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Post by Martin John Butler on Jul 19, 2021 8:53:17 GMT -6
Ward, I'm curious. Let's say you download the plug-in and authorize via iLok. When you run your DAW, iLok isn't talking to "iLok Central" is it?
I assumed the connection was only when you go directly to iLok to adjust some settings.
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Post by Martin John Butler on Jul 18, 2021 9:12:54 GMT -6
I have the Excalibur and Phoenix Verb, so I figured it can't hurt to add the R2 for 10 bucks. The only problem is installing Plugin Boutique's plug-ins almost never install without hair pulling road blocks.
I've got 200 - 300 plug-ins installed, so it's not me.
It's in my component folder, "installation successful", i Lok has it activated ( finding the activation code was an annoying guessing game), it shows in my Logic Plug-In Manager, but still won't show up when I try to instantiate.
I sent a note to customer service. Even just finding the customer service contact email address was like finding a needle in a haystack, very frustrating.
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Post by Martin John Butler on Jul 17, 2021 9:09:03 GMT -6
Thanks bikescene, and welcome to the forum.
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Post by Martin John Butler on Jul 17, 2021 7:31:44 GMT -6
I recently did a record where all vocals were with the 1000E or RE16. Sounds cool. For 57s I buy crimson yellow or orange handles and 545 capsules wire the two wires to the capsule and viola Great mic. Rob, that's kind of interesting.. can you elaborate? How do you get a 545 capsule? Does Shure make them? What are the "handles" you're referring to? We're not all DIY mic modders ;-)
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Post by Martin John Butler on Jul 16, 2021 17:26:54 GMT -6
Those Unidyne iV's are crazy priced. Just how good are they for $900?
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Post by Martin John Butler on Jul 16, 2021 8:46:06 GMT -6
I'd grab a Unidyne 57 if they weren't so overpriced.
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Post by Martin John Butler on Jul 15, 2021 11:44:55 GMT -6
Well, I sold it. I'll look around for an SM57, maybe one with the Tab Funkenwerk mod.
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Post by Martin John Butler on Jul 15, 2021 8:08:26 GMT -6
The Shea, drums are too loud, so they distract from the guitar's edge. Perhaps a little less reverb on them too. Try adding a bit more brightness in general, but not much.
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Post by Martin John Butler on Jul 14, 2021 21:28:42 GMT -6
Whoa, that is really impressive. I immediately recognize the smoothness of the 251 type. I hear some sibilance, but I believe that's from the vocalist, not the mic. The top end is creamy, just like a 251. I'd love to hear it with a better preamp and a good compressor.
There was a shootout of around 20 new high end mics a few years ago. The $9,000 Telefunken (USA) U47 sounded the best. The Bock 251 was second. Your 251 reminded me of that mic right away. The Bock was $6,000.
I have the Stam SA67 and it's sounds fantastic. The SA-251 would be a brilliant complement to it. I'd love to be able to choose from those two flavors depending on the song and vocal.
That’s a fantastic vocalist there.
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Post by Martin John Butler on Jul 14, 2021 21:16:15 GMT -6
The thing to remember with any “ shoot out “ involving an old mic is is this; what is the condition of this mic? I know way to many examples where a malfunctioning mic has componensated for a voicing. I have always found it ironic that in field where our primary medium is based on sample theory that we make so many decisions based on the completely insignificant sample of 1. It's been ages since I used one, but my recollection is that they always sounded slightly thin to me, even new. Funny, but I hear it as thin too. Obviously the SM57 pushes some low frequencies in an unnatural way, but there's something about it that makes my ears relax.
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Post by Martin John Butler on Jul 14, 2021 11:35:22 GMT -6
In this D1000E vs SM57 shootout, the 57 sounds better to me except for one of the quieter jangly guitar parts. I wonder which setting he had it on though. It says it's on the "B" setting that gives proximity effect, but it seems thin to me.
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Post by Martin John Butler on Jul 14, 2021 11:34:23 GMT -6
Hmmm.. now you guys have me thinking about keeping it. Money's been crazy tight since my divorce, and thought I'd get an SM57 by selling this first. I have an SM58 I use on occasion for guitar amps, but prefer he 57. I really liked the Soyuz 0-13 on mic cabs, but I couldn't afford a $600 guitar amp mic.
The Soyuz 0-13 FET of course sounds great on acoustic guitars, but my Soyuz 0-19 sounds even better, so I didn't really need the SDC for what I've been doing.
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Post by Martin John Butler on Jul 14, 2021 10:16:18 GMT -6
While sorting through my cable bag I found an AKG D1000E microphone. I doubt I’ll use it, and would prefer an SM 57 instead. Before I sell or trade it, do you find that mic useful for any particular purpose?
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Post by Martin John Butler on Jul 14, 2021 7:57:16 GMT -6
I can rarely afford the bundles like 3 + 1, I usually buy one at a time. That's why I haven't bought a UAD plug-in for years. If they offered a single plug-in on sale at the same prices as they amount to in the bundles, I'd buy a lot more.
Look, I get they're a company and need to be profitable. Still, there could be a few changes implemented that would help those of us who want to buy more but aren't ready or able to spend $399 for software.
Since they won't allow you to resell, I'd love a 50% trade-in policy, or something similar. I'd gladly trade in a few plugs I never use to get 50% off something new.
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Post by Martin John Butler on Jul 13, 2021 7:47:25 GMT -6
Funny thing Ragan, I had the same response as you did. I fully expected to like the Blackface reissue, but surprisingly preferred the Silverface. This has happened more than once to me.
My favorite Fender was always the original 66' Super Reverb, but I've leaned toward the Deluxe lately. My buddy has an original Princeton and original Harvard and a vintage Deluxe. We did an outdoor show last weekend. The Harvard sounded great, but the Deluxe was better.
My Bassbreaker was really good too, but my buddy gave me his Supro to use and it killed them all, yikes.
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Post by Martin John Butler on Jul 13, 2021 7:37:40 GMT -6
First thing I thought after two seconds in was round wound bass strings, I even thought they're probably those black ones. I can't tell from the video, but I think was right. Kind of surprised myself with that one.
That bass sound, plus the snare not being overwhelming, but sitting back in there is key. The rest is mostly mic placement of the Tele and not too much reverb on the vocal and in general.
The modern way of processing every single drum leads to over emphasis in the individual drums instead of feeling like a proper whole kit. This recording seems to split the difference. It's likely not a simple Glyn Johns drum sound, but not a 15 drum mic production either.
The key to all this is the band's tastes. You gotta want this sound to get it. The singer is so good at not overdoing anything, just keeping the R&B thing tight.
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Post by Martin John Butler on Jul 11, 2021 22:12:03 GMT -6
I currently have the Fender Bassbreaker. I've had a dozen Fenders over the years.
The Princeton reissue sounds good, but really needs a 12" replacement speaker to truly shine. The Bass breaker would be a great choice for you. It's tube based and has three tone settings. First, classic clear Fender, the second choice sounds quite like a Vox, the third is a higher gain sound which I never use.
The slightly Vox setting is my go to sound, but this weekend at a gig, the clear standard Fender channel worked better.
It really is a best of both worlds and sounds better than my friend's vintage Princeton Reverb.
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Post by Martin John Butler on Jul 11, 2021 8:04:35 GMT -6
Don, the Soyuz 0-13 is as similar as any mic I've heard, but somehow it has it's own sound. It's kind of like a 84 on steroids. It's worth a tryout for sure.
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Post by Martin John Butler on Jul 7, 2021 15:03:23 GMT -6
Quint, the Lulu's sound quite different than an 84. It's a really colored and beautiful sound in its own right, but nowhere near as versatile as the 84. I've only used it one time though, but 20 engineers and producers all agreed, and the shootout I'm referring to was a blind test.
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Post by Martin John Butler on Jul 6, 2021 6:44:12 GMT -6
I've found mastering usually brings out the vocal and the drums. So I try to compensate now and if anything, mix vocals a pinch lower, like 1 to 1.5 DB lower than I prefer at first.
It works, but it takes experience to trust in the mastering doing what you're tempted to do mixing. Also, I check level balance in many ways, but the main thing I do is check at very low volume to see what I hear, then just a pinch louder, then a lot louder. I've found that if vocals are still blended and not too forward at high volume, then you've got it right.
It took me an entire album of mixing my vocals too loud and sending them to master before I could handle dealing with it this way.
I've found mastering does bring out more low level details, but they've never come back too bright, just a little clearer.
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Post by Martin John Butler on Jul 5, 2021 11:20:04 GMT -6
I actually liked that Lulu a lot. It's very different from a KM84 though, and much further away than the Soyuz.
It had a very dark, but complex and rich quality. The kind that would add vibe mood for days . I'm thinking piano on a Nick Cage or Tom Waits recording, or even Roxy Music.
It had a beautiful darkness.
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Post by Martin John Butler on Jul 4, 2021 21:28:12 GMT -6
Sean said, " are you thinking of Atabites?
No, but it was something similar. It may not even be available anymore. This was around 20-25 years ago.
They were little miniature metal triangles. I think steel, they were sharp as hell.
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Post by Martin John Butler on Jul 4, 2021 9:43:27 GMT -6
I hate to say it because it comes from my experience as a recovering audiophile. When I had a home theater speaker setup with 5 B&W 805's plus 2 REL subs I had an expensive pair of B&W speaker stands that were hollow for filling with material. I tried them with no filler, then filled with sand, and then with these things I believe were called Power Points. They were little sharp metal triangles. The low end got obviously better and intelligibility improved greatly. I don't know if they're still made, it's been a long time, but hey were definitely well worth the money.
If you use sand, it must be properly dried.
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Post by Martin John Butler on Jul 3, 2021 21:34:39 GMT -6
I hate to say this, but I was at shoot-out in a nice studio where an acoustic guitar was recorded with a vintage Neumann U67, U87, Soyuz 0-13, Soyuz 0-11, Soyuz 0-19 FET and the Beeznees KM 84 style SDC.
Over 20 audio engineers and producers unanimously picked one mic, The Soyuz 0-19. It was so clearly better sounding. The only thing was the vintage U67 instantly sounded like you were listening to a Beatles track, so if you want that sound, nothing beats it. Still, it was a blind test and the results were unanimous.
Too bad there wasn't a real KM84 there.
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Post by Martin John Butler on Jun 30, 2021 9:23:56 GMT -6
I only use reference tracks when I'm having an issue. I only compare how much low end I have and width.
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