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Post by Martin John Butler on May 5, 2021 21:43:07 GMT -6
This thread made me wonder if using no HPF except on the 2 bus would have the same phase shift effect as when using an HPF on the tracks.
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Post by Martin John Butler on May 5, 2021 15:28:01 GMT -6
I used to HPF more than i do now. In my untreated apartment, it helps a lot to HPF the vocal track below 30Hz or 50 Hz.
But I've realized those low frequencies are a huge part of the ambient sound, so now I make sure I'm just cutting out noise and not part of an instrument's sound.
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Post by Martin John Butler on May 3, 2021 18:55:29 GMT -6
I hae to say it, but I really didn't like any of those guitar tones on Ragan's tracks. I loved the tracks though. I only liked III B a little. It kind of bummed me out because I hoped the OX would get me a great sound without micing my amp. UAD's Marshall Plexi is pretty good, I don't love any of Logic's amps, though they set them up nicely. I liked the IK Ampeg Bass plug enough to actually sell my bass amp that was the same model they emulated.
So I bought the IK Fender amp plugs that were on sale for $25 last week. I haven't used them yet, but hope they're a bit better than Logic's. I had the Iridium for a couple of weeks. It was fun using it, but the tone wasn't quite right either.
Last time it was important, I had to mic my amp. Hopefully the IK plugs will be useable occasionally.
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Post by Martin John Butler on May 1, 2021 21:06:38 GMT -6
I can be there.
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Post by Martin John Butler on May 1, 2021 10:44:19 GMT -6
Yamaha.
If you need a great piano at a bargain price, look for a Young Chang.
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Post by Martin John Butler on Apr 30, 2021 15:45:32 GMT -6
I found the IK Ampeg Bass collection to be the best. That was a few years back though, so it may have been surpassed by now.
I actually had one of the amps they simulated, and it sounded exactly like mine without the hum. So much so, I sold the amp.
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Post by Martin John Butler on Apr 30, 2021 15:10:29 GMT -6
I bought the Fender collection. Thanks to all the guys here for all your suggestions. It might seem redundant, but I figured if there's only one time I need a quick Fender sound and the IK Fenders work even a little better than the others, it will have been worth it.
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Post by Martin John Butler on Apr 30, 2021 11:09:27 GMT -6
I just listened. I have all those Fenders in Logic, but they don't sound right to me. I have a Fender Bluesbreaker that has a classic Fender Princeton sound and a sort of Vox sound, depending on which tubes they use. It sounds good on recordings, but micing at home can be a PITA.
I think I'm going to go for this, just in case I need it. UAD's Marshall is excellent, but forking out too many dollars for UAD's Fender sims is seriously unappealing.
Is there a code somewhere for a discount? (not that $25 isn't fair enough), but I do have some IK plus and wondered about it.
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Post by Martin John Butler on Apr 30, 2021 10:56:15 GMT -6
Thanks for the heads up John.
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Post by Martin John Butler on Apr 29, 2021 14:32:41 GMT -6
I've seen Soundcraft boards modded by Jim Williams for 2G's. My friend tracks and mixes on an old DDA board and it sounds great. He did some Little Steven albums with it. It can probably be had for around the same price. Some 5k Amek consoles look good, I've seen some Trident boards for $2,500, I'm not saying boards are necessarily better, just curious why a good board with 16 or 24 preamp channels for 2-3G's isn't preferable to buying 8-16 500 series preamps.
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Post by Martin John Butler on Apr 29, 2021 10:41:50 GMT -6
I've always wondered why people would get say.. 8 or 16 lunchbox preamps instead of just buying a nice board. Wouldn't it be less expensive?
I can see the value in slowly adding to a lunchbox, this way you could get one at a time, but spending $8,000 on eight 500 series preamps doesn't make sense if a board can do that, and more.
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Post by Martin John Butler on Apr 28, 2021 14:50:25 GMT -6
Tim, 6 seems to be the consensus and 1 was liked. Hadaja will let you know which is which.
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Post by Martin John Butler on Apr 27, 2021 15:09:13 GMT -6
My buddy did some tracks on his last album with the Lewitt 640. It sounded like an old AKG 414, only the bottom was better. I recommend that mic all the time when people need pro bang for the buck.
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Post by Martin John Butler on Apr 27, 2021 14:59:26 GMT -6
I'm jealous of those overhead mic stands! Needing other more important things, I've put off getting a truly heavy duty high quality mic stand for a long time.
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Post by Martin John Butler on Apr 27, 2021 9:50:06 GMT -6
KM 84/ Capi is my first pick, 414 BAE is next. It would depend on how it sits in a mix. I'd probably choose the 84, but the 414 is a keeper for sure.
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Post by Martin John Butler on Apr 27, 2021 9:44:35 GMT -6
6 and 1 in that order. You could live with the others though.
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Post by Martin John Butler on Apr 26, 2021 11:21:22 GMT -6
Alto Music is run by a great crew. They're incredibly knowledgable and helpful, and as into it all as much as we are, or more. Trust them, you won't regret it.
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Post by Martin John Butler on Apr 23, 2021 21:42:27 GMT -6
Well, you definitely want one Neumann style tube mic. The 47 or 67 will do most anything. I prefer 67's. Since we're talking two different styles, I'd say the other one should be a C12 or ELA M251 type. They're different and both are on the greatest records of all time.
If you had a bigger budget I'd say would start with Chandler's REDD 47. The best mic I've heard in your price range is the Stam SA67, but they're not making them right this minute because of Covid complications. I haven't heard a lot of ADK files, but found the ones I did hear to be kind of flat and lifeless.
I would trust Chad at Signal Arts to get you a Neumann style mic that's pro.
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Post by Martin John Butler on Apr 21, 2021 8:22:03 GMT -6
I have the Stam SA67 and the Soyuz 0-19 (now called the 0-17 FET). Both are first class mics that can be used in professional situations without giving you the feeling of compromise. I had a 1981 U87 and used it every day for 10 years, but sold it a long time ago. The Stam gives me the vintage tube sound I love, and the Soyuz is incredibly transparent without ever being strident.
I would definitely place the Soyuz squarely in the serious workhorse category the U87 is king of. It's the best mic I've ever heard on large body acoustics, and in a shootout I did a few years back between a well maintained vintage U67, vintage U47, Neumann M49, Telefunken C-12, my Blackspade UM-17 R and the Soyuz 0-19, it placed third. That shootout was done at a major league studio. It killed the C-12, trounced the M49 and beat the Blackspade. The U-47 placed second, and for my voice, the U67 was tops. In that situation a Soyuz 0-17 (tube) would have made for a fairer comparison, but I used what I had.
When asked if the U87 is a good mic, there is no doubt it's one of the best mics ever made. You may prefer a vintage one or an AI, depending on your tastes and needs. I once had a survey that showed the U87 was in 85% of the world's working studios, that should tell you something.
If buying new, I'd look at the U87AI and the Soyuz 0-17 FET and make a choice, they're both incredibly versatile and sound pretty great on almost everything.
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Post by Martin John Butler on Apr 20, 2021 20:32:23 GMT -6
Great idea, and the graphics look amazing.
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Post by Martin John Butler on Apr 19, 2021 17:20:18 GMT -6
Great news drsax!. It's wonderful to hear such a glowing review. I'm waiting on a a 660 and your comments made me really excited about it.
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Post by Martin John Butler on Apr 19, 2021 7:29:34 GMT -6
Easy answer, the Lewitt 640. I'm not sure if it's still available. It sounds like a 414, but with a better low end, really. The top is what you want, no Chinese sizzle at all.
Since Avantone has upgraded and updated their CV-12 to the CV-12 BLA, that would be worth looking into also.
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Post by Martin John Butler on Apr 17, 2021 20:48:55 GMT -6
Yes, this is one of my benchmarks. I believe it's a U67, but I'm not certain. Of course there's the room and the gear too, but this to me does what a great mic should:
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Post by Martin John Butler on Apr 16, 2021 17:59:58 GMT -6
I thought the only problem with those tracks was the compressor. Then I read Audioscape's comments, ha!
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Post by Martin John Butler on Apr 16, 2021 11:52:25 GMT -6
I've always thought that mixing on relatively small near field or mid-field monitors works best, and then having some huge speakers available when the mix is complete to see how the bass and vocal translates at higher volume. I let quite a few songs of mine go where the vocal was probably 1.5 db too hot. When you crank that, the vocals jumps out instead of the entire mix being raised in volume.
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