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Post by Martin John Butler on May 13, 2024 19:01:47 GMT -6
Guthrie Trapp's show is not a bad idea, but you won't be able to have a conversation there. I've just had surgery, so I couldn't have come anyway. I can make it somewhere this weekend if someone sets a place and time.
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Post by Martin John Butler on May 13, 2024 18:56:38 GMT -6
The actual comparison was pretty decent. You might want to skip ahead to the vocal shootouts. At least for once, the mics of a shootout are pretty close in tone.
I'm so tired of whispery little voice female "singers" though...
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Post by Martin John Butler on May 12, 2024 13:07:48 GMT -6
That sounds really good Anders, thanks.
What mic is that?
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Post by Martin John Butler on May 8, 2024 15:40:01 GMT -6
Logic is so straightforward. It's easy to ue with my Apollo X6, and editing is not that complicated. I'm glad I never bothered with Pro Tools, only if I was a studio owner would I need it.
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Post by Martin John Butler on May 6, 2024 14:55:44 GMT -6
I have a somewhat unique point of view about this. It's actually the passing of an era. Internet sales have affected all retail, obviously. I grew up in Brooklyn, less than a mile from one of the earliest Sam Ash stores. This was long before expansion into other states. It was a place of wonder for a kid who dreamed of being a rock star. It was a destination on a Saturday, where I could sit down and try out guitars and amps far above my budget at 14 years old. I knew the sons of Sam Ash, and later on his grandchildren. They always treated me with good humor and tolerance.
At that time, there were a few local indy music stores which I enjoyed visiting to see what they had, hoping to find a hidden gem. But Sam Ash was the only place you could put up a sign to find musicians and a gathering place for every musician in the area, including recording artists. So even then you might have a few words Gene Cornish, Leslie West or Billy Joel at a Sam Ash store, just before they became known outside of the NY area. Sam Ash was also a place where many good musicians worked as a day job. So it was a good place to make connections.
As I became a full time pro musician, I would continue to go to Sam Ash in Manhattan for many things. One of the grandsons, Ritchie Ash apprenticed there and eventually became one of the principal owners. I'm grateful for the decades of warm welcomes, even if occasionally punctuated by some snobbery, or I might say "snubbery". As the corporation grew they became a bit full of themselves. I was spending an average of of $10,000 - $15,000 a year at that time and was all too often treated like my business was no big deal to them. I began using Martin Audio for bigger purchases like tape recorders and Neumann mics, and went across the street to Manny's where I was treated like family.
Decades later I heard that Ritchie Ash was now seriously wealthy. I imagine that as a business deal, their real estate became more valuable than the store itself. By the time Sam Ash corp had hit the 3rd and 4th generation, there were probably family disagreements as to how to move forward. I'm sure some descendants preferred to cash out and do other things. The internet retail changes were more than likely to have expedited that eventuality.
Like so many places I used to love in New York, they're history now. I'll say this, convenience has its place, but nothing can compare to the experience of being in a store. The chance meetings, making of new fiends, hands on demos can't be duplicated ordering from Sweetwater. So as that era ends, I'm slightly saddened but can only say thanks to all the wonderful people I met through Sam Ash, and wish the Ash family all the best going forward.
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Post by Martin John Butler on May 6, 2024 14:23:25 GMT -6
I automate lead vocals word by word. It sounds tedious, but pays great dividends.
Unfortunately what I consider the best answer to the question is to spend the money on a CL1B or Retro 176, or at least Stam SA2A. I have so many good plug-in compressors, but in truth, nothing gets the vocal to sit like one of those compressors.
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Post by Martin John Butler on Apr 29, 2024 18:44:24 GMT -6
Try the Black Box HG-2. You'll get 30 % or more of that big console sound in my experience.
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Post by Martin John Butler on Apr 23, 2024 8:58:46 GMT -6
Considering the collapse of real customer service at UAD, I'm beginning wonder if something is seriously wrong there. It can't take THAT long to get a couple of qualified customer service reps.
I guess a new plug-in makes much more money for them than an update. UA will lose new customers if they continue to be so profit driven they avoid improving customer service and updates. Something as simple as adding a Mix control on their plugs would be very helpful, as well as a resizing feature. UAD is beginning to remind me of Gibson guitars. They overextended their business and quality suffered to the point where many people began considering alternative brands.
The best example I know of is how Apple has been amazing with updates to Logic. I spent $200 ten years ago, and the've updated it dozens times now for FREE.
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Post by Martin John Butler on Apr 22, 2024 12:41:29 GMT -6
Seventh Heaven in general. I use the EMT-140 for a certain vibe, and if it's right, nothing else beats it. The Relab XL480 is still excellent, but I use it less and less since Seventh Heaven became available.
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Post by Martin John Butler on Apr 18, 2024 13:13:55 GMT -6
After the BLA mod, my mixes have been tighter and have gone much quicker. I haven't felt that "it's good, but not great" thing since the mod.
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Post by Martin John Butler on Apr 16, 2024 13:08:32 GMT -6
John, I'm looking forward to updates as you use the BLA Apollo. I'm curious what the final verdict will be.
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Post by Martin John Butler on Apr 16, 2024 13:02:20 GMT -6
Thanks for your comprehensive advice Paul, it's much appreciated. The good news is I did an iPhone recording, just to remember all the new lyrics, etc.
Then when I started a Logic session, I played those parts again, not using any of the iPhone tracks. I used 72 BPM and the vocal and piano parts were done at 72 BPM.
So all I need to know for now is should I continue recording a few new tracks at 72 and bump to 74 BPM after, or should I go to 74 now and record the new tracks at that tempo.
I was mainly concerned that tuning to match the piano and vocal might need adjusting a little if I record at 74, but if I stayed at 72, no issues, and when mixing, I could bump to 74 BPM.
The only issue is I wonder if the performance would be better if I recorded any new tracks at 74. Subtle as it may seem, the 74 BPM feel is better.
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Post by Martin John Butler on Apr 15, 2024 13:25:38 GMT -6
Thanks Kcat. I'll have to watch the entire video later today, but so far it seems he's referring to samples. I'm referring to multiple piano tracks and one vocal.
Paulnajar, I've been using Logic since 2012. This is the first time I've wanted to change tempo on a track already recorded. I like the performances I have so far, enough to try this adjustment.
At this point my main question is do I use the computer power to keep the pitch but bump up to 74 BPM from 72, or should I even bother and just record from now on at 74.
I'm not sure if one method is better can the other. I guess I would make the pitch adjustment if I was going to use any virtual instruments, or I could just record at the original 72 BPM and then speed up to 74 after tracking. The pitch change is of course minor because it's a small change that doesn't affect pitch very much.
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Post by Martin John Butler on Apr 14, 2024 17:53:33 GMT -6
I must admit I've had a bunch of Telecasters, but I always sell them because something's not right. Only the 1951 Esquire had the best neck, but someone had lobotomized it by making it a double cutaway and adding the neck pickup. Funny thing, my $150 Squire 51" has a very similar neck, better than a dozen Tele's I tried, just not a great finish on it. Nobody hears the finish. But I feel it.
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Post by Martin John Butler on Apr 14, 2024 13:57:00 GMT -6
It boosted the bass drum, but it feels muddy to me.
I never liked the Studer plug, I always use ATR-102 on the 2 bus. BUT.. if I want to try some tape on a track, I try Oxide, which I think is a less features version of UAD's Studer. It works nicely on a few tracks.
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Post by Martin John Butler on Apr 13, 2024 20:16:16 GMT -6
I must admit I've had a bunch of Telecasters, but I always sell them because something's not right. Only the 1951 Esquire had the best neck, but someone had lobotomized it by making it a double cutaway and adding the neck pickup. Funny thing, my $150 Squire 51" has a very similar neck, better than a dozen Tele's I tried, just not a great finish on it.
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Post by Martin John Butler on Apr 13, 2024 18:47:53 GMT -6
At 2G's with no amp, there's a lot of great quality competition out there.
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Post by Martin John Butler on Apr 13, 2024 18:24:16 GMT -6
I'm glad the mod is working out for you John.
I think "Focus" is a good way to describe he changes in general. After getting the mod, there's more clarity, a wider sounder stage and less "hashy" noise.
John said, " I would venture to say it's very Lynx/Dangerous sounding. Punchy and clean...precise without being clinical"
Yep, after the BLA mod, the Apollo reminded me of Dangerous Music's tone too.
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Post by Martin John Butler on Apr 11, 2024 12:42:23 GMT -6
Somewhere back in time I was given the Bricasti IR's. I use Liquid Sonics 7th Heaven now. The few times I heard the hardware Bricasti for myself, I was impressed. There was a depth to it no other reverb has.
I don't miss hearing the Lexicon XL480 hardware since I've had the Relab version for many years, but I think I would miss the Bricastic if I had one.
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Post by Martin John Butler on Apr 11, 2024 12:35:43 GMT -6
Good luck Peter!
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Post by Martin John Butler on Apr 11, 2024 12:29:27 GMT -6
I dragged the iPhone recording into a new project. The tempo did fluctuate, but 74 BPM was the general tempo. I then checked the new project that has piano, and the tempo I had chosen was 72 BPM.
I figure I can either record at 72 and change it to 74 after tracking, or just leave it at 74 and record to that tempo going forward. I guess I'll have to see how much difference the tempo means to the tuning of other instruments like bass and if it's too far off pitch, record at 72, bump to 74 after it's all done.
74 BPM does feel a little better.
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Post by Martin John Butler on Apr 11, 2024 12:02:40 GMT -6
I wasn't using the iphone track, I only needed to know the correct tempo for creating a new project. I just happened to find the original iPhone tempo felt better than the tempo my "tap tempo" feature on my iPhone gave me.
These methods are quite enough, thanks guys.
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Post by Martin John Butler on Apr 4, 2024 14:39:16 GMT -6
Jesse, let me know if you're going to the Station Inn. I'm still recovering from surgery 12 days ago, but can probably make it there to say hi since I'm living in the Gulch now.
The Pub in the Gulch has the best fish and chips and Shepherd's pie.
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Post by Martin John Butler on Apr 4, 2024 14:33:06 GMT -6
I got it. Tried it briefly on the 2 bus. The first two presets boost volume a little and add a nice smooth high end boost, almost like mastering. The last two are useless.
Not sure if I'll ever use it or not. Maybe for sending unmastered demos to friends..
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Post by Martin John Butler on Apr 3, 2024 14:18:36 GMT -6
John, I've never heard a Prism converter, but after my X6 mod, it sounds similar to what Dangerous Music conversion sounds like to me.
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