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Post by Tbone81 on Mar 16, 2024 14:11:28 GMT -6
For me, there’s two mics that have ALWAYS delivered very good to excellent results on ANY source: the 441 and the Beyer M160. I weirdly just could not get along with the m160 for the brief time I owned one, but I have a strong suspicion it was broken.
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Post by Tbone81 on Mar 15, 2024 19:26:16 GMT -6
Thanks guys, just pulled the trigger on a 541 I saw on reverb. It may just end up replacing both my Beyer m88 and my trusty 421
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Post by Tbone81 on Mar 15, 2024 14:23:10 GMT -6
I’m buying a 441, actually probably a 541 I saw for a great price. Anything I need to know? Any difference in old vs new? Are there different generations that are more sought after? Did they change the magnets at any point like in the 421?
I don’t know much about these mics other than that I’ve really loved how they sound the 2-3 times I’ve used them.
Thanks in advance
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Post by Tbone81 on Mar 14, 2024 10:43:51 GMT -6
Depending on if it’s a featured instrument or not I’d try the 57 into a nice preamp. I’ve had good luck with 57’s and 421’s on brass. YMMV
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Post by Tbone81 on Mar 13, 2024 21:31:31 GMT -6
Jesus dude, take a Xanax. I generally love your posts, I really do, but I also love that people here tend to keep things respectful. And your post to Svart didnt come off that way, at all. I don’t have a bone in this fight, but I’d rather not see people being so damn aggressive. It doesn’t matter how good you are or aren’t as an AE…it doesn’t cost anything to have a little tact.
Mate, I'm probably the most emotionally numb person you'll meet. It's a problem and I'm working on it, I've had a lot of issues and had to shut myself down. Anyway, are you telling me that you've loved every song you've ever heard? Is everything equal in your book? I'm not trying in any sense to be an ass here, although there is a set standard to the greatest, that's what I adhere to. Not many can do it but when they can I am genuinely impressed. Apologies for speaking mind but it's just how it is.
Youre confusing or misreading what I’m saying. I have no problem if you like Svarts mixes or not. It’s great to have strong opinions. Good on you for pursuing sonic perfection. My only problem is with your delivery. Your post came off as unnecessarily rude. Maybe I’m misreading you to a degree as well, it’s certainly possible. But what I’m saying has nothing to do with your monitor preferences, what songs anyone likes or doesn’t, who had good or bad mixes. What I’m saying is that the tone of your post came off as brash and unprovoked.
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Post by Tbone81 on Mar 13, 2024 20:20:45 GMT -6
Ouch, that’s pretty harsh. Oh sorry and you are probably going to hate me for this, do you want a trophy for participation? In the day and age of music where you do everything to survive you need to be a clear cut above. Disagree? Really, with streaming etc.?
Be better, these harsh prick's outside this forum has hit me multiple timeS and y'know what sometimes you shrug it off but other times it's worthy of their merit. If you cannot just sit down and listen to the advice of others than igorance takes its toll. Geez I offerred to lose £3K to train Svart or pay even more for a flight to me, if sheer dim witted arrogance is the issues here you deserve what you get. IME I've been blinded by the knowledge of those who contributed to RGO alone and many are a fool to think otherwise.
What really does irk is everyone thinks they know better than everyone else but when it really comes down to it and I've got a shed load of audio experience here it's best to play humble.
Jesus dude, take a Xanax. I generally love your posts, I really do, but I also love that people here tend to keep things respectful. And your post to Svart didnt come off that way, at all. I don’t have a bone in this fight, but I’d rather not see people being so damn aggressive. It doesn’t matter how good you are or aren’t as an AE…it doesn’t cost anything to have a little tact.
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Post by Tbone81 on Mar 13, 2024 18:58:27 GMT -6
Ouch, that’s pretty harsh.
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Post by Tbone81 on Mar 12, 2024 10:29:33 GMT -6
Yes one needs to be the master, or you can clock both to an external clock
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Post by Tbone81 on Mar 11, 2024 17:23:37 GMT -6
I use Melda Audio Dynamic Auto Eq on 90% of my mixes.
I place the eq on the bass and feed the side chain with the kick. The gui will display the frequencies of the kick and I use that as a guide to set one band of eq to duck every time the kick hits. Allows me to keep the low end big and tight.
Another thing that might help is to think of dynamic eq as a multi band compressor. Just with different slope settings. You can use it to tame certain frequencies that get out of control.
As was just stated, less is more imho. If I can hear the bass ducking it’s too much, I set the threshold of the cut so that I can hear the kick more clearly but not so much that the bass is pumping.
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Post by Tbone81 on Mar 10, 2024 10:32:06 GMT -6
Looks interesting, thanks for sharing
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Post by Tbone81 on Mar 10, 2024 9:47:46 GMT -6
That’s a great price on the DBC 20, I already have one but someone else should really grab that thing, it’s fantastic.
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Post by Tbone81 on Mar 9, 2024 12:12:04 GMT -6
Your instincts are right to go with deep 12” absorption. You really need things that deep to get any meaningful absorption down to 100hz. Using 3 stacked 4” panels to get that 12” deep bass trap might be counterproductive however. At those depths you need something that is less restrictive to air flow. At those depths Roxul safe n sound works great (and you can get it at Lowe’s etc). You may try combining a front facing 703 panel with safe n sound behind it, that could be great.
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Post by Tbone81 on Feb 27, 2024 18:37:13 GMT -6
Since you’re worried about the reflection, let’s first see how much of a difference. First remove the entire shelf and rack supports then stack some gear where the racks are put the Amphions on the stacks put the monitor where you want and see if it makes a difference, before you start sawing. If you find you still want to cut we will then talk about stabilizing the 2 little racks. I was more concerned about the monitor being in the path of the speakers than say reflecting off the shelf...but that might be what you mean. Anyway - as many of you know, I'm not what one would consider "handy." I am handy challenged. In spit of that, I purchased a nice circular saw (Been wanting to get one) and commenced to sawin'... That failed miserably. I cut about an inch and a half into it and it just wasn't going well. I don't know if this composite or whatever it is is super dense/tough...but this thing was struggling. Smoke and really going slow. So I wasn't going to force it. At least I know it's well made lol. Maybe I'll hire a professional - because I really think removing that piece would be the right move. It might actually need a table saw. I think I can remove the top altogether pretty easily. Wonder if I could take it to Lowes/HD and have it cut? How many teeth does your saw blade have? If it’s a high count it’ll make a smoother cut but it can be a lot of friction and is more likely to smoke, stalling etc. A blade with fewer teeth will make the cut much easier, but at the expense of a more coarse cut (generally speaking).
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Post by Tbone81 on Feb 27, 2024 16:36:31 GMT -6
Cut that piece out! Put some masking tape down on the cut line before you cut, it’ll help keep the edge nice and free from splintering.
The nice thing about racks is that the gear itself is bracing the rack for stability.
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Post by Tbone81 on Feb 22, 2024 21:41:32 GMT -6
Firstly, don't listen to that intro on full range monitors or your windows will be shaking.. Secondly I much prefer ARC to Sonarworks and now it's on HW form, I'll buy the crap out of it.. Interesting, my experience was exactly the opposite. Never quite got along with Arc but just got Sonarworks and I love it. Why do you prefer Arc? What’s it doing for you that SW isn’t?
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Post by Tbone81 on Feb 20, 2024 11:35:17 GMT -6
Delicately ask for more detail and/or song references that have the sound he’s looking for. It’s a can of worms for sure, but sometimes forcing the artist to be more specific and detailed helps them put into perspective just what they’re hearing, what they like/dont like, etc.
The thing is, he may be right. There may be an element of the mix that he really liked before that is now lost. And he probably had no idea how to describe what he’s missing so he’s making vague, general statements like, “it’s not open enough, it’s too busy etc etc”. Sometimes people want stuff raw sounding.
Imho, once your chops are to a certain level (and your chops are clearly there already) it’s all about communication. Dealing with people is the real art form when it comes to producing/mixing etc.
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Post by Tbone81 on Feb 16, 2024 12:18:39 GMT -6
Its in its way back to Lawson as I right this. We’ll see what they say.
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Post by Tbone81 on Feb 14, 2024 8:56:39 GMT -6
Whether it’s a fad or not, one cool side effect of the Atmos push is that manufacturers are starting to make some really cool monitor controllers. Audient just released their new adat interface/Atmos controller. It has sonar works integration and programmable bass management. The cool thing is that it seems you can setup the speaker outs in any configuration. I hope this becomes a trend…I’d love to have three sets of speakers, plus sub, plus headphone outs all with different sonar works profiles on each speaker set/combo (or non at all). With the ability to route the sub to any speaker combo, and control the crossover. The only thing the Audient interface is missing is a remote.
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Post by Tbone81 on Feb 13, 2024 13:32:56 GMT -6
I ended up pulling the trigger on a sebatron VMP quad plus, which is the updated version of the 4000e. I think this will do all the things i'm looking to do - blowing up drum mics one day, good clean-with-color tube preamp sounds the next. Plus it’s four channels instead of two. Can't wait until it shows up! Coil CA-70S is bigly in my mind now and i'll probably snag one or two in the future. Youre going to really like it. Try it with some NOS mullards or Jan GE/Philips.
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Post by Tbone81 on Feb 13, 2024 13:31:22 GMT -6
Short answer: No
Long answer: Subscriptions can seem like a good value when calculating them in isolation. But it’s never just one subscription, it’s all of them together that pile up and start costing quite a bit. I tried it once with the Steven Slate everything bundle. After a year I was only using 2-3 plugins so I cancelled it. I bought the few I really wanted at discount during a black Friday sale and I’ve saved a lot of money over the years on that. As a small business owner me and my wife have quite a few software subscriptions and we end up paying about $200 + for it all. It adds up, Chat GPT, website, domain names, email service, photoshop, canva, etc etc at some point it’s really eating into your bottom line.
It’s worth noting that I’m never chasing the plug-in deal of the month. Every year I buy 2-3 important plugins during Black Friday but I don’t need (or want) a million plugins. I’d rather have a few nice options in each category (eq, compression, reverb etc) and move on with my life.
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Post by Tbone81 on Feb 12, 2024 16:55:07 GMT -6
Can anyone identify what might be causing this distortion? This is a Lawson L47, bought used and working perfectly until just a few weeks ago. At first I thought it was just normal plosives but its quickly becoming very common. So common that it ruined several takes of a live performance I was tracking two days ago.
The wave form looks crazy, the sound seems to drop out, and its not really connected with how loud or how hard the singer is hitting the mic. A pop filter does seem to help quite a bit, but in the examples posted the vocalist was singing pretty quietly and not pointed at the mic (with a pop filter). I've had this happen with two different artists now, both times they were approximately 12-18" from the mic.
Thoughts on what could be causing this? I've heard of moisture building up on diaphragms of u87's and causing weird cut outs and distortion, is this the same thing? Maybe the mics internal shock mount is wonky?
Wave form screen Shots:
Sound Files:
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Post by Tbone81 on Feb 9, 2024 18:45:07 GMT -6
I almost jumped ship to Studio One from Cubase. Cubase is a little more mature when it comes to mixing, but studio one is a little better with midi and song writing tools IME.
Both are great, if the routing was a little more similar to Cubase (especially the control room feature) I would have switched.
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Post by Tbone81 on Feb 9, 2024 16:13:24 GMT -6
It seems like there’s two types of people here lately…people that expect everyone to listen to them and take their advice, and who get frustrated if people don’t. And then people who want to have a conversation about stuff.
Maybe it’s just me, but that’s kinda how it seems, ya know?
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Post by Tbone81 on Feb 9, 2024 13:39:34 GMT -6
Sebatron vmp4000. It fits that description exactly. Can be clean or a really nice distortion of if you push it. Massively underrated piece of gear.
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Post by Tbone81 on Feb 6, 2024 19:40:01 GMT -6
I found that soft clipping tubes, transformers and/or tape is so much better at controlling transients than compression. The day I learned that my mixes took a huge leap forward. Compression for dynamics, tubes/transformers/tape for transients, that’s my outlook. Ymmv
Side note: I hate to say it but I think hardware compressors are way better than plugins at actually taming transients.
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