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Post by massivemastering on Jul 30, 2019 22:02:08 GMT -6
I used to just put the Shure bags over the ones I always left out. And you can get "money" envelopes at office supply stores for the rest. Usually blue zippered envelopes. Protected them from dust, but open to allow for temp changes in the room. Foam windscreens do a nice job too.
For typical storage, I bought a couple mic case inserts from SKB that fit into a typical file cabinet drawer.
Baseball caps from local sports teams are a nice touch.
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Post by massivemastering on Sept 14, 2018 19:09:08 GMT -6
Been using the Crane Song Avocet for years. Thinking of getting a newer model (just because mine isn't surround compatible).
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Post by massivemastering on Aug 2, 2018 21:56:33 GMT -6
Crane Song Avocet (2A?)
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Post by massivemastering on Jul 9, 2018 0:21:46 GMT -6
Back when I had long hair and good looks, I had a few equipment endorsements going on - Guitars (Jackson), amps (Laney, back when they were awesome), etc. That said, I also had a soul. I was already playing the guitars, I was already using the amps. Did I take advantage of "upgrades" and awesome deals on new stuff? Hell yeah. But if I didn't want it "at any price" I didn't want it at all. There was "honor" there. I'd say I was excited about something, I'd be in an ad here and there - But I had to actually be excited about it.
Same with now. Although it doesn't happen as much as it did 5-10 years ago, I had several pieces of gear come through where it was implied that I'd get an insanely sweet deal for the right paragraph. But if I wasn't going to be proud to have it in the rack, I didn't want it in the rack and that's the end of that.
My Tyler Acoustics speakers for example -- Had a decent "audiophile" following, but not seen in mastering rooms at the time. I paid whatever they were asking at the time (was it $7k?) and they were better than just about any speaker I've heard at twice the price. You bet your ass I wrote a review. You bet your ass I took calls and e-mails from literally dozens of mastering engineers asking me about them. And you bet your ass now they're in dozens of mastering studios.
Would he give me an exceptional deal on new ones...? Perhaps. If I felt any reason to upgrade, I'd certainly approach that subject. But the same standard sits. He could offer me "free" [newer models] but if I didn't actually want them and think they were better than what I'm using, I'm not going to say they're wonderful just because I didn't pay the normal price.
[IRONY] The guy who built my EQ -- More or less a souped-up Sontec/GML clone (I've owned both and it's a good description) -- he gave me a relatively amazing deal on the beast, hoping for my "thumbs up" so he could make the same unit for others. The EQ is absolutely amazing, without question. It's every "groovy" thing I loved about my old Sontec (but nothing I disliked about it). It's every "surgical" thing I liked about my GML 8200's & 9500 with all the advantages of the 9500 *plus* mid-side that matches up in ways that I didn't think possible in analog. YET - when all was said and done, he told me NOT to tell anyone who built it because he nearly lost his mind on it. Far more complicated of a build than he originally thought it was going to be. He said something along the lines of "Next time, just buy another 9500 and I'll add the mid-side to it." [/IRONY]
All that out of the way -- If Rupert Neve Designs calls up and says "We couldn't help but notice your Portico II Master Buss Processor is one of the models without the hard bypass switch and we'd like to replace it with one of the newer models" -- I'd be packing it up in the morning.
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Post by massivemastering on Jul 2, 2018 20:27:17 GMT -6
My usual is "01 Example Song" but it's wrapped in a "date stamped" folder (or ZIP) with the date and the letter of what project that was for the day -- MM20180702C for example, would be the third project I worked on for the day on July 7, 2018. Makes them easy to search for and easy to tell which version you're looking at if there are more than one. If a non audio tweak (typically, spacing or sequence) is made later, then a number is added to indicate a non-audio change (MM20180702C2).
It's more for my own reference than the client's -- But they get it pretty quick. Now, a good bunch of them use the same manner when they're sending me their mixes.
Re: the mug -- Actually had a file last month that was labeled "final" or something so many times that the last one was labeled "[whatever the title was]_Im_really_sorry_About_all_this.wav"
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Post by massivemastering on Jun 24, 2018 23:09:13 GMT -6
All I can add is that one would hope you're dealing with someone who knows the limitations and guidelines of each medium and will do what's best for each. Meta data of course for DDP/CD, proper handling of the version for vinyl release - should sound disturbingly similar (but rarely ever the exact same version). A sense of cohesion and "completeness" - as if nothing needs to be added or taken away. Hopefully while affecting the original mixes as little as possible (assuming the client is happy with their mixes of course).
Blah, blah - It's late and I was out of town for a week and I have bourbon.
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Post by massivemastering on Apr 23, 2018 23:51:51 GMT -6
I am reminded to ask - at what level do Mastering Engineers prefer a mix be sent to them? Pretty much answered, but long story short, anything that "naturally" doesn't clip - as in, no limiting or excessive buss compression for the sake of non-clipping. Whether that level is at -1, -3 or -15dBFS, as long as you're in 24-bit, you're good. Averages...? I'd say that most of my clients that have properly calibrated their monitoring chain typically send in mixes between -23 and -18dB(FS)RMS that peak anywhere between -6 and -2dBFS. Several lower, some considerably lower. One I can think of swears that his mixes sound better if they peak below -18dBFS (*peak*) and I'm not gonna argue with him, as his mixes are absolutely fabulous.
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Post by massivemastering on Mar 23, 2018 17:53:51 GMT -6
Been using the Avocet for - quite some time now. Keep looking for a reason to get the new one.
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Post by massivemastering on Mar 23, 2018 17:50:29 GMT -6
Did live sound for him in ('98...? '99...?). Had "8" on stage (4x Fender Twins). 20k watts of Meyer could barely get the vocals over those things. Great stuff - But shows like those were not for the faint of heart.
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Post by massivemastering on Mar 19, 2018 8:33:48 GMT -6
Quartz watches put out about 32kHz - Along with 1Hz if analog. Automatics & winders put out 21-28kbph (6-8Hz) along with what I'm sure is a glorious song of sweeping high frequencies due to several wound metal springs under tension.
Next time I crack one open (I do that occasionally), maybe I'll mic it up and see what it's doing...
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Post by massivemastering on Jan 18, 2018 0:13:13 GMT -6
I put the ("G" Series?) cushions on my 225's -- Comfort level up to about 9.6 (+/- 0.1). Had the same issue with the ("L" Series? - the smaller ones...) with damn near "pain" after wearing them for awhile. No such issue with the G series. Total game-changer.
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SM7
Jan 4, 2018 12:36:15 GMT -6
ragan likes this
Post by massivemastering on Jan 4, 2018 12:36:15 GMT -6
I even keep one (a 7b) in here. Occasional VO stuff, occasional band needs to add a screech or something. Never even take it off the stand.
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Post by massivemastering on Dec 22, 2017 0:46:27 GMT -6
Step one - Calibrate the monitoring chain (then you won't need the meters).
Other than that, YouLean (?) has a freeware loudness meter that's quite decent.
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Post by massivemastering on Dec 21, 2017 12:17:44 GMT -6
@ Cowboy -- I believe they're both first-gen -- Non-modular, etc.
@ Johnkenn -- I'd imagine you'd still find a bit more top on the Bryston. I've always found Bryston to have a certain - ummm - "excitement" (?) in the top end that works very well with a good bunch of speakers. Actually I'd bet I could go back to my 4B's on my Tylers without missing a beat. Only got rid of them while using the B&W Nautilus 802's, where that "excitement" was ripping my ears out. But still using a (2BLP pro?) on my smaller Tylers (D4M's) and there's definitely still a certain "sweeter tweeter" factor in there (in a nice way).
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Post by massivemastering on Dec 18, 2017 14:55:00 GMT -6
+1 on the amps... My Pass X250 needed service. Was going to rent one for $800 and someone told me "you could just buy a XPA-2 for that" so I did. Freakishly good sounding amp. Kept it as a backup. Bought another as a backup. Sold the Pass X250 and took the family to Disney World.
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Post by massivemastering on Dec 16, 2017 10:09:34 GMT -6
I was at FOH for the Smithereens just several months ago. Pat was - a bit wrecked from his injuries to say the least. But long story short, still put on a helluva performance. This is still kind of a shocker.
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Post by massivemastering on Dec 10, 2017 23:21:53 GMT -6
I could certainly see a broadcaster mod for standby / program / live and what not, but AFAIK, there was never a model introduced with LED's.
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Post by massivemastering on Nov 18, 2017 23:30:05 GMT -6
For sure, I don't like most of them. Point is it's easy to tart them up and sell them to plenty of non-discerner's, same with gear. Just take a trip north of the state line and grab some New Glarus!😁 The jaegerschnitzel at the NG Hotel Restaurant... Dude... And the roesti... Dude... I think a holiday season road trip is in the cards...
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Post by massivemastering on Oct 18, 2017 21:59:27 GMT -6
John, they are pricey but their original HEDD sounded top tier to my ears. I would love to see a demo of the old one versus the new. I bet the original HEDD still beats out a ton of stuff.. I've still yet to hear an AD that I like better. As much as I hate to say, that unit is on a short list of things that are - well, on a short list. That said - I'm also on the list to get the DA upgraded - But that lacks a lot of the new functions and the new clock... So I'm still on the fence about upgrading... Avocet too.
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Post by massivemastering on Oct 2, 2017 23:19:49 GMT -6
Monster 7000's and 3500's. Used to use their VariAC (can't remember the model) until the power company finally figured out that I wasn't crazy.
That all said -- I don't think they even make those anymore. They're wonderful units - Especially the 7000's.
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Post by massivemastering on Sept 22, 2017 19:59:28 GMT -6
That said - Someone made a "clone" that seems nearly as good (can't remember what it's called). Is this the one? youlean.co/youlean-loudness-meter/Seems nice for a free meter. I think that's the one.
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Post by massivemastering on Sept 21, 2017 20:34:20 GMT -6
I've been using Nugen's VisLM2 -- Don't think it gets any better.
That said - Someone made a "clone" that seems nearly as good (can't remember what it's called).
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Post by massivemastering on Sept 18, 2017 8:43:58 GMT -6
Headroom. Use it. Plenty of it. At every possible stage.
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Post by massivemastering on Aug 30, 2017 21:57:02 GMT -6
Troy's vids are the sh*te. He breaks down the mechanics like no one else and makes it all seem so simple...
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Post by massivemastering on Aug 18, 2017 22:56:34 GMT -6
Might not be exactly what you're looking for but -- Old-ish pic... The screen on the lower left is the "audio" PC -- The screen on the lower right is the "business" (and internet and what not) Mac. The screen above can be either (via HDMI inputs). Both machines are running Synergy -- The Mac as the KM server and the PC as the KM client -- The mouse just moves from one screen to the other as if they were the same machine. Also up into the big screen. Sure - this isn't exactly a KVM -- I used to use one, but once I started running Synergy it sorta just sat there (although I do have one of those micro-wireless keyboards connected to the PC just in case I need a keyboard at boot). But I always used the K and the M but never really the V part anyway. Just sumthin' to think about... That said - IOGear USB KVM's worked well for me. They were VGA connectors if I recall, but they ran like tanks.
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