|
Post by jazznoise on Sept 9, 2018 14:29:06 GMT -6
Any decent cabinet, 4x10 or 8x10 and then just some heads. Guitar heads like a Bassman can work great. The Orange OR bass head is a total beast. Ampegs are obvious classics too. My experience with touring bands is often a decent Pre or head but the cab is whatever is portable.
|
|
|
Post by jazznoise on Sept 9, 2018 14:26:13 GMT -6
Thanks again. Jazz, how is 12KHz "too low"? Grasshopper asks... Chris Well because you're losing a lot of the air of the rest of the vocal, loop a held note for instance and move the low pass. It'll pull the vocal back in the mix, too! Multibanding or Dynamic EQ has the advantage of just ducking the high frequencies when they're over the threshold - like sibilences. You can do it, but something around 15Khz would be better. I often do that after distorting Vox. Fwiw these days I usually do maybe 2-3dB of dynamic eq and 1-2dB of de-essing on notably compressed vocal sounds.
|
|
|
Post by jazznoise on Sept 9, 2018 4:05:02 GMT -6
Sibilance has a few factors - dynamics, quiet singers are inherently sibilant and then control and technique can help. Some rappers and punks tend to over do them for emphasis.
I would use dynamic eq rather than low pass to avoid losing brightness. 12k is a bit low for me!
|
|
|
Post by jazznoise on Sept 8, 2018 16:13:08 GMT -6
VPR spec is 130 mA per rail at +/-16V. So this threw me as the original 1073 draws 133mA @24v. That's within spec! Then I looked up the specs for the lb edition and it does indeed show good tolerance of low output impedance to +24dB so either his is defective, something in the supply is preventing full output swing or the specs are false.
|
|
|
Post by jazznoise on Sept 7, 2018 13:13:11 GMT -6
Wonder what he’s powering it with. I doubt he's under powering it, the current limitations of the 500 series means the emitter resistance for the power stage is much higher. Its a couple of Watts to run a 1073 afaik. What's the current limitation for 500 series, 100mA at +/- 24V?
|
|
|
Post by jazznoise on Sept 7, 2018 8:53:17 GMT -6
Well I imagine it is since the output stage is probably running at a much lower level. The output stage should be a power transistor, with a pretty low resistor value on the emitter (47ohms?) An original 1073 can run a lot of voltage into a 600 ohm load. The Heritage Audio clone specifies 26dB into 600 ohms and the transformers should be designed for that sort of power.
500 series stuff doesn't supply the current per unit for that. Power stage impedance and voltage noise levels have to be sacrificed to save on power consumption. A 500 series la2a would probably be fine as I imagine they'd tailor the input z to handle a 500 series Pres output (probably 2.5-10k?)
|
|
|
Post by jazznoise on Sept 5, 2018 17:45:00 GMT -6
Yeah it's definitely post-transformer looking there. It does appear to be a ganged pot! Curious. A rotary switch pad seems like it'd have been more tolerant of resistor error for balancing, maybe they just assumed if you're running a hot enough signal that you have to turn it down that the balancing isn't very critical?
|
|
|
Post by jazznoise on Sept 4, 2018 10:03:19 GMT -6
If you have an output attenuator then you're changing the load seen by the transformer and the current being drawn through it. I can't see how that wouldn't effect the coloration of the OT unless it’s a t pad attenuators like CAPI sells It looks like a potentiometer from the decal, but if it's a rotary switch that is possible! Doing a T-Pad (H Pad? It's a balanced line after the transformer) circuit from Unity to -60 or whatever would be a bit of a disaster with a ganged pot. Curious now, for anyone who knows!
|
|
|
Post by jazznoise on Sept 4, 2018 2:44:54 GMT -6
If you have an output attenuator then you're changing the load seen by the transformer and the current being drawn through it. I can't see how that wouldn't effect the coloration of the OT
|
|
|
Post by jazznoise on Aug 13, 2018 11:59:39 GMT -6
What most pedals for delays are missing is a send/return loop and that's 100% why I love my Deluxe Memory Boy. It's a very effective way of using modulation without it obscuring the part - I particular like putting flangers, phasers, EQ and Wah pedals in the feedback loop. Works great on vocals and brass too!
If there was a digital one with the same level of functionality I'd definitely pick it up.
|
|
|
Post by jazznoise on Aug 2, 2018 15:33:49 GMT -6
The midi tools are good, the issues are with tracking and editing midi and the default midi inputs. But the editing is fine and the quantization and time stretching tools are all good.
Ableton is better on MIDI, but honestly for tracking Reaper is so good you'll put up with it.
|
|
|
Post by jazznoise on Aug 1, 2018 7:00:35 GMT -6
RE: How they make them more modern sounding. I imagine the first issue is the magnet usage, I suspect high-power neonymium magnets will be used. The characteristic change in the EV models that have adopted this has been an upper mid boost, so there's no real surprise there.
The rest I imagine is headbasket design, and I'd imagine most of it is just plain old idiot-proofing. It's more to do with avoiding returns from customers who can't wrap their head around the idea of using different tools differently.
|
|
|
Post by jazznoise on Jul 30, 2018 14:03:23 GMT -6
Put your producer's hat on for this: Let's say you have a trio- upright bass, drums, acoustic guitar and vocals. Now let's say you don't want headphones and don't want to have everyone in booths. You want a live band in one room. The guitar and the vocals are going to have a tough time taking their rightful place, volume wise. So, let's run the acoustic to an amp and the vocals through a quality small PA. Let the players get their volumes all dialed in so it sounds great. Now put your engineer's hat on: Utilizing any combination of techniques, who here is confident they could make a good sounding record that way? I've basically been in this situation a few timesand the real issue is that the bleed will make life very tough. The 2 scenarios I've had are thus: Live 5 piece band (Drums, bass, ac. guitar, fiddle and tinwhistle) - drummer is quiet loud, and what we end up with is an issue where the drum panning is distorted by the panning of the fiddle and whistle mics. Acoustic guitarists movements away from the mic (nervous guy?) make it tough, but since I mic'd his amp for his pickup I do have some level independance. We used acoustic panels to do what we could, ideally we'd have redubbed the instruments with the worst bleed. Live 3 piece: Ac guitar + vocals, bass and drums. Doing it all in a big room, so I put in acoustic panels and space them as much as possible. Bleed is managable, except now the vocal mic is also a reverb return for the drums! No one wants to hear it, but the best bet is to simply move the louder instruments to a different space or, better again, use the quiet instruments as guides and overdub them after.
|
|
|
Post by jazznoise on Jul 30, 2018 12:55:38 GMT -6
I mean if they're using a handheld/or eating the mic it's a perfectly good idea, otherwise no. The phase reversal technique where you cancel out the bleed works very well but can be timing consuming and means you can't have insert compression on the way in.
|
|
|
Post by jazznoise on Jul 17, 2018 15:35:20 GMT -6
Oculus Spatializer is another worthy contender. With the acoustic spatializarion on, it really starts chewing up the CPU. So, where does one get that? I see SDKs...does that come with an audio plug in of some sort? that actually DOES intrigue me....I'm getting close to mixing something with a BUNCH of percussion....that might be fun to spin that all around..... It's in the SDK!
|
|
|
Post by jazznoise on Jul 16, 2018 15:02:58 GMT -6
Oculus Spatializer is another worthy contender. With the acoustic spatializarion on, it really starts chewing up the CPU.
|
|
|
Post by jazznoise on Jul 13, 2018 12:10:02 GMT -6
Seems like an easy enough feature to add, John. You'd just have 3 delay lines on the go and you'd just tap into them as necessary. It's probably an effort reduce CPU usage to just keep to the one.
My main complaint would be many software ones don't do the headbump properly and thats a big part of tape echo and how it saturates. Some delay times can be gotten by 2 of the heads on my Copicat but they'll both sound different.
|
|
|
Post by jazznoise on Jul 13, 2018 9:14:26 GMT -6
Forgot to mention, the most realistic studio tapehead slapback delay I've heard in the box is u-he Satin. I think it sounds more realistic than the Strymon emulations, for what it's worth. Satin is definitely the bast tape emulator out there to my mind - especially in terms of saturation. Does all the various Noise Reduction formats too. I use it all the time with the tape in bypass just for the Dolby A trick!
|
|
|
Post by jazznoise on Jul 13, 2018 7:45:15 GMT -6
Fed system seems so complicated. We do pay service rate VAT (same as service tax in practice) here, but it's just down to what country the ME is in. Your company in Ireland is either registered to be able to reclaim Vat or not, and there's advantages and disadvantages to both - mainly with the quantity and cost of book keeping.
The tariff scenario is terrifying and I hope for everyone it de-escalates soon. Look at how the UK is stocking canned goods,the markets are so globalised a trade war is a disaster scenario. Companies like Moog are freaking out right now about it.
|
|
|
Post by jazznoise on Jul 11, 2018 2:58:39 GMT -6
Echo Boy or NastyDLA for software, hardware it's the Watkins Copicat or my Memory Boy. Theoretically you could do it all with EchoBoy all the time, but some things are faster and/or more fun.
|
|
|
Post by jazznoise on Jul 2, 2018 9:36:53 GMT -6
I actually had already mic'd the bass cab, I just hadn't done any distant micing as we overdubbed that in my home studio and its pretty dry. So I was just sending it out to a big room to see if it would help, and the ambience is actually what made the big change to me. I generally try to keep my bass tone pretty direct and dry. Even putting a condenser mic in front of a bass cab is already going to sound a bit "roomy" in my experience, sometimes I might even set it to hypercardioid if it's a 9-pattern mic. I find it hard to imagine that your actually hearing room ambience at that distance, even in an extremely reverberant space. Try this way out, add a room mic. Listen to a song like NiNs The Hand That Feeds, it's the room mic giving it that sound.
|
|
|
Post by jazznoise on Jun 27, 2018 2:17:06 GMT -6
I don't do much with string vsts but I have had this issue before with players not used to playing in ensembles.
I'd you're looking to fake it easily, the best thing to do is get the 3rds just, then then the 7ths and only really worry about the 5ths on diminished or augmented chords. Obviously that means automation. There's a good book How Equal Temperament Ruined Harmony And why You Should Care that offers various interesting solutions.
Now for melodic lines you've a lot more scope. Some players will actually use pythagorean tuning deliberately to be a bit sharp and stand out.
|
|
|
Post by jazznoise on Jun 26, 2018 4:13:32 GMT -6
Well like you said in your OP. I have found that miking a bass amp part is going to add a huge amount of girth and size to the bottom of the mix, vs a simple DI track. This is assuming that the bass amp / rig is worth a shit. And that the mix needs that kind of sound. Reamping synthesizers is really fun also. Can make a digital synth sound much more "organic" to hit some pedals and a guitar amp. I actually had already mic'd the bass cab, I just hadn't done any distant micing as we overdubbed that in my home studio and its pretty dry. So I was just sending it out to a big room to see if it would help, and the ambience is actually what made the big change to me.
|
|
|
Post by jazznoise on Jun 24, 2018 8:24:06 GMT -6
What Daw are you using? Most of them have the functionality built in somewhere obvious, like in Reaper or Logic, but you can also do it by setting your convertors to a custom sample rate. Simply change the playback rate for recording and return it to normal for playback.
It's a big part of the vocal sound of many big 60s-70s artists. But it's also useful in more mundane ways like putting songs in easier keys for brass or backing oohs. I don't use it all the time, but increasingly for backing vocals and now for sort of 'enhancing' recordings. Even just slowing down a whole song or loop can offer cool possibilities.
But specifically atm I'm looking at it as a means of altering or better utulizing existing acoustic spaces and speaker systems to get results that mighnt be achieved otherwise!
|
|
|
Post by jazznoise on Jun 23, 2018 11:22:16 GMT -6
So recently I recorded some new stuff for the band and the mix was fine but lacking something with the bass. I decided to reamp it in a local club we run shows in, so I set up a friends bass amp (2x12,1x15) and what surprised me was how good the ambient mic I threw up for fun sounded. Amazing, actually.
So I spent the next 3 hours moving the ambient mix around, varispeeding the bass to tweak the room sound and the results blew me away. All those heavy bass sounds - Nine Inch Nails type stuff - sound that way.
So I'm wondering:
A) How many of you are doing this? B) How many of you have used or are trying out varispeeding performances for reamping?
|
|