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Post by jazznoise on Feb 25, 2014 5:42:09 GMT -6
In my experience, larger diameter cymbals (all else being equal) produce a lower "note". Thinner cymbals (all else being equal) sound more "shhh-shhh", thicker cymbals sound more "ping-ping". Usually it's bright, present cymbals that can be a problem. It's not so much a volume problem. Dark loud cymbals might be too loud for the balance you had envisioned for the recording, but probably wont steal attention from guitars, keyboards or vocals. All brands seem to make models that tend to be piercing and models that are darker. However, some are known for their bighter sound, such as Sabian. Meinl, for example, seem to be generally darker. (Off topic alert) Some Deerhoof records that I've really enjoyed are Green Cosmos and The Runners Four. I think those are good examples of what the band is about. Wasn't crazy about Deerhoof vs Evil and sort of lost track after that. I saw them live a couple of times here in Spain and they played their butts off. They presented their music with conviction. I would never consider them posers. Cool, thanks for the synopsis! I've often throught similar - if I add more top to the overheads, I can brighten the hardware and the drums. But in many situations the cymbals are way brighter than the drums, so your balance is way off and you end up having to use more close mic than you'd like to push the drums forward and keep the cymbals back - and that has nasty bleed artifacts therein. Runners Four is really good. I love Offend Maggie as a gesture at the more classical side of their background. Deerhoof Vs. Evil and Breakup Song EP are both very good, but mixed way too loud. Quite fatiguing. At any rate I was joking about the "2 deep 4 u" comment. Let's hope I don't end up making fun of Altar Bridge or Garth Brooks when he gets here for the summer, or the whole board will blow up...
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Post by jazznoise on Feb 25, 2014 5:35:21 GMT -6
Hmm, I think you mean me.. Anyway, you are discussing "reactance", which is a complex relationship between an inductor, it's inductance, resistance and it's parasitic capacitance. I agree with you about the modelling, but it's a lot more complex than you describe. It can be mathematically modeled as a lumped element, with only the first orders of each parasitic approximating a whole system, but is generally broken down into distributed elements for simulation modelling. However, input transformers and their impedances are usually designed to be very flat across frequency. That's just part of the reason that the mic be matched with an input impedance that it can drive easily. Generally speaking, the strange frequency anomalies that happen from mismatches will happen due to the mic(source) inability to drive that impedance across all frequencies. It's the same for both solid state and transformer outputs. In any case, it's also the same for driving TOO high an impedance as well. The source was designed to be stable at a particular range of load, so operating outside of that range can cause similar anomalies as driving too low a load, and can in fact lead to other issues, such as reflections, which happen in cases of too light a load. Anyway, it's all rather academic. Plug in your mic and use it. If it sounds bad, find another mic or do something different. Indeed, my bad! Assuming we're just trying to get an approximation of the effects of different loads, I think a Thevenin Equivalent is pretty sufficient. What I've always REALLY wondered is, since the Z changes how fast the flux from the magnet in a dynamic dissipates, does that mean it has a direct mechanical effect as to how quickly/slowly the diaphragm can move? Yes we are getting academic. But that's fun..right? cowboycoalminer - I don't have a pre with a Vari-Z, but if you would like to add important-ness maybe you could get a ribbon and a well known dynamic (SM57, M201), get them to do a recording of a static source at different Z's (A full band piece of audio playing through a full range speaker would be great), then volume match them and post. I imagine it'll help you see where your own opinion is on things, and everyone else might learn something too. Just think of all those little upcoming RGO's, still teething, wondering what pre goes best with their SM7..
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Post by jazznoise on Feb 24, 2014 20:29:24 GMT -6
I always record at 24 bit with the peaks aimed at -18. Am I alone in this?
I was at 16 bit I'd probably go a little higher, but I always considered the extra 6 bits in 24 as spare headroom.
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Post by jazznoise on Feb 24, 2014 19:43:39 GMT -6
"2 Deep 4 U"
Not sure how anyone can watch Greg play a kit and not feel awe at what he can do with a kick, snare, hats and a cymbal. It's like someone injecting fun into your eyeballs!
Anyway, I think I'm starting to make sense of it. Bigger means it can move more air, but mass loading it reduces the extent by which it can do it. Having it super thin means it probably has a similar effect through the opposite mechanic - they have too high a compliance to really force the air to move. Am I getting it?
There's a few different YT videos on sticks, but rare few any good ones. Any drummers who haven't played with it, or non drummer like me, interested; Je presente
(Couldn't find any with hats)
(inb4 hipster garbage)
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Post by jazznoise on Feb 22, 2014 20:20:45 GMT -6
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Post by jazznoise on Feb 22, 2014 19:35:10 GMT -6
It depends on the type of microphone, firstly. Condensors are active and so you'll see as Ward described - changes in slew, distortion etc.
But if we view a Dynamic Microphone or a Ribbon as a series inductor (with a resistor in parallel to it) and the input Z of the pre-amp as a resistor going to ground we can see a passive microphone connected to a pre amp is a self contained hi-pass filter. By varying the Input Z we can change gain, but we can also change cutoff of the microphone. Higher Z's will generally make them brighter, but higher Z's also increase the Q of the filter. This usually means the presence peak of the circuit will become pointier - which is why so many people opt to do transformerless mods to SM57's, I think, to reduce the peakiness with modern pre's.
Obviously that's not the whole story and there's smaller amounts of shunt and series capacitance, and also inductance to ground meaning it's all a big messy bandpass filter really. But the main thing you'll probably hear is the first bit.
Or, at least, that's my understanding! I've been planning to make some Vari Z buffers. Will do..eventually!
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Post by jazznoise on Feb 22, 2014 13:11:53 GMT -6
I've had mine for nearly a year now with no issues. The main work it's done has been remote recording for a few bands and, recently, some film work where I've needed more than 4 channels.
I really like the monitoring system with the software that comes with it. 0 latency monitoring for mixes is great and mains you can set your buffer independent. I will own up and say I have not used the MIDI once. I was having an issue with dropouts, which was resolved when I realized my Laptop was putting the port to sleep after 30 minutes..
If you're racking this stuff, try and leave a gap. The Focusrite doesn't run hot but - well, I once saw a rather grumpy Digi 003 shit itself and take out the one above it in the ensuing meltdown.
In terms of sonics - it's fine. Most fuck ups on any project are either acoustical issues or my own mistakes. The noise floor is reasonable - again, it's just common sense stuff. Running a ribbon over a long distance? Make sure you have a cloudlifter or something. You can mic a sax with a dynamic 4-6 feet back worry free. I can set up ambiance mics with quite a distance and no real worry of noise issues provided they're condensors. The ADAT works fine, haven't tried clocking it outside of 44.1 and 48 (you'll lose the 2nd pair of channels at 88.2 and 96 Khz anyway). The mix software is really clever, you'll just have to put aside an hour or 2 to getting good with it. It supports stereo input monitoring, so you can group stereo channels. Annoyingly it doesn't do M/S, which is a shame. Even if it was only an option on a single pair of channels - it'd be nice. Haven't used the S/PDIF inputs yet either, really should get something cheap so I can squeeze in a part of "safety" channels!
I've no experience of the FCA 1616, but it's very obviously an attempt to do the same thing cheaper. If you're willing to forgo some of the frills, and I imagine Zero-Latency-Monitoring would be one of them, then go for it. Especially if you have a desk already.
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Post by jazznoise on Feb 22, 2014 10:18:39 GMT -6
So I lied about the one day turnaround. I had all the photos one except one of my desktop, so I only got around to that yesterday! Anyway, here we go. My desktop, complete with: Tubes, Transformers,a map of Skyrim, Harmon Mute, Thumb Piano and scented candle! My microphone collection, including the discontinued (but fantastic) Opus 99, EV635a, Uher M536 (Think an MD421 in a smaller bad, cause that's what it is..need to get 2 more for toms!) and my home made subkick. Probably seems a little small, but the rear side being sealed + a big ass transformer means the low end response is very good. Also my Dad's old Seagull acoustic and a modified strat in the background: My portable rig. Focusrite 18i20 and an ADA8000: And lastly some of the fun stuff! The home made pedals are a Fuzz Face (left), and a Super Hard On. My DIY ring modulator and my DIY Oktavia (modded to bits) are not in shot. Crybaby is a pawn shop jobby that I modified (standard Crybaby Vocal Mod + I changed the cut off from the D below E on guitar to about G# - super quacky and bright!)
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Post by jazznoise on Feb 21, 2014 18:02:48 GMT -6
Been a Beck fan since I was about 13. Can't wait to pick it up!
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Post by jazznoise on Feb 21, 2014 17:52:02 GMT -6
Sort of on off topic: I've heard talk either way that bigger hats or smaller hats are louder. Has anyone any input on this? 14" K series hats are louder than 13" K series hats/ I have both here in my studio. It is a rare day when the 14s win out over the 13s, in any situation. the 13" k series Zidjians are just THAT good. Then someone explain how Greg Saunier uses 2 rides for a hi hat and makes them and the kit balance sound freaking amazing!? Is it that they're bigger but also thicker? Different sticks make a difference too. He hasn't swapped to nylon tips, has he?
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Post by jazznoise on Feb 21, 2014 16:56:31 GMT -6
Some light de-essing/compresser sidechained to the hat on the overheads and rooms post is all I can suggest now. For songs without a lot of tom action, sometimes running the drum overheads into an expander keyed to the snare can make you less reliant on the OH sound in general.
Sort of on off topic: I've heard talk either way that bigger hats or smaller hats are louder. Has anyone any input on this?
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Post by jazznoise on Feb 21, 2014 16:51:33 GMT -6
Nice!
I felt the dig at Cubase was a little petty of them. Came off a bit like some pro-tools fanatic in the back room kicking chairs in the office cause not everyone thinks you need a U47 to make a record.
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Post by jazznoise on Feb 21, 2014 10:23:09 GMT -6
Or how about itunes adding an option to stream a song for 5 cents. You get the single after 20 plays...Would this encourage single sales or discourage them? Hockey players are overpaid because the buying public chooses to pay high ticket prices (at least in Canada). When I hear people bemoan the salary of a player while he/she chugs a $10 beer in a $150 dollar jersey in a seat that cost him/her $300 (times 2, times 41) a year (times 5 as it's a five year contract) I just laugh. YOU THE DIPSHIT FAN ARE PAYING THAT! If the Jets made their return to people closing their wallets at $300 ticket prices they would have dropped the price and made some concessions. A lot of people purchase music legally and more would if it were convenient and streaming services offer that. As engineers/producers we need to consider what the music buying public is saying. - They don't care if it was tracked through an 80 series, if they did they'd all pay for it. They're not. - We don't need more gear, we need to be efficient and pass that on to our clients who in turn need to do the same, means no more sitting in the studio writing lyrics and other asshattery. It's all going to trickle down to gear manufacturers too who will forgo the shiniest enclosures and even assemble in China. Quality costs but the public isn't buying and there's no convincing them the same way you can't convince a season ticket holder they're wasting their money. I really, really agree with your sentiment and it's an uncomfortable truth to the engineering community. The budgets are going to have to shrink, and we're going to have to do more with less in order to be able to exist. The "Which Neve console do I need" guys are dinosaurs. When someone can invest 1000 dollars and have a 16 input setup, some monitors and a couple of mics - why would he pay anyone that for an album? It has to be economic and the difference in results have to be clear enough that he looks like the guy buying a trowel and deciding he's going to plaster his own house. But the real cost is space. The real cost is lights and heating, security and rent. But in a world where no one maximizes the use of their spaces - why the fuck pay for one you're not going to be making money out of round the clock, either? Especially when any of the studios I've been to have fake/ineffective treatment and no isolation and have been far from "vibey". This is where the multimedia guys have us beat - they're happy to take a DLSR to just about anywhere that suits. It's why they're feeling the pinch and we're imploding. Small, versatile setups that are portable is currently what I'm looking at. No one at my level has millions to pay me, so a million dollar set up won't get me any more income than a cheap one. Good laptop, portable recording device, maybe a mixer, big of jack-of-all-trade microphones, portable acoustics. Move them into the venues the artist and yourself can find and realistically use. Churches, schools, disused commercial spaces, houses. Whatever. The cost is now just your labour, maybe some minor transaction for the space and transport.
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Post by jazznoise on Feb 20, 2014 8:25:46 GMT -6
West of Ireland, born and raised! Wandered the planes for 40 days and 440Hz and came back an ornery, cantankerous old man stuck in the body of a man in his 20's.
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Post by jazznoise on Feb 20, 2014 6:10:52 GMT -6
I'm from Europe.
I think in 'stralya Sydney Phil tune up to like 446 or something like that? A bit like farts, everyone likes their own brand.
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Post by jazznoise on Feb 20, 2014 5:52:16 GMT -6
String sections usually tune to 442, but some orchestras tune higher for a brighter sound. It's less about pitch and more about string tension changing the character of the sound.
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Post by jazznoise on Feb 18, 2014 12:32:29 GMT -6
I agree about the infrasonics. That's why to a degree I'm not sure why they really increased things up to 1G, and why I'm planning to go back down to the vintage values. Unless for some reason the 1G was more like a low shelf instead of just a lower cut-off haha - but I don't think it works like that Do you have more info about the AC impedance the capsule sees, or that general idea you were mentioning? If you agree then you might experiment with moving the value up. I've never needed more 30Hz on a vocal. If you brought it up to 50/60Hz (80M for 40Hz, so about 60M for 60Hz, give or take) you'd be just rolling off the fundamental of your kick drums but your plosives would be a lot less aggressive. IMD should drop too, if the mic clips, and your headroom should somewhat increase. Douglas Self takes briefly about it in his Small Signal Audio Design Book. He's a low noise, low distortion type of guy so it's all about good low output impedance with high but quiet input Z. An interesting but useless fact is that because the capacitor microphone is almost purely reactive (No direct resistance as current can't flow across it), the Johnson noise is minimal. In his example he uses a 5pF capsule with a 3.2G Ohm resistor to get a cut off of 10Hz but with the op amp having an input Z of about 9G Ohms. Take this to mean that the input impedance of your valve will load down your input, so using very high value resistors on low Z inputs doesn't really give you much advantage anyway. Not quiet sure what the implications are - I'll dwell on that zen vodoo for a while. Johnson noise should drop slightly from lowering the resistance too, but I don't think it'll break the bank. The big deal is maintaining the same polarity voltage - higher V's increase capsule sensitivity, if I remember right. There's negatives to that, obviously. I recommend googling it!
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Post by jazznoise on Feb 18, 2014 11:06:33 GMT -6
Some sort of protest against my excessive use of verbage, jazznoise? LMAO am I being verbose? The particular sentence just reminded of the "World Wide Webiverse" episode of Daria not to contribute with my own Web 2.0 Si. Val. Techspeak
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Post by jazznoise on Feb 18, 2014 6:16:24 GMT -6
If the original value gives you your roll of at 21Hz, then the only differences I'd worry about are the AC impedance seen by the capsule and the capsule voltage drop it creates. These mics don't respond much down at 21Hz, so I can't see moving the roll off into the infrasonic territory helping. In fact, in the case of plosives or very fast transints, the spike in IMD might create nasty artifacts. You mightn't hear 10hz, but you don't want to hear Signal +10Hz and Signal-10hz..unless you're building a ring modulator.
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Post by jazznoise on Feb 17, 2014 19:13:49 GMT -6
It is the antithesis of synergy. That prose totally synthesized a new paradigm within the sphere of sonic diversification and poly-tonal hegemony. I mean I'd already tried to inform a granular approach to the post-modern/structuralist dichotomy but I found the aggregate exceedingly atrophying. ..My reverb bus has reverb. If I do parallel compression I'll send some to the reverb, sure, but 99% of the time if I'm getting parts too reverberate and others not enough I'll just automate. Seems to work.
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Post by jazznoise on Feb 17, 2014 15:56:49 GMT -6
The two points at which you'll struggle to remove bleed is the low end - the sub 250 Hz stuff - and anything around the diaphragm resonance - your usual presence peak between 3 and 7Khz depending on the capsule of the microphone.
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Post by jazznoise on Feb 17, 2014 5:10:13 GMT -6
BTW, I sure wish you cunts would start being more honest... Your running off our customers Just swap "Team America" for "Real Gear Online"
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Post by jazznoise on Feb 16, 2014 19:38:56 GMT -6
That guy is so famous, "someone" wrote a 3 line Wiki article about him.
Unless it's not the record producer and it's the Tennis Coach instead. Either way, curious as to what lead him to bother sending him that. I'd hope it was whiskey.
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Post by jazznoise on Feb 16, 2014 16:28:52 GMT -6
??Really?? Any sarcasm was due to that actually BEING my point this whole time. Tower of Babel Forum Effect option checked. You say pitch is subjective...I say that pitch is subjective...the only we MAYBE differ on is I don't see the place in mixing for such content manipulation, which is a simple thing we can agree to disagree on. What problem could you have with the tone of "we mostly agree"? I was joking - sort of a circular reference to my idea that people often think in terms of timbre when pitch is the problem. I only see the point of that stuff in mixing if you're a small operation - where mixing and production are part of the same thing.
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Post by jazznoise on Feb 16, 2014 16:06:32 GMT -6
It's almost like you're making the point that pitch is a subjective part of the art or something. I don't like your tone. *Starts scrolling pre-sets*
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