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Post by massivemastering on Aug 10, 2017 23:08:12 GMT -6
I have a bunch of the TDR stuff including Nova. Some friggin' great and unique stuff being churned out of that place...
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Post by massivemastering on Aug 1, 2017 9:22:53 GMT -6
As a studio manager / chief engineer back in the 90's, I was making a base salary of $25k (W2) plus a (percentage that I don't recall) of the studio's net. It wasn't silly money by any means -- but it was carving out a living. No other benefits but the wife had a job that covered insurance and what not at the time, so it worked out.
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Post by massivemastering on Jul 14, 2017 9:48:44 GMT -6
I get that -- I'm just pointing to the whole digital element here. You don't need analog attenuation.
And don't get me wrong here -- I'm an absolute whore for headroom at every possible stage -- but once those analog signals are in the digital world, the "analog guidelines" of headroom give way to the "absolute rules" of digital headroom. If I'm introducing another analog stage (which I almost always do), establishing the output level into that stage can be done in the digital realm without any harm.
And don't get me wrong again -- I'm not arguing "against" peaking at -6dBFS... I just don't find it to be really any different than peaking at -3 or -1 or -12dBFS. *Some* headroom is just good form (if absolutely nothing else). How much headroom on the other hand...
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Post by massivemastering on Jul 11, 2017 9:12:26 GMT -6
Random thoughts from a mixing *and* mastering perspective (I don't mix much anymore, but when I do...)
HEADROOM: Digital is digital. *ANY* headroom on the 2-buss is fine. 6dB, 3dB, 12dB, 1dB -- As long as it's there "naturally" (not the limiter) and what not, it's enough. The "leave 6dB for the mastering guy" thing is -- well, I'm not even sure where it came from. Probably from guys who want to "take credit" for loudness. And as guilty as I am as the next guy for contributing to the loudness war (under protest in my case), I would hope that the client would already know how their mixes are going to handle "volume abuse" - which brings me to:
LIMITING THE 2-BUSS: And this is something that I always did when mixing, even long before digital. I'd get the mix where I wanted it (admittedly, usually with a dB or two of "glue compression" but more for the character of the compressor than anything else) --- and then I'd crush the hell out of it. It's revealing. "Back in the day" it would let you know how it would handle broadcast -- Is the side information whacky? Do the vocals get swallowed? Is the snare snapping out? Is the release on the kick compressor too fast (or too slow)? Are there noises that I didn't hear earlier?
I *encourage* clients to smash the living hell out of their mixes as a tool. There are so many places for the mix to be subject to dynamic changes -- The mastering phase, broadcast, "SoundCheck" type algorithms in portable players -- I wanted to know how my mixes were going to hold up against the worst abuse and more times than not, I'd make certain changes after "weaknesses" were revealed by that limiter. Might be tapping a little 200Hz down on the snare. Might be 400Hz on the kick. Might be less top on the kick. Maybe the hat is too loud. Maybe the vocal needs a little air. Maybe the reverb disappears. Maybe it takes over completely.
So I'd have a mix that sounded "fine" and then I'd thrash it mercilessly to see how it held up, then possibly make a few minor adjustments that -- in most cases -- made it a better sounding mix in the end anyway. Then I'd print those mixes (without that limiter, of course) and drag them over to the mastering studio (there was no electronic delivery at the time) and know that unless he did something stupid, they were going to sound fine. OF COURSE, back in the day, the "war" wasn't in full-swing yet. But the same tools still apply.
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Post by massivemastering on Jul 10, 2017 22:05:34 GMT -6
My name is John and I can't hear the difference in Dither. There. I said it. My name is also John and -- Well, I only even care about "this" dither or "that" dither when I'm *testing* different dithering algorithms under insane conditions that no one would ever typically experience.
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Post by massivemastering on Jul 10, 2017 8:47:02 GMT -6
I was probably watching that as it aired. I'm not even sure what to think about that.
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Post by massivemastering on Jul 7, 2017 9:42:18 GMT -6
On my list... Loves me some TDR stuff.
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Post by massivemastering on Jun 30, 2017 9:16:51 GMT -6
Open filter cap. They're going to replace a bit of power wire with shielded stuff also just in case...
Internal supply -- That was an original concern with the thing in general. But with self-noise at around -115dB --- except for that one shelf --- I might just let that slide for the moment.
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Post by massivemastering on Jun 29, 2017 10:43:10 GMT -6
No doubt, the monitoring chain. Every single decision I make is based on how those translate the signal to my ears. Everything else is negotiable.
Now, if we're looking for a chunk of hardware --- The Neve MBP (Portico II Master Buss Processor). Damn near everything goes through that box, even if all the processing is bypassed and it's just hitting the transformers. Everyday projects go through, my occasional voiceovers go through, once in awhile clients will send in tracks (usually vocal or bass, occasional drum submix) just to run through for a touch of impact before they print their final mixes (or if they play to varying backing tracks).
I don't think I've ever had a piece in the rack that was so versatile. Frankly - and this is saying something - I rarely change the settings. It actually has a "starting point" other than "zeroed out" -- Don't get me wrong - I'll adjust it if need be, bypass certain processes or what not. But much of the time, when I know it's going to be used (which again, is almost always), it's a "global" process that's there early - and then I just work into it.
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Post by massivemastering on Jun 29, 2017 0:13:10 GMT -6
Well, not gone just yet -- But I did get a call from the tech and basically it's a simple issue (that requires a bit of time). And that's all good. I'm just glad they figured it out and it's on the mend. I'm tired of looking at the Stereo Stupidifier with Digital Sonic Decrapulator....
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Post by massivemastering on Jun 27, 2017 20:50:06 GMT -6
I think the hum is being handled. Dropped it at a "legendary" tech shop in the Chicago area. Even the receptionist has an idea of what the issue is.
I just wish I was good at this stuff. :-(
That said - If you are, the thing is utterly amazing otherwise. Did some null tests which were mind-bending. And the self-noise (other than when the right side high shelf is engaged of course) is damn near non-existent. Quieter than my 9500, Ibis, 8200, 642b, MassPass, 250 -- "Sweet" and "musical" but not in any way obnoxious. I've only seen a few places that have these on their gear list -- And - well, other than I can't even imagine the patience to build one, I'm starting to wonder why....
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Post by massivemastering on Jun 24, 2017 0:05:58 GMT -6
I gotta say -- I hang at a few forums and this one has probably the best "signal to noise ratio" of any of them.
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Post by massivemastering on Jun 23, 2017 1:19:47 GMT -6
John, what near fields have you found workable? Hey - Don't take my word for it -- But Equator. D5's and D8's. (Deleted the rest of a long, brand-specific rant as to not offend). Actually considered building a surround rig based on the D8's (but able to sum to the Tylers). Might still do it some day, but surround requests are so rare... That said, if I had a decent surround rig, maybe I'd get more requests. #ChickenOrEgg
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Post by massivemastering on Jun 23, 2017 0:57:46 GMT -6
Not yet - But I'm on the list to get my HEDD upgraded to the same circuitry. Long story short - If Dave says it's better, I want it.
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Post by massivemastering on Jun 21, 2017 17:52:34 GMT -6
Assuming you're talking Nautilus / Diamond -- I used 802's -- same general top end as the 801 (I think both the mid & tweets were the same) and I believe the same thing applies in the Diamond series (common mid-tweet). That - uh - "forwardness" in that (2-6kHz-ish) region was a big reason why I ended up looking to replace them. 15' away in a home theater, that's great - Keeps the vocal a bit more defined, on top, etc. And it was fairly easy to work around (but it drove me batty). I'll save my feelings for the vast majority of near-field monitors. Not that there aren't some decent ones out there, but most of them, I'd like to throw into a tire fire.
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Post by massivemastering on Jun 20, 2017 8:16:58 GMT -6
Now that I had a chance to take proper measurements, I could finally order the "ornaments" -- The left one: Found a place online that does laser-etching in various metals that didn't break the bank.
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Post by massivemastering on Jun 19, 2017 22:37:24 GMT -6
Crane Song Avocet. If not "right in the price range" it's pretty close... I have one of the older models -- The newer one is on my list.
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Post by massivemastering on Jun 12, 2017 10:00:13 GMT -6
(WIFE) Honey, you really have to start selling some of this stuff off...
(HUSBAND) Yes dear.
(WIFE) I mean it!
(HUSBAND) Okay, I'll put the Meek up on e-bay.
(WIFE) You must really love me....
(HUSBAND) Anything for you, dear... (puts $500 compressor up for $8k)
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Post by massivemastering on Jun 3, 2017 18:29:17 GMT -6
Definitely a leap-of-faith to some extent - But he was so "confidently laid back" on the phone and "hey, if you don't like 'em, I'll come pick 'em up and give you a refund" -- I figured I didn't have much to lose (although I would've hated to have to return them).
I remember putting in DSOTM on SACD and *once again* hearing details I've never heard before. And coming from the B&W N802's that were in here earlier that day (and for the previous several years) that alone blew my mind. Then a movie or two. Then I spent weeks just pounding the hell out of them (especially when I wasn't in the room) with tone sweeps, bass warbles, band-passed noise sweeps, freaky music, etc. Over 100 hours or so, the lows dropped to something ridiculous like 23Hz (see? I can't shut up).
Blah, blah, blah, skip forward a few years and now they're everywhere. Which is awesome, because they're awesome. But it was kinda cool being the only place that had them for a bit. ;-)
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Post by massivemastering on Jun 3, 2017 6:42:25 GMT -6
When it comes to those things, it's hard to get me to shut up. Never found a set of - what I assume would be called "expanded D'Appolito" boxes -- Tried Dunlavy and Duntech - and - it's early, sorry (on my first cup) - others. These things just disappear. The D4M's (little guys) are just for the occasional "paranoid" client that wants to see what something is going to sound like on something more like a home system -- But even those are ridiculous. You can get *so much* sound out of them - they they ask where the subs are - then I invite them to look behind the desk to find there aren't any. Advantages...? They sound awesome, assuming an awesome recording. They sound crappy with crappy recordings. Disadvantages...? Really - I've got nothin'. Did a blog thing at one point - (a moment passes) fount it. www.massivemastering.com/blog/index_files/tyler_acoustics_decade_series_d1.php
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Post by massivemastering on May 22, 2017 22:23:50 GMT -6
IT. IS. HERE. Don't know if I can fap to this, but I'll certainly give it the ol' college try... (Mild vape puff added to bring out the ridiculously bright blue LED's on each band) THAT said -- It sounds absolutely amazing. One of those EQ's that's *so* transparent, you hardly notice anything changing. Then you hit the bypass and freak out at how much has changed and then cut everything in half. THAT SAID -- There is a 'hum' in the right side high shelf (thank Jeebus, each band has a bypass that takes it out of the chain). It's at like -85, but I can hear it. And if I can hear it, it needs fixin'. Going to talk to the builder and see if we can't track it down. Otherwise - it's quite nice. Right off the bat, I like it better than my old Sontec, Massenburg 8200 and Manley Massive Passive. Hell, I might even like it more than the Ibis. Back to work... For a bit... Then sleep. Then I spend the whole day exploring this thing in detail.
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Post by massivemastering on May 22, 2017 22:13:10 GMT -6
90% fader riding -- 10% compression of the source. The two are not the same...
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Post by massivemastering on May 20, 2017 0:49:42 GMT -6
Oh my -- It's at the hub just 10 miles away...
This [SELF-CENSORED] is starting to get real...
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Post by massivemastering on May 17, 2017 15:03:18 GMT -6
TRACKING NUMBER!!!!!!!!
31 pounds of fun is officially on the way!
31 pounds... No way the Massive Passive was that heavy... (A MOMENT PASSES) Shipping weight on the Manley Massive Passive: 27 pounds.
I wonder if he put a bottle of Gentleman Jack in there or something....
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Post by massivemastering on May 16, 2017 23:28:50 GMT -6
All I can submit is that if you can't make one of the most amazing, most natural sounding, audiophile-celebrated recordings of all time at 44.1kHz, it isn't the fault of the sample rate.
Same goes for 48k, 88.2 and 96.
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