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Post by unit7 on Aug 22, 2017 14:00:55 GMT -6
The reason I got these is because I LOVE the HB rev A (built with carbon resistors) and was considering building a stereo unit mostly aimed for drum paralel. The Don Classics is great but I'm not 100% happy with it on drums. And for rack space reasons this was such a great solution. Got the Splice to sound at least as good as the HB. Then add the extra features. Wow :-) OK, you mean you built them yourself ? So you changed some stuff from the built version ? Yes, built them myself (edit: the HBs, not the Splices!). Didn't change anything in the design, just tried to choose the kind of components considered to be the closest to the original blue stripe, carbon resistors, orange drop capacitors etc.
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Post by unit7 on Aug 22, 2017 10:09:54 GMT -6
Just played with these on drums and briefly compared to my Purples and Hairball A & D (rack versions). Agree with the Doctor, very nice indeed! Seems you shouldn't be shy on letting the GR meter move on this one. Super impressive that he managed to cram all those features in the 500 version. Also great to finally have my 1176 needs covered without using too much rack space. Recommended! How did they compare the Hairball rev A ? The reason I got these is because I LOVE the HB rev A (built with carbon resistors) and was considering building a stereo unit mostly aimed for drum paralel. The Don Classics is great but I'm not 100% happy with it on drums. And for rack space reasons this was such a great solution. Got the Splice to sound at least as good as the HB. Then add the extra features. Wow :-)
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Post by unit7 on Aug 21, 2017 7:52:43 GMT -6
Just played with these on drums and briefly compared to my Purples and Hairball A & D (rack versions). Agree with the Doctor, very nice indeed! Seems you shouldn't be shy on letting the GR meter move on this one. Super impressive that he managed to cram all those features in the 500 version. Also great to finally have my 1176 needs covered without using too much rack space. Recommended!
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Post by unit7 on Aug 18, 2017 8:42:38 GMT -6
Finally got the pair of Splice 500s (mk2) that I ordered in February. Serials #9 & 10 :-) That is the coolest 500 series 1176 you have there. What the hell is that? You mean the blue stripe? It's DIY, Don Classics U76. Actually can be ordered assembled too. www.thedonclassics.com/u76a-diy.html
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Post by unit7 on Aug 17, 2017 13:34:26 GMT -6
Finally got the pair of Splice 500s (mk2) that I ordered in February. Serials #9 & 10 :-) Bad ass did they do an intro price on these? I really want the rack version... I see you have locomotive audio as well, how do you like their gear? I want some of their pieces like the preamp and weight tank! No intro price unfortunately.. Re the Locomotive stuff I only have the comp. Really like it! Wrote about it on Dec 29, 2016: realgearonline.com/thread/1778/locomotive-audio-handmade-preamps-compressors?page=2
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Post by unit7 on Aug 17, 2017 10:50:44 GMT -6
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Post by unit7 on Jul 28, 2017 22:01:23 GMT -6
I've had a pair of Flea 249s for 5 yrs. Lovely mics. Used it on number of intruments piano, acoustic, drum overhead, big band instruments, strings, woodwinds etc etc and it always makes me smile. If I'll ever move to a bigger place another pair is on my list.
Note that it's pretty unhyped/flat. I believe I read in 'Recording the Beatles' that Neumann designed the M49/50 for classical music, hence the flat response, and that the group, who of course experimented and tried everything, were among the first to use it for close miced pop vocals, although I don't think they used it that much.
IME for vocals it works best for vocals that has a lot of air and don't need a HF lift. I've had it up against a number of other hi end tube mics (U67, Original/Grosser U47, Gefell UM57, Lucas CS-1 & 4 etc) on like 50+ different vocalists. I'd say that in the cases you go wow it's more often (70% perhaps) on female vocals. Again, on more dull vocals it can be a bit meh, though it of course take eq very well.
You really should try before you buy.. Don't know about the US retailers but when you buy directly from Flea (EU only perhaps?) you can return the mic and get a full refund if you're not happy. And finally, Ivan of Flea is GREAT to deal with. Fast on email. Super service minded. Actually took in my pair for service/mod because of a new revision (I think..) last year. He ordered/payed FedEx both ways.
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Post by unit7 on Jul 12, 2017 2:52:36 GMT -6
Good move. I just did too. Hope more will follow
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Post by unit7 on Jul 4, 2017 7:55:33 GMT -6
..and if you have a comp/lim working a fade (out) won't get in real effect until those stop working
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Post by unit7 on Jul 4, 2017 7:51:31 GMT -6
I got that too. Agree, Not the most exciting options. Because I still haven't got any amp plugs I got the GTR.
I've used MetaFlanger a lot during the years but found much better stuff recently
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Post by unit7 on Jun 29, 2017 16:32:36 GMT -6
In the AKG K141 cans I have at home I heard the same as Wiz did. More sub in A and a tad too big and unfocused bottom. Liked B better because of that, but if that sub got tamed in mastering or whatever perhaps I'd like A better
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Post by unit7 on Jun 27, 2017 23:40:26 GMT -6
According to Gumroad any IR (convolution) reverb will import these. Besides Altiverb: Waves's IR-1, Logic's Space Designer etc. I used Avid's Space. I'm demoing Slate Verbsuite (again). Contemplating the bundle. From what I can tell, Verbsuite is a convolution reverb. If I buy the Gumroad EMT140 and put the IR files into the Verbsuite folder, it should work, yeah? I don't know Slate Verbsuite so I just checked briefly @ Slate. Says it uses their own proprietary 'FUSION IR'. So check with them or find a manual or perhaps someone else could chime in.
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Post by unit7 on Jun 27, 2017 22:53:05 GMT -6
Here's a dumb question. What would I load the IR into? I used to have Altiverb but don't anymore and I've never messed with just buying IR's before. Can you load IR's into any reverb plugin? According to Gumroad any IR (convolution) reverb will import these. Besides Altiverb: Waves's IR-1, Logic's Space Designer etc. I used Avid's Space.
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Post by unit7 on Jun 24, 2017 2:36:26 GMT -6
How does this compare to the Abbey Road Plates reverb (4 modeled EMT140 plates)? I'm demoing Waves Abbey Road plate now and ABing against the others. First impression of the A plate (there are also B, C & D) was that it is fairly close to Altiverb's Wendy Carlos plate. Enjoyed the couple of tweaking options though, and having that in the modeling environment instead of tweaking an IR, hmm well if that'd ever matter.. I still feel Gumroad's IRs have more character than the others, again when you want an oldie vibe. Was contemplating (pun intended) the whole Waves Abbey Road bundle, but except for the Reel ADT (which I really liked) nothing else struck me as very useful for what I normally do.
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Post by unit7 on Jun 20, 2017 16:07:28 GMT -6
Got the BX IR today. Vibey and schmooooooth :-)
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Post by unit7 on Jun 16, 2017 7:15:34 GMT -6
Used this on a jazz/fusion mix today. Great IR for that vintage vibe. And just got a newsletter from Gumroad about their new AKG BX-20 IR. Will probably get that too. BTW, loaded it into Avid SPACE to be able to run it on AAX and load the AAX PCI card a bit for a change :-)
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Post by unit7 on Jun 10, 2017 1:16:02 GMT -6
From the demo there is a lot of depth and dimension.... is that true for the IRs as well... I'm sorry, I see those words - depth, dimension 3D etc - at forums and never feel sure what people are talking about/hearing, so I'm afraid I can't answer. I'm not trying to be smart, it's the honest truth. In sparse arranged music and in that sample from Gumroad with one instrument only, I get that you really hear the reverb or room and are able to sense the depth, but that goes for most reverbs. I don't have UAD and the plates many are raving about, so for a 'touch of vintage' my go to for years has been the Wendy Carlos plate in Altiverb. I've tried others but keep coming back to that one. But this sounds a lot more like the handful of EMT plates I've been working with thru the years, so that was what impressed me.
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Post by unit7 on Jun 7, 2017 12:05:03 GMT -6
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Post by unit7 on May 26, 2017 13:29:44 GMT -6
Bought it when I was hired to mix a project with a vocal recorded in the living room. It had the weirdest things going on. Quickest fix I've ever encountered for such a messed up track. Haven't used it until the other week when I mixed a violin jazz album. Only a slight problem with some resonances on the violin, but it seemed a bit random with no particular nodes I could notch out, so I tried Soothe and it worked great. The violin player was very happy with the sound of her instrument which for me always is the ultimate verdict
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Post by unit7 on May 18, 2017 2:07:14 GMT -6
So, how does the story end? Were you able to get this working? This is exactly the scenario that has me thinking that I should just pay for real API gear. I would be worried that I would mess up a build and have something cost a few hundred bucks but does not work. Not to criticize ... but the capi-gear website is not exactly user/newbie friendly either. I would have expected some youtube videos of builds, etc ... maybe I missed them? Anyway for the moment I will be staying away - due to doubts about my own ability to do a build, not the quality of a properly built unit which is vouched for on this and other forums. At the CAPI product pages there are links to support pages at a place called GDIY.
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Post by unit7 on Feb 25, 2017 3:01:15 GMT -6
Vertical :-)
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Post by unit7 on Feb 10, 2017 16:24:39 GMT -6
After like 5 yrs at my current place, turning it from project studio to mixing room and after a couple of weeks of work with acoustic treatment recording for the first time and able to really hear. Jaw dropping.
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Post by unit7 on Feb 10, 2017 13:33:25 GMT -6
Thanks! The players were pretty young, they'd never done one of these types of sessions before. We did 3 passes, 2 without mutes, 1 with mutes. Each pass, they adjusted their seat a bit. You're mostly hearing my mockup in that clip. The live players are not that hot in the mix, but they're in there adding some definition. The engineer mic'd it as follows: 4 spot mics on the players above their heads. He used Coles 4038s on the violins, a u47 on the cello and a Bayer Dynamic M160 on the viola In the room, he used a C24 for MidSide, and a matched pair of Microtech Gefell UM70S's. the Gefell's were about 6' apart, with the C24 right behind where I was standing. Here's a blurry video of it. Man, that room has a lot of stuff in it lol Thanks for the info! Ahh, so that was the ace players I thought I heard :-) Anyway, sounds awesome!
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Post by unit7 on Feb 10, 2017 0:48:55 GMT -6
Short clip but sounds like ace players. Always a joy to hear. And a good arrangement :-) Now tell how you ended up doing it. That doesn't sound like a bunch of doubles
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Post by unit7 on Feb 8, 2017 5:07:30 GMT -6
My suggestion: - Double the section once (if possible let vi1 and vi2 change parts, or change to alternate bow)
- Double once again with mutes (make sure they bring them!)
- Both violonists plays the violin 1 part. If not written too high for viola, print an alto clef part of vi 1 for viola and let him/she join. I m e one mic/mono is ok for these. (no cello)
- Double the above with mutes
- Repeat the two last steps for the violin 2 part
- If you blend in a good sampled string section it will start to sound really big
Needless to say doubling many times of course requires really good players that intonate well, otherwise it will sound like a broken accordion. With respect for the musicians doing many takes like this I usually don't force people to move around, but instead pan the takes a bit differently when mixing. Asking them to bring a second bow for the doubled takes is a better way to avoid the typical doubled sound, which with strings can sound a bit 'phasey'
P.S. If you're not after a special effect, with these many takes I would never experiment with tuning. The problem mostly for string players recording to pre recorded basics tracks and intonating to what they hear in the cans, is getting it IN tune. Except for the experienced studio string players of course.
One more thing after hearing the very nice (!) clip. Beware what click sound you'll be using as the leakage from the cans can add up when doubling many times. Though not super accurate my favorite has become a mid pitched conga sample (not a slap sample). After the first bars of recording, stop and listen to check leakage before proceeding
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