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Post by bluenoise on Mar 28, 2016 21:48:59 GMT -6
Price? Looks a bit like the Hairball kits! Looks a lot more like a don classic 1176, but with "less appealing" knobs. Anyone tried it yet?
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Post by bluenoise on Mar 8, 2016 6:48:25 GMT -6
I still use good old sound replacer (audio suite) to print a track and then treat It like any other mic. Same here, except i use massey drt.
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Post by bluenoise on Feb 22, 2016 20:27:49 GMT -6
Then i guess the easiest is patchbay and inserting them pre summing. Not as an analog insert in pt, but out of the apollo, into the hardware whatever, into the dbox summing input. I've done just that a few weeks ago. Then, the sum out of the dbox into a pair of vp28s, into the apollo.
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Post by bluenoise on Feb 18, 2016 17:25:47 GMT -6
Hi Johnkenn what ever happened with this? Any luck?
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Post by bluenoise on Feb 17, 2016 0:59:37 GMT -6
I'm also somewhat unsure which way to go. I currently have 2 Motormix that are asking for a full molex replace. Huge PITA. So I have been considering upgrading them. Avid control + mix seem like the obvious way to go. I like their functionality but man, they feel really cheap. Now I'm really eyeballing the new raven mti2. At 1k it seems like a great deal. But I dont know how i would feel using it. Any hands on experience??
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Post by bluenoise on Jan 9, 2016 21:39:21 GMT -6
Great post! Really interesting to be able to discover new ways to get there. It feels like being mentored all over again! After stating the obvious and saying it is song dependent, my usual approach is to have both submasters and VCAs. I see them as "pre or post insert" faders. It gives me the option to gainstage differently in a breeze. To each his own i guess... Then it all goes to a "master" buss where it will get some 2buss treatment -some capi love- and that gets printed as i'm done. The 2buss thing just let me get there easily. Or it feels that way at least... When tracking drums (which i do quite often) i setup a ribbon mike in a corner facing the drums with its blind spot. That goes through a merciless rev a fet500... The rest is pretty much standard approach. Keep 'em coming!
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Post by bluenoise on Nov 27, 2015 11:29:28 GMT -6
Yes! I read the mixing and the producing ones, still need to get a copy of the recording issue. I really liked them and learned quite a lot. Fair warning: he is highly opinionated.. For what it's worth, I'd recommend them to anyone
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Post by bluenoise on Nov 27, 2015 8:23:20 GMT -6
I did. Not really educational, but it is indeed a great read. His other books otoh are all about teaching.
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Post by bluenoise on Nov 27, 2015 8:00:09 GMT -6
For me, it is ribbon mics and vp28.
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Post by bluenoise on Nov 21, 2015 7:07:08 GMT -6
If only you could close your eyes, you'd realize she's not that talented. At all. But man, those up tempo songs are just hypnotic... Good for her!
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Post by bluenoise on Oct 6, 2015 11:12:50 GMT -6
I've enjoyed my Warm WA76 until now, mostly on bass and vocals. I set up the Serpent Splice just to make sure it works, and just fooling around on bass it sounds great. I haven't done a side-by-side comparison yet, I've been just too busy with school startup, so no recording sessions since I got the Splice. I have some unprocessed vocals (female, thank god not mine!), and I'll try passing them through the WA76 and the Splice for a comparison. Hopefully, I'll have time in the next week or two and let you know. If you want to, I can pass that same vocal through my fet/500 rev a for a broader comparison...
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Post by bluenoise on Oct 6, 2015 7:33:35 GMT -6
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Post by bluenoise on Sept 16, 2015 10:19:44 GMT -6
Default vp28, usually gssl (though klanghelm has been taking its spot now and then) followed by waves j37. I rarelly feel the need for eq.
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Post by bluenoise on Sept 9, 2015 18:59:31 GMT -6
Go get those Litz Wire VP28's boys...and the FC526's. Awesome. Will do, sir!
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Post by bluenoise on Sept 8, 2015 19:26:46 GMT -6
I already said it at facebook, but I'll say it again. This is awesome. It feels as if this whole thing is actually giving you forward momentum instead of cutting you off. And well deserved, man. I wish you all the best in this new period. I'll have to change my studio keychain asap.
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Post by bluenoise on Sept 7, 2015 19:15:39 GMT -6
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Post by bluenoise on Aug 21, 2015 19:57:55 GMT -6
Tried it, liked it, bought it, loved it. Those extra features are really worth it. I didn't have this flavour and now i realize i was missing it.
No freaking brainer!
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Post by bluenoise on Aug 1, 2015 19:00:47 GMT -6
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Post by bluenoise on Jul 31, 2015 20:37:19 GMT -6
Grohl replied. In italian.
It was worth it.
Kudos to them!
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Post by bluenoise on Jul 28, 2015 20:54:41 GMT -6
Indeed!! IMO, ITB makes proper gain staging and great front end much more important than ever...
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Post by bluenoise on Jul 27, 2015 20:07:37 GMT -6
853 here. almost got ya...
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Post by bluenoise on Jul 22, 2015 20:57:59 GMT -6
Being an electronics enthusiast but fairly illiterate, it was a great read. Thanks for sharing, wiz.
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Post by bluenoise on Jul 18, 2015 19:21:00 GMT -6
In my room, I usually place a ribbon mic in a corner i found sounds great, pointing the null towards the kit. That i smash into distortion with an 1176 (hairball rev a) or the pye compressor in plugin world and blend it to taste. It makes the drum move different. More exciting. And it gives them balls and a hairy chest. Not for everything, but when it works it really pays.
My little 0.02...
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Post by bluenoise on Jul 3, 2015 14:53:49 GMT -6
I track a lot of drums. I'm fortunate to have a really good in house drum tech. He knows his craft and we know the room so we usually get to where we need to (or are asked to) pretty fast and harmless. I'd say knowing your sonic destination makes the journey more pleasant and yields better results. Regarding tuning, for us is always result driven. If someting is tuned "perfectly" but keeps ringing in sympathy and gets in the way, it gets tuned differently, etc. Sometimes even after tuning you loosen a lug all the way and that's all you needed. Gels, tape, an upside down head above the other head, a tea towel, nothing at all, whatever gets you there... Back to the original question, samples sometimes are needed because of some genre conventions, but with the right tools they are not a must. At all. May I specify my question. To me, if its real tracked or XLN DRUMS etc., all drums have naturally some kind of space feeling. And I also cant kill them completely in OH or Room Mics. But now I want the kick in a Pop Ballad dry -very dry-. There is no other chance than a sample on the kick? Well, not really. As scumbum pointed out, single tension + blanket on top + close miking + damping the head (or usign predamped heads as evans emad or the like) will give you a dry as hell bass drum sound. Throw in some transient designer come mix time if needed... I guess voila!
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Post by bluenoise on Jul 3, 2015 7:28:53 GMT -6
I track a lot of drums. I'm fortunate to have a really good in house drum tech. He knows his craft and we know the room so we usually get to where we need to (or are asked to) pretty fast and harmless. I'd say knowing your sonic destination makes the journey more pleasant and yields better results. Regarding tuning, for us is always result driven. If someting is tuned "perfectly" but keeps ringing in sympathy and gets in the way, it gets tuned differently, etc. Sometimes even after tuning you loosen a lug all the way and that's all you needed. Gels, tape, an upside down head above the other head, a tea towel, nothing at all, whatever gets you there... Back to the original question, samples sometimes are needed because of some genre conventions, but with the right tools they are not a must. At all.
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