|
Post by Vincent R. on May 17, 2024 13:32:17 GMT -6
Michael Jackson used the best compressor ever made for a forward vocal that maintained full dynamics and the character of the voice print. A little expensive today but it's called "fader rides" Sinatra too.
|
|
|
Post by Vincent R. on May 16, 2024 15:49:06 GMT -6
|
|
|
Post by Vincent R. on May 15, 2024 18:48:07 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song. Do you have a favorite for tracking out of these? For lots of different reasons, I don’t usually track vocals with compression. Most of what I record are usually my vocals. I find it hard to properly gauge the compression when I’m trying to record myself, and have over cooked it in the past. I also do a lot of session work, and most of my clients want to receive raw tracks.
|
|
|
Post by Vincent R. on May 15, 2024 4:26:57 GMT -6
That was fun.
|
|
|
Post by Vincent R. on May 10, 2024 13:29:30 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song.
|
|
|
Post by Vincent R. on May 9, 2024 13:24:19 GMT -6
Here are some crooning clips. FleA 49 directly into my Apollo's preamp. Recorded this a while ago. Same info as above. All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 4db of compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. Comps 1, 2, and 3 here are the same as in the operatic takes. I'm not trying to trick anyone. www.dropbox.com/scl/fo/06b2qtlohiwhumctmz7xr/AN5iYOJ9lRdIHZWk7Xzo1WA?rlkey=iioop9lvqzncxhmybqqi5zjhg&st=khjz6rta&dl=0
|
|
|
Post by Vincent R. on May 9, 2024 10:42:09 GMT -6
I may try to post some crooner style vocals later before doing a reveal. See if that effects what people are thinking.
|
|
|
Post by Vincent R. on May 8, 2024 20:49:02 GMT -6
Ok. Here are some clips in context. I'm curious which everyone prefers. I don't think anyone would have an issue with any of them. The contenders are the TLA-100, Audio Scape Opto, and Audio Scape V-Comp. Vocals were recorded using my FleA 49 into my AMS Neve 1073DPX.
All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This is generally how I compress my operatic vocals; in stages with a cleaner comp evening things out, and the big boys catching all the big peaks. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 5db on compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. So, which do you like; Comp 1, Comp 2, or Comp 3?
|
|
|
Post by Vincent R. on May 7, 2024 8:45:54 GMT -6
Warm's mics have been a mixed bag. I thought the 47 was really good. The 67 was a mud pit.
Looking forward to hearing it next to originals and possibly the AEA recreations though. The price is certainly right on it.
|
|
|
Post by Vincent R. on May 6, 2024 6:18:17 GMT -6
Hi there. You can absolutely use any IEC power cord to connect your mic. Just be sure to switch the rear of the psu to 115v to make it suitable for Canada. So sorry we don’t supply the cord, there are reasons as to why which involve each country’s regulatory authorities (they all have different requirements) We have a page on the website that explains how to use the switches. beesneezproaudio.com/product/classic-b67-269-version-2/Press the tab that says “internal switching” and all is explained there. Let us know how you go! Glad you like the mount. Cheers Ben Hey Ben what about the switches on the version 1. I did not see a description of those on your website. Thanks. I posted a description earlier in this thread based on seawell's video. See the link below. realgearonline.com/post/305134/thread
|
|
|
Post by Vincent R. on May 5, 2024 21:08:23 GMT -6
Yup, now I know how to use the S2 switch. Big difference on my voice. I really need it in the circuit or I get a ton of mud.
|
|
|
Post by Vincent R. on May 4, 2024 21:36:37 GMT -6
Found one for a good price and couldn’t pass it up. I’m looking forward to hearing it next to my Audio-Scape Opto and VComp. I’ve wanted one for a very long time, so I’m excited.
|
|
|
Post by Vincent R. on May 4, 2024 7:12:12 GMT -6
Hi all. For the S2, it is in place if the switch is to the right. When the switch is to the left, it is bypassed. Thanks Ben Well, I just realized I have been using my B67-269 with the S2 bypassed. I’ve got to do some more tests with it in place. I think it’s suits my voice, a little better, since my voice is so rich in the low mids.
|
|
|
Post by Vincent R. on May 3, 2024 19:12:10 GMT -6
I got one recently myself and it’s fantastic. I believe the S2 filter is set to stock mode, and flipping into the on position bypasses it, but I’ll wait for mics to chime in and confirm.
|
|
|
Post by Vincent R. on May 1, 2024 8:44:19 GMT -6
Literally just picked a VTMP-2B up again. U87, TLM49, Blue Kiwi, Lauten Atlantis, my ADK FET mics; 67T, 49T, 251T, it just takes them to a different level. Ummm who was it it who suggested you buy your first one😁 I know you are adapting the Kennedy technique to gear these days😎 Well, I kept using my buddy Jim's. He kept telling me to buy one. He, like you, is very persuasive and continues to push me to buy the good stuff, and tries to keep me away from the mediocre stuff. Then I spoke to you about it, and you poured more fuel on that fire. So I bought it. Then, when I wasn't using it so much I sold it to humblecomposer , and kept using it at his place when working there, which I was doing quite a bit. So I just bought it again, cause I moved and I missed that sound. I was messing around with the ADK Hamburg 67T through it and it was crazy good sounding. Works nicely with my Blue Woodpecker active ribbon too. Not to mention how good my U87ai sounds through it. I'm using that chain for a rock session vocal I'm working on. I've owned a UA 610 and a Tab Funkenwerk V76 (an updated take on the Telefunken V72). For me, the Demeter VTMP-2 is an incredible preamp for FET and TLM mics. I really liked the UA 610 with my old Altec 639a Ribbon mic. For my tube mics, I preferred the V76, but at some point I just started using Neve preamps with all my tube mics. I tend to like that sound better for what I'm doing. That said, my Dan Alexander 1272 sounds pretty awesome with FET and TLM mics too. That's why I let the VTMP-2 go the first time... But I came back to it.
|
|
|
Post by Vincent R. on Apr 30, 2024 20:15:37 GMT -6
I’m going to go and recommend and old standby, actually the pre most credited with the resurgence of tubs pre’s the Demeter VMP2. Are there better today? Yes, but I guarantee you plug a FET LDC in it put the mic in front of a decent vocalist and you will instantly think “yup that’s what I was thinking tubes would do”. Literally just picked a VTMP-2B up again. U87, TLM49, Blue Kiwi, Lauten Atlantis, my ADK FET mics; 67T, 49T, 251T, it just takes them to a different level.
|
|
|
Post by Vincent R. on Apr 27, 2024 6:07:34 GMT -6
I received a demo from a good friend of mine using this. I thought it was an overly autotuned track, but had no idea it was an AI voice. Given how autotuned to hell most pop music is, this is going to make it rough for session pop singers. Luckily, my friend has hired me to re-record the track he sent me. Still, this could be a really cool tool, but also something that is going to make a bunch of session singers not needed.
|
|
|
Post by Vincent R. on Apr 2, 2024 14:35:06 GMT -6
This is a hell of a mic. I've been crazy working on a session vocal for a client, so I haven't had time to really run it through it's paces, but played with it a little bit. I've enjoyed the 269 mode so much that I recorded some layered choir vocals with it for the track I'm working on currently. It's not as airy and open as the RMS269 was, but it's still really present, while not being harsh. It's like a U87 on steroids.
Listening to samples I have of U67s and 269s I've recorded with at other sessions I can't say that it is a dead ringer for the ones I've used, but it is just a fantastic mic no matter how perfectly is sounds like any particular U67 or M269. I think my modded MK67 is a touch closer sonically to the the U67 I used at Barbershop Studios. The RMS269 had more air than the M269C I used there, and the B269 has a touch less air than the M269C. None the less, I'm really enjoying it. Hopefully I'll have some more time once I'm done with this session vocal job.
|
|
|
Post by Vincent R. on Apr 1, 2024 13:51:25 GMT -6
£500 is a good price on them.
|
|
|
Post by Vincent R. on Apr 1, 2024 10:11:19 GMT -6
I liked mine when I had it. It sounds and works nicely, but is missing some of the functionality of the full SSL EQ. The limiter's functions are limited and unfortunately the meter does not allow you to see the gain reduction. I wish you could turn VHD off as well, but you can only manage how hard it hits. Still, I found it fairly easy to dial in a good sound whether going for 2nd or 3rd style harmonics. I had wanted to get a second one to make it a pair, but I eventually sold it and bought 500 series channel strips by Link Audio instead which I feel are much better. If you are savvy, you can build them yourself, or if you are like me you can just order them assembled. I went with: (2) Link Audio SL4K-E01 which are SSL 4K series style preamps. They also have a space for a colour module, which I took advantage of by adding a Royal Blue (Neve 1081) module. Using the colour module is where you can have that VHD style functionality allowing for some extra harmonics on what is essentially a fairly clean preamp. They also have other SSL style preamps including other variations of the 4K and a 9K style: www.linkaudiodesign.de/product-page/sl4k-e01(2) SLQ51X Brown EQs. They also have Black EQs if you prefer them. They have the full SSL eq functionality and a build in fixed low pass & high pass filter. You can adjust where those filters are. I had them set the low pass at 70hz and left the high cut at 8K. They have a 12 db slope. The fully adjustable low pass and high cut with the 6db slope is on the preamp: www.linkaudiodesign.de/product-page/slq51x-brownWhen I build the channel strips I picked up (2) second hand SSL 611DYN modules, because Link Audio didn't make the dynamics module at the time. They do now. If I were doing it again, I would just get theirs: www.linkaudiodesign.de/product-page/dyn-xAnyway, if you find a great deal on the XLogic Alpha Channel then its a solid piece. If you're planning to get one, there are better options. Not trying to sound like an advertisement for Link, but just sharing my personal experience. I love the SSL sound when I'm mixing. It adds a little sheen, and the EQ and Comp are great tools.
|
|
|
Post by Vincent R. on Mar 30, 2024 14:27:24 GMT -6
Excited at the prospect of mics recreation. Important to understand just how many hours days months etc wave and tskguy put into research development and refinement into the ELAH251! It’s incredible. I’ve had my B67-269 V2 for a week, and it really is a fantastic mic. So I’m also very excited to see what Ben does with his, especially if it’s at a better price point than some of the others. The Heiserman or the FleA are totally dream mics. I just don’t have the cash for either of them. lol.
|
|
|
Post by Vincent R. on Mar 26, 2024 4:57:23 GMT -6
I'm usually about 2ft back, which I was in this instance. The M49C was in the middle with the U67 and M269 to the left side next to each other and the MK67 to the right of the M49C. Hey I just received My Max Kircher 67. it doesn’t sound as good as yours! is your a completely dry signal? Yes, in the clip I posted from Barbershop studio there was no EQ, compression, or reverb. Barbershop is a converted church though, so the sound is a bit live. I did have a Silver Telefunken EF86 in it. So it was not the stock tube Max provided. Later down the road I swapped Max’ BV12 transformer for a Neumann BV12, but the Neumann BV12 has been come harder to track down these days. That made the kit very close to the real deal.
|
|
|
Post by Vincent R. on Mar 24, 2024 7:28:06 GMT -6
I’ve been a little crazy and only had time to run a quick test with the B67-269 V2. I took a quick listen in modern 67 mode, before switching it over to modern 269 mode. In 67 mode it extends a bit more on the bottom end than my modded MK67 does. I need to do some more testing with it and really look forward to hearing Emily on it. I’ve been planning for a new rock session vocal. Having used an M269C on a session and having owned the RMS269 for a year or so, I know that the 269 sound is great for that style. So I did a quick take of the verse of the song as a test, and was immediately impressed. It’s open on top, and full sounding. It certainly has the quality I was looking for in a 269. I don’t know if it is going to replace my MK 67, but I’m not disappointed I picked up this mic. It sounds wonderful. Plus, it gives me the option of having my U87ai and a 67 out at the same time. After using the WA67 a couple of weeks ago, I knew this would be a better decision. I love that I have both a 269 and 67 options in one mic. There will be some more testing and I will share some clips. On another note, the larger body, Neumannesc color scheme, and nice carrying case are really nice upgrades from the V1. I also prefer the new modern modes sonically. It’s more along the lines of what I was expecting. Again, more testing to follow, but I wanted to give a huge shout out to mics for taking the input he got from some of us on the V1, and delivered the V2 to address them. That is a step above expectations.
|
|
|
Post by Vincent R. on Mar 23, 2024 7:23:31 GMT -6
Anyone tried the ADK Munich-7-T T FET Microphone ? Not yet, but I’d love to try one. My experiences with the 251, 49, and 67 are very positive. The 67 is a great all rounder. More mellow than an U87.
|
|
|
Post by Vincent R. on Mar 22, 2024 12:23:25 GMT -6
Almost any of the ADK T-FET series can be grabbed for $500 during a sale. I think the 67T and 49T are really good mics. The 251 T is also very nice, but maybe more specific. I think the T67 would be my choice in this scenario. Agreed.
|
|