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Post by allbuttonmode on Jun 9, 2021 5:32:44 GMT -6
I can highly recommend using Soyuz 013s as tom mics, to avoid ugly cymbal bleed. I stopped using 421s for the exact same reason as the OP. For me, they've more or less made gating toms unnecessary.
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Post by allbuttonmode on Apr 30, 2021 4:35:18 GMT -6
Should be plenty of options then, just going to be kind of long in the tooth to get the cost down since the prosumer stuff rarely or never has AES. It's actually kind of wild to me how much the original Lynx Aurora's have held their value, they do sound good though. I know, I've had mine for 10+ years now, and couldn't be happier with the sound. The heat on the other hand...
I checked out that Lucid unit you mentioned. Looks like a great candidate. Thanks for the suggestion. Now I just need to find one, not too far away
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Post by allbuttonmode on Apr 30, 2021 4:28:39 GMT -6
You could get a few Tascam UH7000 on the second hand market if you can find them. Only two channels each though. Yes, I am looking for at least 8 channels.
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Post by allbuttonmode on Apr 29, 2021 12:20:11 GMT -6
What sample rates do you need to support? A used Lucid 8824 is pretty affordable, if kind of old (taking some risk there). Never used their stuff, personally but it had a decent rep when it was new. Thanks for the input. I would like it to at least handle 48kHz.
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Post by allbuttonmode on Apr 29, 2021 3:00:41 GMT -6
Hi,
I am looking for a converter or a couple to feed my cue system. I have 3 Auroras with plenty AES/EBU outputs available, and would like to utilize them instead of eating up analog channels. The cue system is the Behringer P16, which can take ADAT or analog signals.
Any suggestions for a cheap solution?
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Post by allbuttonmode on Apr 14, 2021 2:03:19 GMT -6
The right cymbals for recording is a never ending quest. At least for me (I'm a drummer first). Personally, I've had most luck with Istanbul Agop cymbals, but, that said, I had to go through a whole bunch at the shop to find the right ones. No two cymbals sound remotely alike, even in the same brand/model/size. It's a nightmare process, but very necessary.
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Post by allbuttonmode on Apr 6, 2021 4:43:17 GMT -6
Well my meaning was more that the Neumann costs 4000 dollars. Even the clones are in the same price range as the UM70 which we've been discussing. Telefunken ELA M251's make great tom mics as Jeff Pocaro proved. Their price makes them a waste of resources used in that application I don't know where you buy your U47 FETs, but mine did certainly not cost 4000 dollars At the time of purchase, the price was 2500 USD. The Porcaro scenario is ridiculous, I agree. But I hardly think it's comparable.
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Post by allbuttonmode on Apr 5, 2021 5:00:17 GMT -6
Well with a little use of a TC Electronic 2240 eq you could almost use any mic on the kick or a bass and still have enough money to buy a pair of UM70's and then some I guess. That goes for a lot of mics.
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Post by allbuttonmode on Apr 4, 2021 17:26:10 GMT -6
In my somewhat limited experience, I have not come across a better outside kick mic. Paired with a 91 on the inside.
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Post by allbuttonmode on Mar 25, 2021 2:44:50 GMT -6
22 years ago, I traded my Roland SBF-325 stereo flanger for an AKG 414EB. I had just started dipping my toes into recording, and needed a good mic. So, it was out of necessity - and that mic has definitely served me well - but damn if I haven't regretted that trade ever since. A couple of months ago, I FINALLY got my hands on another one! Never letting it go again. Those early 80's Roland units are amazing.
(Pic for reference - not my unit)
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Post by allbuttonmode on Dec 22, 2020 8:58:28 GMT -6
Arrogance level: Martin -Pharma Bro- Shkreli.
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Post by allbuttonmode on Dec 11, 2020 7:20:24 GMT -6
Received the CAPI Sumbus kit this week (24x4). Props to jsteiger for mad packing skillz! A lot of thought has obviously gone into the organizing and prep. Looks are very much deceiving. So many parts, such small boxes!
I'm guessing this one will keep me busy for a couple of months. At least.
Jealous. I was hoping to get one over black friday sale but was out of stock. So sorry, then I’m to blame. I snagged the one kit that was available...
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Post by allbuttonmode on Dec 10, 2020 3:28:58 GMT -6
Received the CAPI Sumbus kit this week (24x4). Props to jsteiger for mad packing skillz! A lot of thought has obviously gone into the organizing and prep. Looks are very much deceiving. So many parts, such small boxes!
I'm guessing this one will keep me busy for a couple of months. At least.
Attachments:
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Post by allbuttonmode on Nov 2, 2020 9:16:08 GMT -6
It looks like I am heading down the summing mixer path again. And the SumBus ACA is an obvious choice for me. Who here built the thing themselves? How complicated would you say it is?
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Post by allbuttonmode on Oct 11, 2020 3:48:13 GMT -6
Thank you for your input, people. And thank you, drbill for chiming in. The light colour explanation puts my mind(ears) at ease. It was just what I was looking for.
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Post by allbuttonmode on Oct 10, 2020 7:42:14 GMT -6
Also the new CAPI opamps in the A position are pure fire... Over and Out... Oooh... That sounds interesting!
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Post by allbuttonmode on Oct 10, 2020 5:50:11 GMT -6
I am not a SB user but I use other gear with transformers. Wehn it starts to sound unpleasend or is too much of a good thing I dial it back. I think its not diffrent with the SB than with any other gear, you need to use your ears. I think very helpful is to check out the extremes under good cans. Cans are like an audio micropscope....
Thank you. Yes, I do check the mixes elsewhere and on headphones as well. I am just doubting myself, as the unit is new to me, and I don't recognise the artifacts yet.
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Post by allbuttonmode on Oct 10, 2020 4:59:52 GMT -6
Hi. Having had the SB for a little while now, I’m starting to find it indispensable. But I know I’m still deep in the honeymoon phase, and don’t fully trust myself around it. So, a question for you SB users here: When do you know you’ve saturated the mix too much? I know, as time passes - as well as mixes - I’ll (hopefully) recognise the signs, but right now, I just hear improvement. Usually when the lights turn pink, the signals p r e t t y hot, which sets off the alarm in my head. Help! (BTW: It's not on pink at all times, though. I just realised that wasn't too clear in my ramblings above) Attachments:
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Post by allbuttonmode on Sept 25, 2020 8:03:39 GMT -6
Waves is pure evil.
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Post by allbuttonmode on Aug 26, 2020 2:02:10 GMT -6
Flock Audio Patch. Very interesting tool, the Patch. Only a few days with it, but a cool ride. Allowed me to remove a shitton of patch cables between two bays. It's not a magic bullet by any stretch and there's the whole I/O gobble thing, but it sure adds a level up to routing. I ended up cabling my mixbus together since I've had the same routing there for three years or so. That also let me do some better routing with hardware inserts in PT that I was cabling before between bays. I had a Liaison in my setup for a year or so which was fantastic. The Patch is more flexible though with the number of things I like to shift around on sources. Good times. You just further peaked my already elevated interest in this product. I'd love to get rid of some of the patch cable nightmare. Edit: I'm still using my two patchbays. One for preamps (not doing any of that shit with the Patch) and the other for routing hardware inserts via normalling. How do you get around this when wanting to use outboard racked in the Flock in a recording situation? Or am I missing something fundamentally obvious? Anyways, congrats on a cool piece of gear!
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Post by allbuttonmode on Aug 20, 2020 13:09:35 GMT -6
Received the Silver Bullet and Successor a week ago. Have been playing around with their placement in the master chain. Currently the Successor, Obsidian and DEQ-1 are inserted in the SB. Magnificent gear. It’ll take a while to find the sweet spot, though. So many colour options.
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Post by allbuttonmode on Aug 17, 2020 2:58:45 GMT -6
Have you guys tried the Rupert Neve 535 diode bridge compressor? Not to detract from post, but they were saying they got very close to the 2254 sound with a lot of versatility with this 500 piece. I thought, yeah right, at first. Now I’m thinking it might be something to check out. Do you have one? Your thoughts? I heard a big difference in the VK video with the comparison. but to get that big full airy sound you could add a focus II with this 535? Maybe it would get closer? I have only used 2254s tracking a piano, years ago, so I can't say anything about how close they are. What I CAN say is, these RND ones are absolutely amazing.
A friend has a couple that I have been lucky enough to test out. So great for parallel compressing sub mixes and master buss. I am currently using them on the vox sub mix. Very versatile.
The downside is, when he needs them back, I have to buy a pair myself...
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Post by allbuttonmode on Jul 17, 2020 2:54:36 GMT -6
I’ll make a list of my favorite mixes and see if any are not LCR. The thing is, and that’s the key part, that we think we can hear the panpot when we work it but we can’t. There’s quite a bit of literature about it but it’s better to hear for yourself. Close your eyes and get someone else to move the panpot, hear what happens. I’ll concede there’s a blurry zone between the speaker and the ghost center but it takes a LOT of panning for your brain to register that change. Try it. I was skeptical when I started reading about LCR. I tried it and it was like a secret door into the great mixes.
Thanks, looking forward to it.
Now, for the bit about not hearing the panning: Colour me extremely sceptical. Please elaborate.
EDIT: Ah, saw the link to the paper now. Will check it out. Thanks.
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Post by allbuttonmode on Jul 17, 2020 1:21:44 GMT -6
I’d say that most great mixes are LCR. As I said, please provide examples. I'm all up for it. Why would you not use the full stereo available to you? I do use the whole field. Depending on the project, reverbs and ambient mics are usually fully stereo. But the instruments themselves are seldom panned more than 50%. More than that and it sounds unnatural to me. I NEVER hard pan any direct sounds. Any panning position that’s not LCR will shift with even the smallest head movement of a listener. Your carefully chosen pan positions are essentially random once a listener is between a pair of speakers. Of course. But I doubt an LCR mix makes any more sense in that scenario anyway. But in a headphone or car situation, there's no doubt in my mind which approach translates better.
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Post by allbuttonmode on Jul 16, 2020 2:22:26 GMT -6
LCR mixing makes no sense to me. I'm sorry, I can't really sugarcoat it in any way. I find it extremely unappealing to listen to. It's bad enough in front of a decent set of speakers, set up correctly, but just forget about listening on headphones or in a car.
Please convince me otherwise. Examples of what you consider great mixes done LCR are very welcome.
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