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Post by Tbone81 on Feb 4, 2024 14:29:06 GMT -6
I’ve got my future gear list figured out for the next few years:
1) Dave Smith Rev2 (or similar synth) 2) Pair of Beesneez B67’s 3) sennheiser 441 4) redco patchbay 5) new monitor controller (undecided on model)
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Post by Tbone81 on Jan 31, 2024 17:24:02 GMT -6
Btw - my guess is $1500 plus If it’s “real”, and I bet it is, I’m guessing $5000 minimum. That’s based on what a new rhodes would go for from Vintage Vibes, or any of the other new rhodes that have been released over the years.
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Post by Tbone81 on Jan 30, 2024 19:21:20 GMT -6
Ok ok, fine, it’s a punk band so each take sounds equally shitty j/k Celebrity Engineers to commentate would be killer…lol…CLA, Steven Slate, and Steve Albini (just so we can watch him get angry at the other two lol). So basically Iron Chef but for engineers. I love it! Iron Engineer Easily hundreds and hundreds of viewers would tune in every week. Imagine the advertising money! We're talking well over a thousand dollars in ad revenue here. Ha! Holy shit, that just made me actually laugh out loud! Well played sir, well played .
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Post by Tbone81 on Jan 30, 2024 15:02:03 GMT -6
I always thought it would be a fun challenge to record a band with a bunch of cheap, but usable gear…but game show style where you’re competing against other engineers. Like making the band for AE’s…everyone gets a couple Art Compressors, a Mackie Onyx, a few decent mics and then competes to make the coolest sounding version of the same song (with the same band).
It's almost impossible to do that fairly. The band will get better ideas just by recording the same song over and over.
Even if the band is restricted to recording the exact same parts, the performances will vary.
Maybe it would work if all of the band members are studio musicians that can perform the same piece without changing too much.
I would just want to get to the actual results. I don't think I would be interested in watching such a game show.
Maybe if you get a bunch of famous engineers as commentators. That would be cool. "Nooo, Jimmy! what are you doing!? Are you deaf?" CLA facepalms.
Ok ok, fine, it’s a punk band so each take sounds equally shitty j/k Celebrity Engineers to commentate would be killer…lol…CLA, Steven Slate, and Steve Albini (just so we can watch him get angry at the other two lol).
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Post by Tbone81 on Jan 30, 2024 14:29:22 GMT -6
I always thought it would be a fun challenge to record a band with a bunch of cheap, but usable gear…but game show style where you’re competing against other engineers.
Like making the band for AE’s…everyone gets a couple Art Compressors, a Mackie Onyx, a few decent mics and then competes to make the coolest sounding version of the same song (with the same band).
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Post by Tbone81 on Jan 26, 2024 14:19:41 GMT -6
So my GIK tube traps were just delivered…they’re massive lol, so much so that I wasn’t able to use them as monitor stands and had to place them in a slightly different location then anticipated.
They look great and the built quality is top notch. When I get to it I’ll be shooting another Sonarworks profile, I’ll post the before/after when I do.
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Post by Tbone81 on Jan 26, 2024 14:16:43 GMT -6
I’m really interested to see what new interfaces are released. The chip shortages have made expanding my Motu AVB rig near impossible I think Motu just released a new interface. I saw the new 828 they released, unfortunately I need an AVB interface or need to jump ship entirely and ditch MOTU
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Post by Tbone81 on Jan 26, 2024 11:58:43 GMT -6
I’m really interested to see what new interfaces are released. The chip shortages have made expanding my Motu AVB rig near impossible
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Post by Tbone81 on Jan 25, 2024 13:57:00 GMT -6
I think the first question is what is the exact problem you’re trying to solve? You mentioned it’s to stop sound from leaking in? How bad is the bleed currently and what are hoping to achieve isolation wise?
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Post by Tbone81 on Jan 24, 2024 9:05:03 GMT -6
I got a pair of the 400 pros a little while back and they’re excellent. I liked them better than the 600 or 650’s.
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Post by Tbone81 on Jan 20, 2024 20:26:13 GMT -6
I wonder how many people are selling these fakes on reverb or Craigslist as the real deal, to unsuspecting people looking for a deal. I mean what a scam, buy the fake for $500, easily sell it for $1800 and make a nice profit. Makes me even more hesitant to buy stuff online.
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Post by Tbone81 on Jan 20, 2024 20:22:29 GMT -6
If it's not a fake, it's an INCREDIBLE clone of the Neumann badges, logos, boxes, packaging and body. I'm halfway inclined to take a swing and see what I get. Wonder if they have a return policy. If Neumann does have anything made in china it probably is the badges, logos, boxes, body etc I wouldn’t be surprised if those were the only “real” part of the mic.
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Post by Tbone81 on Jan 20, 2024 18:33:59 GMT -6
Ali express are items shipped direct from Chinese factories, lots of clones, fakes, and rebranded genuine items too etc. As far as I know Nuemann/Sennheiser don’t make their mics in china, or at least not their capsules…wouldn’t be surprise if some of their parts, metal work etc is Chinese though.
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Post by Tbone81 on Jan 20, 2024 17:40:21 GMT -6
I was looking at this and thinking it could be a great monitor controller for a traditional setup too…control 2-3 sets of monitors with bass management and sonar works integration…sounds awesome to me.
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HIghnote
Jan 14, 2024 16:53:23 GMT -6
via mobile
Post by Tbone81 on Jan 14, 2024 16:53:23 GMT -6
Looks interesting. I’ve been using Samply, which appears to have a very similar feature set. I’ve been enjoying it quite a bit. Did the we transfer thing too but I like having a dedicated delivery app. It kinda makes things look more pro. Also it’s nice having the entire band post comments in one place. I hate receiving 10 emails from 5 different people. Also, posting in all the same place allows (forces) the band to reconcile their own contradictions. Like when the drum wants the drums louder, but the singer wants them quieter.
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Post by Tbone81 on Jan 10, 2024 19:18:32 GMT -6
Plus there are times in the life of a freelancer that they aren't included in the decision process of where the record is being done. An engineer hired by a producer shows up to the studio (possible the artist's or producer's home studio) and does their job. Maybe the bring some kit with them so that they can 'tried and true' to that engineer to eliminate some variables. And I’ve even been the first freelancer to work a new room. Good luck researching that! Guy I worked with recently brings his Apollo desktop, laptop, and Audeze cans wherever he works just to level the playing field a bit. That way he has a trusted source and all his plugins. Totally forgot to mention bringing your own headphones! Such a small thing can be so valuable!
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Post by Tbone81 on Jan 10, 2024 15:00:41 GMT -6
I’d like to add a new angle to this…as a freelancer, waking into a new studio for a session I don’t really know what I’m going to get. New room, new monitors, new converters etc it’s a lot to take in all at once. If there’s an issue, like a weird resonance, what’s causing it? The acoustics of the room? The monitors? The instrument? So using the “standard” stuff (57 on gtr, fet47 outside kick etc) gives me a baseline that I know well and removes a bunch of variables. It gives me some type of standard that helps me make better judgements. To me that sounds like setting yourself up for failure. Doing the homework on the environment where you will lay your tracks and making well educated decisions on gear to use within the framework of availability to you is everything right? Possibly picking the studio from a point of view what you want to achieve. How could you ever produce anything coherent if your production is defined by the survival in an unknown environment rather than having the environment chosen to suite the production? Thats all great in theory. But that’s not reality. You can do all the homework you want (and I typically come in very prepared) and I can pick a great studio with awesome monitors but it’s impossible for me to know the sound of the room and all the variables that come with it, and then to be able to reliably differentiate each variable from each other? And to do it “now”, as in instantly get to the root of what you’re after. It’s just not happening. Just spend some time auditioning different high end monitors and you’ll see/hear just how different they can be voiced. If the guitar is a little too woofy in the lower mids is it the guitar amp combo? Is it the boutique pre amp your using for the first time? Is it the mic? Is it just the monitors? Is it all of the above? Golden ears or not you don’t really know until you experiment but you almost never have that time. But if it’s a strat into a fender twin, with a 421 into a neve 1073…I know that sound. It gives me a bench mark with which I can better judge the rest of the signal chain. Give me some NS10’s to double check on and it’s even better. So you can think it’s a setup for failure but if you don’t have a method for mitigating these issues, that’s the real receipt for failure. It’s not using proven tools that you know like the back of your hand that is the problem.
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Post by Tbone81 on Jan 10, 2024 14:11:49 GMT -6
I’d like to add a new angle to this…as a freelancer, waking into a new studio for a session I don’t really know what I’m going to get. New room, new monitors, new converters etc it’s a lot to take in all at once. If there’s an issue, like a weird resonance, what’s causing it? The acoustics of the room? The monitors? The instrument? So using the “standard” stuff (57 on gtr, fet47 outside kick etc) gives me a baseline that I know well and removes a bunch of variables. It gives me some type of standard that helps me make better judgements. This is where NS10s have value, for me. Completely agree! It’s so nice to have that reference in a new space.
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Post by Tbone81 on Jan 10, 2024 12:41:01 GMT -6
I’ve been using Martin or D Addario Nickel Bronze strings. My acoustic was sounding overly bright and Nickel Bronze strings really changed the sound in a positive direction
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Post by Tbone81 on Jan 10, 2024 12:16:30 GMT -6
I’d like to add a new angle to this…as a freelancer, waking into a new studio for a session I don’t really know what I’m going to get. New room, new monitors, new converters etc it’s a lot to take in all at once. If there’s an issue, like a weird resonance, what’s causing it? The acoustics of the room? The monitors? The instrument? So using the “standard” stuff (57 on gtr, fet47 outside kick etc) gives me a baseline that I know well and removes a bunch of variables. It gives me some type of standard that helps me make better judgements.
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Post by Tbone81 on Jan 6, 2024 17:53:27 GMT -6
I wish I could be as optimistic as some of you here, I really do. But after listening to a few podcasts with top AI Engineers saying that they literally don’t know how the AI’s work…that they just program the conditions of the AI to operate and then wait to see what the output is…well, it’s rather frightening to me.
A few years ago AI couldn’t write any songs at all, now we have some mediocre songs that are still better than half the bedroom “producers” out there. Maybe that’s a low bar…but exponential growth is exponential growth. In my mind the question is not “if” AI will be to replace us all (AE’s, songwriters, musicians etc) it’s simple a matter of “when”.
The only thing that really keeps me from worrying about it is the realization that impact on society as a whole will be orders of magnitude greater than anything that happens to our small industry. That’s what really keeps me up at night.
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Post by Tbone81 on Jan 5, 2024 21:40:54 GMT -6
It’ll destroy us. There will be a chat bot version of a DAW, you tell it what to do and 10 seconds later it spits out a mix, you give feedback and it makes revisions till you’re happy. And it will be good, very good, and faster than any human.
I know some people will say, “but it’ll have no soul, only a human could mix a song with emotion” etc. But no, AI will figure it out. We have begun the exponential ascent of AI. We’re still in the infancy of everything, but in 5 years?
Same applies to songwriting, singing, etc etc.
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Post by Tbone81 on Jan 5, 2024 20:30:37 GMT -6
Tried it on a rock mix today, it was sounding nice and round, and just a little dark. It made it Big. But like most all things it didn’t really work with me just slapping it on top of an already finished mix…it sounded nice but threw off the mix too much for me to keep it there.
It’ll be very nice when I mix into it though.
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Post by Tbone81 on Jan 5, 2024 19:14:44 GMT -6
I didn’t really read this thread so apologies if this is off the mark, or was already said, but these days I’d much rather record through a kemper/axe fx/etc then through a iso cab. The modelers have gotten so damn good. I’m constantly impressed with how far things have come. The feel is different when you’re playing but I struggle to hear any meaningful difference in tone or quality. The problem is what do 'ya do with a player who comes in with a rig they love? The whole 'plug into my toaster' thing doesn't work. Like I've got a '61 bandmaster, some really carefully chosen pedals and a cab with old UK greenbacks... the toasters not the same. Don't even try to convince me... That's where all the load box stuff like the UA ox and iso cabs come into play. It’s about the only option. As a player, and with the producer hat on for visiting guitarists I'm not sure I've found anything much better then the strymon boxes. Mostly because they respond exactly like an amp... meaning that any dumb guitar player who's already comfortable with a backline amp can pop in, plug in and get something going that they like. Contrast to just about every menu driven box... old lame 6... new lame 6... Kempers Axe etc and it always seems to turn into a bottomless pit. (why we messin with this junk when there's a perfectly good mesa boogie over in the corner?) Its the knobs. Guitar players love knobs. Menus & buttons only confuse 'em. Unless they're a total propeller head like us already, and then chances are they're gonna bring their favorite toaster & presets to the session so why are we even bothering? Here 'ya go... plug into my rockman..? Yeah that's always an option. Worked in the 80s. Ugh. I feel what you’re saying, and don’t disagree…but I guess for me, more often then not I’m dealing with guitar players who love their amps…but who are rarely getting great tones…good tones? Sure, it’s usually ok, but rarely great. And there’s the look of abject horror that comes over their face when I politely ask if I can turn some knobs on their amp lol. I’m not saying they’ll necessarily feel any better plugging into a space toaster, but it’s a tool that has saved my ass more than once. And then there’s the reliability factor. I have a 78 JMP modded by Mike Morin…it’s a beast and sounds as good or better than anything I’ve ever heard (for high gain), but it also picks up RFI like a muthafuka…I get AM radio blasting out through the amp in my current studio…it sucks balls, so I rarely use it (yes it makes me sad). So while I don’t deny that your golden rig is better…in a lot of situations the amp sims are better imho…they are a pain in the bass to dial in though, I’ll give you that. I hate menu diving, it just sucks the soul out of me. Ymmv Edit: I’m very interested in the strymon and UA boxes for all the same reasons just never got around to trying them. But I whole heartedly agree that plug-in in and turning a few knobs is a superior work flow
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Post by Tbone81 on Jan 5, 2024 16:16:48 GMT -6
I didn’t really read this thread so apologies if this is off the mark, or was already said, but these days I’d much rather record through a kemper/axe fx/etc then through a iso cab. The modelers have gotten so damn good. I’m constantly impressed with how far things have come. The feel is different when you’re playing but I struggle to hear any meaningful difference in tone or quality. And often times the sound is better than in real life due to the fact that so many people are recording in mediocre to poor sounding rooms, dealing with acoustic issues, monitoring issues etc.
When I can afford to splurge I’m getting the new Kemper Profiler Player so that I can take it to studios when I’m having a band play live in a room. I’ll be able to take the recorded amp sim out and the guitar DI out at the same time (so I can remap later if needed). I think it’ll result in better monitor mixes for the band and it solves bleed issues.
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