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Post by keymod on Mar 12, 2017 18:20:37 GMT -6
My solution for getting audio through the Jensen Tri-ettes: Lepai power amp and Hosa Bluetooth receiver, powered by 12volt battery pack. I had the battery pack for use with tools and got the other two items from Parts Express. Amp is a class T, 20watts per side and has mini TRS and RCA inputs. Gets plenty loud for this application. Ran audio to it via Bluetooth from both my Samsung S4 and my Kindle. Both worked well, so this project is a success.
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Post by keymod on Mar 10, 2017 17:20:27 GMT -6
I'm always interested in this type of thing.
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Post by keymod on Mar 9, 2017 9:12:14 GMT -6
I rack-mounted this Niles Audio unit, as well as built the Sound Skulptor one.
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Post by keymod on Mar 8, 2017 14:14:03 GMT -6
Budget hasn't allowed it yet, but I would like to get at least two.
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Post by keymod on Feb 28, 2017 20:15:13 GMT -6
Sorry for your loss
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Post by keymod on Feb 25, 2017 9:16:25 GMT -6
I'm in the same boat. A great space and gear, but not enough time to practice the art. Killer space. Wanna trade? Haha Don't want to trade, but I wish you could come and work here often.
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Post by keymod on Feb 25, 2017 5:41:52 GMT -6
I've been reading these great responses. I get the "human" musical aspect, and I like the idea of having a 'back-up' set of ears, and the concept of the 'partnership' and need for trust. But as far as 'fixing' things is concerned, it seems to me that 95% of fixes are better applied to the mix, not the master. I think Svart nailed this one with his comment. If there's an 'ess' problem, a noise problem, something that needs to be notched, etc. isn't it much easier and more musical to fix it on the offending tracks? I'm thinking in terms of my own mixes, which I know are highly flawed. For instance, I do my best to notch areas where there's build-up, but with mixed results. I'm a song-writer and musician first. I'm fortunate enough to be able to afford a reasonable space and some pretty nice gear, but I work in a vacuum and my knowledge and level of experience as an engineer is pretty much home-grown. When I've reached out for support from members of this community, both on in the forums and in PMs, I've gotten some really good advice, but my ability to execute is fair ..to good at best. I don't know what it costs to have a song professionally mastered, but it occurs to me that I would get more bang for my buck if I had my songs professionally (but remotely) mixed. Now obviously this is Pandora's box, but it occurs to me that there are 'levels' of mixing/mastering. Imagine that I could for instance send an M/E stems that are processed with pre-set levels. So essentially the mix is done, but now at least the M/E can isolate the problems in a much more musical fashion. He may only need to make a 'fix' in one or two stems. Now I'm guessing that most M/E's set-ups don't support this work-flow, but I'm just thinking hypothetically. I bring this up because I'm trying to figure out the calculus of the value of work that I sub out. If I'm parting with money for services, it may not be so much a question of "Is this guy doing a great job?" as much as, "Is this where and how my money is best spent?" I'm in the same boat. A great space and gear, but not enough time to practice the art.
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Post by keymod on Feb 25, 2017 5:39:02 GMT -6
Jesse, I love the headphone blueprints
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Post by keymod on Feb 25, 2017 5:35:55 GMT -6
Welcome. I remember you from somewhere else on the webs. Nice to see you here.
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Post by keymod on Feb 22, 2017 4:19:38 GMT -6
So, is it really possible to master a single, or one song at a time - on different days/etc? I always have had the impression that Mastering is used to bring an entire album into a cohesive audio realm. If the process, whatever it is, is just manipulating volume and eq levels, wouldn't/shouldn't that simply be considered an extension of mixing? Semantics, I suppose, but just a thought regarding definitions. Now, using Wiz and Mr. Ohllson (sp?) as an example - I purchased Wiz's latest CD when it came out and have to say it is the "best-sounding" CD I've heard in a long time. Almost every other CD I listen to, regardless of the system it's being played on, end's up grating on me in some way over extended listening. Wiz's sounds nice the entire way through. I credit Wiz's skill at mixing, but also - maybe even more importantly, Bob's skill at Mastering. That would be my benchmark for any work I could ever put out. How I could attain it, I don't know. But, I hope good human mastering engineers will always be available as an option.
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Post by keymod on Feb 20, 2017 18:17:50 GMT -6
Keep on keepin' on.....
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Post by keymod on Feb 18, 2017 5:01:54 GMT -6
Is this current version working well with UAD Plugins? Also, how is the supposed Harrison Mixbus Controller coming along? Since I record mostly to RADAR, Mixbus is very attractive for mixdown.
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Post by keymod on Feb 12, 2017 5:25:51 GMT -6
So last night I watched Asia Fantasia Live In Tokyo DVD, from their 25th reunion tour. Wonderful. Wetton was having so much fun, you could see it in the smile on his face. Great concert, such talent in all four members.
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Post by keymod on Feb 11, 2017 12:21:15 GMT -6
Nice. I hope he gets where he wants to be. Good for him.
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Post by keymod on Feb 8, 2017 4:43:17 GMT -6
Does blending the virtual instruments with the live players help? Or, is that frowned upon for authenticity's sake?
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Post by keymod on Feb 2, 2017 4:10:28 GMT -6
Went on an ASIA kick today! Me too. I didn't realize there was a version that didn't include Howe, Palmer and Wetton. I ended up watching a live MTV broadcast concert from 1983 in which Greg Lake subbed for Wetton. He did an amazing job on short notice and the entire show was very good. I never knew Lake played with Carl Palmer outside of ELP. A bit sad to watch knowing both Lake and Wetton are now gone.
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Post by keymod on Feb 2, 2017 4:07:14 GMT -6
I hope you heal quickly
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Post by keymod on Jan 31, 2017 11:23:43 GMT -6
R.I.P John Wetton
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Post by keymod on Jan 22, 2017 7:29:01 GMT -6
You know, I was trying to save money this year.......
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Post by keymod on Jan 19, 2017 4:04:24 GMT -6
I'll happily stick with my JBL LSRs
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Post by keymod on Jan 18, 2017 10:43:19 GMT -6
Look at Sound Skulptor also.
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Post by keymod on Jan 17, 2017 6:24:32 GMT -6
Paul's experience has me scared. I hope my Radar 24 never dies
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Post by keymod on Jan 16, 2017 9:10:56 GMT -6
Good luck with everything.
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Post by keymod on Jan 16, 2017 9:07:47 GMT -6
I needed a coffee table for my living room, but had absolutely no budget to buy one. I did have two old Jensen Triette speakers from the '60s and some scrap wood so I threw this together over the weekend. The speaker size makes the top just the right height. Nex t step would be to install a battery-powered Wi-Fi receiver or amp underneath on the small shelf and I could then actually play music through the Jensens, which still sound pretty good. They have 12" woofers, 8" mids and a horn-loaded tweeter.
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Post by keymod on Jan 14, 2017 4:59:53 GMT -6
Is the "CLASP" unit still being built/sold? It would seem to me that anyone serious about integrating tape into a modern hybrid studio would want/need the marriage between a CLASP and the DAW/tape machine of choice. Of course, it adds a considerable amount of money to the equation but, from my limited point of view, the convenience of integrated workflow would make it worthwhile. FWIW, I am completely happy to track to my RADAR 24. I see using something like the ZULU with it as a nice option, and that may be the perfect solution. However, I have an eight bus board with which I plan to be able to sub-mix to my Otari 1/2" eight track and then final mix to my Otari MTR12 1/2" two track. The final two options are what I may try to offer as a service.
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