Road TG Mastering Chain. Way too complicated, the GUI is too small, I doubt I'll ever use it. I almost regretted the CLA-3A but it turned out to be useful for a session with voiceovers.
A few Plugin Alliance too: Elysia mpressor and nvelope. I'm on the fence about SPL Iron but I think it's worth learning it, some people here love it and that's a very good sign!
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Post by stormymondays on Mar 28, 2021 13:37:23 GMT -6
The latest version of Logic won’t run in anything but the latest OS, maybe the one before. I wouldn’t run those versions of the OS even if I could.
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Post by stormymondays on Mar 26, 2021 12:22:44 GMT -6
Thanks for the tech details! Would this be much different from active electronics inside a mic? Probably a better question: do phantom-powered mics usually have active electronics that amplify the signal? Or is the power only used for polarizing the capsule and stuff like that? (not a tech expert!)
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Post by stormymondays on Mar 26, 2021 9:17:03 GMT -6
Optimized gain is about presenting the correct impedance for the amplifier for minimum noise and doing all your gain in one (the first) amplifier. This is why I’m always confused by these products. This was discussed a while ago here too. I think the Mogaine has a slight edge because it gets some “free” transformer gain. I think it’s also useful for ribbons due to the high input impedance and the transformer. Having said that, I’ve tested my SM7 with and without it, into a DAV preamp. It sounds better with it, and not noisier.
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Post by stormymondays on Mar 26, 2021 8:58:11 GMT -6
The Crimson is transformer-based, very different from the Cloudlifter. Looking up info I could see the 7up has the same gain, but they claim the input impedance is "optimized" for the SM7. My bet is it's just a rebrand.
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Post by stormymondays on Mar 26, 2021 8:11:15 GMT -6
Has anyone used the Crimson Audio 7up with an SM7B? How about the 7up in comparison to a Cloudlifter? I think it’s a rebranded Mogain? I love the Mogain, it sounds great on an SM7B, and on all my ribbons.
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Post by stormymondays on Mar 25, 2021 16:04:08 GMT -6
Fabfilter Pro L2. Does the job beautifully with no artifacts and great metering. The 1:1 comparison is really great.
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Post by stormymondays on Mar 24, 2021 8:16:50 GMT -6
The I/O plugin is a direct access to your interface's output, it has no latency of its own. In fact, it's the only way to process hardware in real time and have it in correct sync with your existing tracks. Using the I/O plugin there will be no latency at all.
Assuming this: -This is a mix situation (vs tracking where latency could be a problem) -You're using the hardware "live" and don't need to print it into the session -You want to patch an external EQ/comp/whatever into the track.
All you need to do is: add the I/O plugin, choose the correct interface output and input, set the hardware to bypass and click "ping" (you'll hear the ping). From that point on, your external hardware behaves as simply another plugin.
If you are sending and not patching in the track (i.e. with an external reverb), you do the same thing. Send to the Aux, insert the I/O in the aux as if it was the reverb plugin.
If you are reamping or printing back into the session it gets more involved, let me know if that's the case.
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Post by stormymondays on Mar 23, 2021 18:02:36 GMT -6
I don’t quite get why you say the I/O plugin has latency. You just need to click the Ping buttton so it’s calculated and compensated automatically. But the latency is not the plugin’s, it’s the interface’s.
I’m probably not understanding your use case, I think.
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Post by stormymondays on Mar 19, 2021 16:17:12 GMT -6
Quick question. Is SonarworksID the newest version or is it a separate software than Sonarworks 4? They’ve rebranded and upgraded it last week I think.
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Post by stormymondays on Mar 18, 2021 15:59:48 GMT -6
I got the regular X-Touch and when I needed to repair the encoder after a few years use, I bought the X-Touch One. I think I might like it even more!
One thing, though: the One is not modular, from what I've read. But maybe things have changed. I just got my repaired regular X-Touch so I'll see if both can work at the same time...
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Post by stormymondays on Mar 18, 2021 15:54:31 GMT -6
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Post by stormymondays on Mar 17, 2021 16:56:02 GMT -6
Sonarworks fan here too. I’ve also had the chance of attending mastering sessions at Metropolis and Abbey Road. Those 100K pounds Sterling PMC monitors sure were impressive, but they didn’t have me rethinking my EQ choices.
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