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Post by Bob Olhsson on Dec 8, 2022 13:06:15 GMT -6
They are still bundling perpetual licenses with hardware and offer reinstatement from time to time.
What has changed is that they have dropped the prices and added enough features to the free, artist and studio versions that a lot of people won't ever need ultimate (HD) unless they do post.
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Post by Bob Olhsson on Dec 7, 2022 10:53:32 GMT -6
Chad sent me what Darren had said he used - a smorgasbord of three reverbs…that I’d honestly never thought about stacking. Maybe he can weigh in because it had a depth that made me immediately go what the **** was that reverb? We were set up to stack three reverbs at Motown when I started working there in 1965.
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Post by Bob Olhsson on Nov 12, 2022 21:32:10 GMT -6
OK...damn. Really, really nice. Just played around with it for a while. Took me a while to get my bearings, but man, really a ton of possibilities with it. Chamber 1 with 635 max distance with 75% ish pre delay mixes in extremely well with vocals. Considering they have a 6 for $399 sale going on, I might have to jump on this. Probably the most realistic room (chamber) sound I've heard Interesting, John Windt, who set that chamber up both originally and for UA's modeling told me it sounded horrible unless the microphone was within inches of the original weird location. I'm not sure they actually moved the mikes for the software because I agree it sounds good in a variety of locations.
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Post by Bob Olhsson on Nov 2, 2022 19:04:34 GMT -6
I just signed up.
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Post by Bob Olhsson on Nov 2, 2022 18:59:34 GMT -6
It was getting hard in the '90s.
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Post by Bob Olhsson on Nov 1, 2022 15:51:25 GMT -6
Finding 67s in good shape has been difficult.
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Post by Bob Olhsson on Nov 1, 2022 15:50:10 GMT -6
The company did change hands recently.
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Post by Bob Olhsson on Nov 1, 2022 15:43:40 GMT -6
You can find where you don't pop simply by moving your hand around your face while you say "pop."
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Post by Bob Olhsson on Nov 1, 2022 12:11:54 GMT -6
RE-20 and U47-FET seem standard today. Back in the mid '60s it was often literally whatever was left over.
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Post by Bob Olhsson on Nov 1, 2022 12:07:42 GMT -6
Lavry says the optimal theoretical sampling rate would be 60k, so 88.2 and 48k are closest available FWIW. Jim Johnston, who was at Bell Labs, says the same. Since nothing is captured at low rates with modern converters, to me it's really a question of storage and minimizing unnecessary resampling cycles when applying DSP.
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Post by Bob Olhsson on Nov 1, 2022 11:45:48 GMT -6
A 77 was used on the bass drum. This was with the front head in place, and the drum 2/3 filled with newspaper strips for damping. It probably couldn't pop the microphone the way most of today's setups will.
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Post by Bob Olhsson on Oct 31, 2022 11:34:08 GMT -6
So up to around '65 or '66, I'm guessing. Chris 1968
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Post by Bob Olhsson on Oct 31, 2022 11:26:28 GMT -6
The character comes from a transformer. I like the reversed UTC microphone transformers we used before commercial products came on the market. Most of the commercial ones I've tried, including Jensen, didn't have enough character or headroom.
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Post by Bob Olhsson on Oct 24, 2022 11:47:01 GMT -6
I understand ASCAP was originally very very picky.
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Post by Bob Olhsson on Oct 24, 2022 11:45:17 GMT -6
We had 44s and 77s before all the tube and ribbon mikes got donated to the University of Michigan making way for the KM-86s.
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Post by Bob Olhsson on Oct 24, 2022 11:41:26 GMT -6
A great idea!
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Post by Bob Olhsson on Oct 21, 2022 20:14:29 GMT -6
BMI has always been owned by broadcasters. ASCAP is a union, quiet as that's kept.
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Post by Bob Olhsson on Oct 21, 2022 20:07:47 GMT -6
Motown only kept two 67s because there was no way to apply phantom power to some of the preamps in one studio. Everything else got replaced with solid state and the same was true of most studios in the late 1960s. When you had a room full of musicians on the union card, a tube crapping out was considered unaffordable so most tube gear got dumped.
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Post by Bob Olhsson on Oct 17, 2022 18:06:24 GMT -6
I don't think we even had 87s yet. Ken misremembered in one article.
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Post by Bob Olhsson on Oct 17, 2022 10:13:17 GMT -6
I would use some pegboard behind the cloth because you want to reflect enough top end that the response is even and not muffled sounding.
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Post by Bob Olhsson on Oct 17, 2022 10:09:24 GMT -6
"What's Going On" was a KM-86 at Motown's Studio B which was the old Golden World Records studio. I ran the tape machine for Ken Sands on that session because we had nothing booked that night at the old Hitsville "Studio A" where I usually worked.
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Post by Bob Olhsson on Oct 10, 2022 10:16:17 GMT -6
Thanks!
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Post by Bob Olhsson on Oct 6, 2022 7:23:50 GMT -6
I found her fascinating. Shortly after we moved to Nashville, we went out to her venue and saw her show. It was really good as we expected but typical of the old Opry stars. The next time was at a Recording Academy event that was a tribute to her career. A string of today's top women performed songs from her career. Most were frankly disappointing but Reba was spectacular. The finale was a duet by Loretta and Garth Brooks. He sang about one half of a verse and stepped aside. She proceeded to go places I'd only heard a few Black Gospel singers go. Chills would be an understatement.
A few days later I told Harold Bradley about my experience. He laughed and said she always topped whoever came before her in the show. It was an unforgettable experience of what music can be.
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Post by Bob Olhsson on Sept 5, 2022 14:56:23 GMT -6
I bought mine in 1969 after hearing one at a friend's studio. I got my second in 1972. I was shocked by how bad the ones in studios sounded during the '80s.
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Post by Bob Olhsson on Sept 5, 2022 10:10:37 GMT -6
UA's LA-3a hardware is nothing like the original UREIs.
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