gavg
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Post by gavg on May 7, 2017 18:11:06 GMT -6
I'm sure I remember reading (or hearing) an interview with Swedien where he said MJ was compressed with an 1176.
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gavg
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Post by gavg on May 7, 2017 18:09:36 GMT -6
Bruce Swedien- Michael Jackson - fader rides - Sm7 - Neve - tape
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gavg
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Post by gavg on May 3, 2017 12:59:10 GMT -6
I agree it's questionable, but if our job is to make the most of the material we've got to work with...
That said, even great singers can sound even better with great mixing which usually includes compression. It's all about the end result, I don't think anyone cares how you got there.
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gavg
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Post by gavg on May 3, 2017 10:22:47 GMT -6
I'd say it totally depends on the type of record you're trying to make. Level/volume control is one thing, but the vibe and intensity of a slamming 1176 (for example) can never be achieved with fader rides. Also, remeber that compressors also have a tonal quality that can serve as a form of eq and many mixers use this to their advantage.
On another point, remember that it's not just compressors that are providing compression. Tape, transformers and valves all give a certain amount of compression and peak rounding and these can be found all over the (traditional) signal chain. Much harder to get away with no compression when you're going from a condenser into a transistor based preamp into a DAW.
Last point... Not all singers are created equal! Some peoples voices just come out of their mouths sounding rich, balanced and controlled. Even FAT! Others sound thin, weedy and erratic. Combine that with no mic technique and good luck using no compression.
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gavg
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Post by gavg on Apr 24, 2017 10:20:13 GMT -6
I've had one of these beauties in the studio (on extended 'loan') for over a year now and it become one our go-to vocal mics. Also became a firm favorite on snare! Very musical mic. I also had the UM71 (multi pattern version) for a while but for some reason I didn't love it as much. Might have been psychological.
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gavg
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Post by gavg on Apr 4, 2017 17:38:02 GMT -6
Wow, that's fascinting information about the KM84 and the other mics. Thanks Dave. I'm not that technical but can just about understand about half of what you're saying! As a long time user I've never found other SDC to quite deliver what the 84 can, even though there are some great ones out there. I do like the Schoeps CMC 5u(i think it's called) and also the B&K 4011. Both great sounds, but the 84 has some mojo! As does it's cousins, the 54's and 86's. Thanks again for sharing all the info. I'll be looking out for your new mic.
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gavg
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Post by gavg on Apr 4, 2017 6:17:53 GMT -6
At the risk of sounding 'snobbish' (!), I have always found there to be quite a gulf between the 84 and the 184. The 184 feels a bit lifeless to me while the 84 has some magic about it. It can delver really big sounds, always surprises me. The 184 I have used plenty and is a usable/functional mic, but the 84 is in a different league, in my opinion.
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gavg
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Post by gavg on Apr 1, 2017 19:29:52 GMT -6
Actually, I have one I'm selling at the moment if you're interested!
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gavg
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Post by gavg on Apr 1, 2017 19:29:15 GMT -6
My experience of 121's is that they are quite pronounced in the low mids. The R84 feels much more 'full range' to me. The beauty of 4038 to me is that while the top end is fairly muted in it's natural state, the mic eats up eq like very few others. The tops are all there to be had with a judicious boost on a quality eq. Smooth as silk - provided you have a preamp that is not too noisy. The Coles can shimmer with the best of them - Dark Side of the Moon overheads for gods sake!!! Do you use your own R121s or some one (some studio) else's?
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gavg
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Post by gavg on Mar 31, 2017 6:17:06 GMT -6
I'm struggling to see what all this bluster about proper orchestral engineering and prep has to do with a question about ribbon mics on brass instruments!?
Btw, agree about the SF12. Amazing mic and possibly even better (but more expensive) is the SF24. I've had great luck with the SF12 as a brass room mic.
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gavg
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Post by gavg on Mar 30, 2017 21:57:49 GMT -6
I remember seeing a mail about that..
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gavg
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Post by gavg on Mar 30, 2017 16:12:57 GMT -6
I demo'd both the Electra and the Sly-Fi (sames guy's other company) 'Axis'. Ended up buying the Axis instead. Both were great. The Electra was a lot more DSP hungry and seamed s bit narrower in the mid bands. The Axis has a killer saturation circuit. Just wish it had the filter of the electra. Was a close call, both excellent and more a taste thing than a quality thing.
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gavg
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Post by gavg on Mar 30, 2017 13:53:51 GMT -6
Btw, would be interested to hear the unmastered track. I've been tempted to try Aria recently as I heard some good stuff online. Just haven't gone there.. Someone I know was saying that if you send it back it's own result, which logically it shouldn't need to process, it will process it again... which suggests that it's not really listening / as intelligent as it could be. Still, some of the demo's I heard were quite impressive.
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gavg
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Post by gavg on Mar 30, 2017 13:49:43 GMT -6
E all day long. That said, the difference is subtle but A just sounds like it's 'trying too hard'
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gavg
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Post by gavg on Mar 30, 2017 13:48:28 GMT -6
I'd say you can never go wrong with a Coles 4038. The R84 is amazing as well, and to my ear a bit more naturally open sounding where as the Coles is naturally darker. I recently did a brass section with Bari, Tenor and 2 trumpets where I used R84's on the saxes and 4038s on the horns. Sounded great! 4038 is my favorite trumpet mic of all time; it's the perfect marriage of a bright instrument with soft topped mic.
121 a bit honky for me on brass.
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gavg
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Post by gavg on Mar 22, 2017 3:55:21 GMT -6
Hi John,
Thanks! Don't know how I missed this forum in the past.
Funny, I always found players moving between spaced mics to cause the drift. The M mic provides an anchor for me and if the guys is too mobile, can always underplay the S more.
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gavg
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Post by gavg on Mar 21, 2017 18:46:31 GMT -6
I'm generally a LDC guy on acoustics... C12 / 67 / 87 / 414 - all good. That said..... On occasion, a KM54 if available , KM84 , 86, 56 or even a 451 can be just what the doctor ordered. Also like mixing in a 57, possibly 1176'ed for some extra push factor if called for, but I like lining up the diaphrams for mono. Never was able to make much sense of space mics on acoustic. If I need a stereo acoustic recording, I go M/S.
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gavg
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Post by gavg on Mar 21, 2017 18:34:34 GMT -6
I agree with drbill that nothing can replace the mojo of an RCA 44. I have recorded quite a bit with the AEA 44 (phantonm version)and the original and they are quite different, yet clearly share DNA.
On Vocals, what I have found is that the footprint of the sound (especially with the RCA) is so specific and noticable, that you really have to make the decision that that is the sound you are going for, for that track or project and commit to it. It's not for everything, or even for most things in my opinion. But when you want 'that' sound, nothing else will get it. Amazing, but not an everyday mic choice for me.
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gavg
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Post by gavg on Mar 21, 2017 18:22:29 GMT -6
My experience of 121's is that they are quite pronounced in the low mids. The R84 feels much more 'full range' to me.
The beauty of 4038 to me is that while the top end is fairly muted in it's natural state, the mic eats up eq like very few others. The tops are all there to be had with a judicious boost on a quality eq. Smooth as silk - provided you have a preamp that is not too noisy. The Coles can shimmer with the best of them - Dark Side of the Moon overheads for gods sake!!!
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gavg
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Post by gavg on Mar 12, 2017 12:13:44 GMT -6
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gavg
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Post by gavg on Mar 12, 2017 12:12:52 GMT -6
Stormymondays, I recently went down the road of the Antelope Orion 32+ which really put an end to my I/O issues. It's very stable and sounds amazing as well. I currently only have 24 out of 32 I/O wired up, which aren't even maxed - so still room to grow!
At some point I'll try the Black Box, but I'm a bit worried about how I'll recall current or recent projects if I get rid of the MAS.. will have to carefully plan a transition.
G.
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gavg
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Post by gavg on Mar 11, 2017 21:23:28 GMT -6
Hi Dr Bill,
Thanks for that! I'll check it out.
G.
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gavg
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Post by gavg on Mar 11, 2017 19:28:17 GMT -6
Hi Geoff,
I know it's a pretty old thread now, but I just happened upon it as I just joined and was searching overstayer related threads.
I am also largely ITB with a few select pieces of outboard and something that I do to get the most out of them that I don't think was mentioned is running them in parallel. This works for mono or stereo units. For example I have an ADL1500 that sits permanently on an aux and I can send whatever I like to it to get a bit of that flavour on lots of things if I want. I do the same with a distressor which I use mainly as a mono drum parallel. And so on..
To one of your other points... I have experimented with printing a mono compressor one channel at a time to achieve stereo, but never across the 2bus. I've done it with my mono distressor to achieve a stereo drum parallel and it works perfectly in terms of timing, but you have to be careful with the in and out levels as you will need to push your send 3dB harder harder into the panned send to achieve the same level hitting the compressor than if it was mono. To be honest, I found the whole thing too faffy and time consuming to bother with on a regular basis and find I like the mono distressor and use other things for stereo now.
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gavg
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Post by gavg on Mar 11, 2017 18:48:16 GMT -6
Hi There,
First post here as I just discovered this forum!
I've been looking at the HG-2 recently and wondering how it would compare to the Overstayer M-A-S which I currently have and 'sort of' love. It's about twice the price and I wonder whether it's going to make twice the difference. I generally use it across the mix bus in a largely ITB setup (with a few piece of select gear on hardware inserts).
While I do get a lot of use out of the M-A-S (occasionally also bounce vocals or bass through it), I say 'sort of' love as there are a few things about it that kind of bug me and I wonder whether it would be worth selling it and getting the HG-2. I would almost certainly not do this without getting a demo unit to play with, but just wondered if anyone out there had any experience with both boxes?
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