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Post by RicFoxx on Mar 1, 2014 18:15:43 GMT -6
I didn't think I was out of line at all...considering the guy that makes their "custom capsule" responded like he didn't even know who they were. They claim that I purposely posted that to hurt their company. I think it's evident in that post that - at that time - I was very interested in their product. Obviously, now, I'm not interested at all. Not at all, just the opposite.
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Post by RicFoxx on Mar 1, 2014 16:40:43 GMT -6
I know this is a little off topic but I never hear you guys talk about the Mojave Audio MA-200...I love this mic and bought mine for $695 on the used market. Great on Overheads, Acoustics and Male Vocals. I read Sylvia Massey loves this mic and uses it to punch in for a U47 when not available. Really good with the VP28. I actually sold my CV4 because this covered a lot of ground for me.
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Post by RicFoxx on Mar 1, 2014 8:37:40 GMT -6
Thats usually what I do and I got the idea from that video about 5 years ago!
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Post by RicFoxx on Mar 1, 2014 8:35:46 GMT -6
Wow, that thread at GS started off bad.
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Post by RicFoxx on Feb 28, 2014 7:05:53 GMT -6
Rock guitar tonight...set the calibration down....ride hard...literally comes back better than the analog cue going in. Like tape did. I really dont' DO that much rockin' guitar....but, hell I might have to START.... This happens for me to...a great rock n roll box!!!
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Post by RicFoxx on Feb 26, 2014 23:57:11 GMT -6
There will be no doubt some technical answers here, just not mine. Im sure you already know this but heres my take. I push my console when I want grit...for rock n roll mostly, I love the extra headroom with good analog and saturation obviously rounds things off. I don't always want to saturate, so I back off levels, Im sure the BLA has a sweet spot just trust yourself and your ears. Get to know the unit and bounce different levels into it and print. Take a long drive and listen to all the different prints, make mental notes. Know how to get the sound you want when you need it. No rules just experiment...if it sounds good to you then it's good.
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Post by RicFoxx on Feb 26, 2014 13:41:15 GMT -6
Couple of thoughts after starting and reading through thread again...
I started the thread because I was having power issues in my rack after adding a 5th module in a 6 module rack. I talked with some well informed audio guys that said this is a common problem with some rack's and they will lose headroom and fidelity and that is what was happening with mine.
Now, being informed of new rack options that supply more than enough power to modules, Im not "over" 500 series...just have a better understanding of the obstacles.
I love the fact that there are so many options and I think the future is exciting for all types of modules for this platform.
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Post by RicFoxx on Feb 26, 2014 12:38:54 GMT -6
I became a Vince Gill fan when I was in my early 20's (I didn't listen to a lot of country at that time) and I saw him sing and play once and I was amazed!
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Post by RicFoxx on Feb 24, 2014 20:40:33 GMT -6
High levels are very bad with average converters and I think most musician engineers don't understand this but in fairness a lot of these cats came from either the analog realm or 16 bit digital where high levels are good. Also people that are working with consumer all in one interfaces monitor and mix through headphones and the headphone amps do not push good headphones so they push the levels way up to hear the mix loud enough.
-18 with peaks around -12 for me...sometimes I push the Burl for the sound to -6
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Post by RicFoxx on Feb 24, 2014 19:38:39 GMT -6
Wow...just wow. God bless those parents
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Post by RicFoxx on Feb 24, 2014 8:16:38 GMT -6
Anyone notice the API strip is enabled for the preamp emulation? I thought that was weird that when it came out they had the whole section there of the "preamp" model...and I thought "WTF is the point of modelling the preamp digitally?".....enter their whole plan to make it variable impedance preamps and model the saturation on the way in... Anyway--wanted to give some "added value" to anyone who didn't notice this and bought the API strip previously...or still has a demo for it... Yeah, I'm still wiring everything up in the studio but had to cut a couple bgv over the weekend and upgraded the firmware on the Apollo and downloaded 7.5 and there it was the API Vision with the 610a and b emulation in the preamp section. I put it up against the VP28 and sounded nothing like each other...two completely different sounds. Sounded good though. I would describe the API Vision with the Apollo pre clear with some color and sheen...the CAPI was beautiful, full and vibe galore.
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Post by RicFoxx on Feb 24, 2014 6:58:09 GMT -6
Man...you guys are fantastic, sounds great!
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Post by RicFoxx on Feb 23, 2014 15:29:31 GMT -6
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IK 1176
Feb 23, 2014 9:48:38 GMT -6
Post by RicFoxx on Feb 23, 2014 9:48:38 GMT -6
I think Ive read that it is on the other site.
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Post by RicFoxx on Feb 22, 2014 22:30:56 GMT -6
That is the difference in buying consumer quality verses a high grade components. You do get what you pay for. Companies like Great River, Kush, RTZ Audio, Inward Connections and Radial Engineering use high quality components and therefore, their products are priced accordingly. I will always be skeptical of a $300 module. A corner got cut somewhere to make that happen. Just the injection molding for a simple quality knob(but a new design) can be in the thousands. R Yep...cheap stuff and Im old enough to know better! It's the cheapest in my rack...paid $259 on a whim, very useable but won't last.
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Post by RicFoxx on Feb 22, 2014 19:32:39 GMT -6
You guys don't like the lindell? Well I'm a little sceptical myself but now joe Malone from jlm is designing the mkii versions so I'll actually probably buy a couple of the pultecs if they're cool - but what lindell has priced his modules should be the norm not the total opposite. The $1000 mic pres, comps ect to me, in this format are a joke, They don't have to provide power, extensive metal work, full metering - these (apart from transformers, inductors) are the most expensive part of any build. I have seen thread after thread get modified or deleted about faulty Lindell modules on another forum. I think you get what you pay for. The Serpent, CAPI and Great River gear that I have is all well worth the money they ask. They are life long tools that sound great. Most of them have more cost in actual parts then what the Lindell modules go for. Those company's don't use cheap parts so they can't be built for cheap. Plus they are designed extremely well. The little compressor module sounds good but Ive only had it for a couple of months now and the bypass button is starting to act up. I can't see these things lasting that long whereas the Warm WA76 for a few more duckets is built sturdy.
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Post by RicFoxx on Feb 22, 2014 19:26:23 GMT -6
Dropbox is a such PIA...won't let me get the bass...but, also OK...organ done: www.hightail.com/download/elNMTGswMVhWRC92bk1UQwIt's 24/44 stereo--I went ahead and put in the fades where I wasn't playing so you could just drop it into the project without worrying about the rotor noise while I'm not playing--your click copied over to it incase there's some sync question. So, lop that off once you know it's in sync. ...and it's nothing terribly inspired. After my little tech fit...well, it will do. I say that because despite what was said at the beginning...I won't be the slightest bit offended if you cut it in part or all together. I've actually found that the number of times a client mentions "jesus" in their lyrics is inverse to how much they want to here a churchy organ. ...funny I bought it years ago from a "contemporary Christian" producer in town--who said none of his acts/clients wanted it because they were trying to NOT sound like church music! Anyway...I'll leave the mics up tonight if you get it and want something really specific...I'll need to tear down probably in the morning, though--so, take a listen and let me know. Nice popman!
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Post by RicFoxx on Feb 22, 2014 19:09:31 GMT -6
See the "i need help" thread with the collab....one of the two clock outputs is 10cent flat. That's not confidence inspiring. As I'm sitting there going "how did they record an obviously sampled piano 10cent flat"?...it occurs to me, the Burl is now clocking my system. And, this really puts a whole new spin on the comparisons. I mean, I guess...it was clock for the whole thing...so, both playback and recording were flat, therefore still relatively in tune, but...wow...I've never owned anything whose clock was "off"--and definitely not one that one port was off and the other on. That doesn't even make sense to me how that's possible. Still, I thought I'd bump this to ask how other Burl users ARE clocking...? Are you just using the AES/SPDIF to clock...or using the word clock? Which also begs the question...if you use external instruments...have you noticed any instability in tuning? Yeah...Especially when I sing thru it! Joking aside, I havent noticed but that doesn't mean a whole lot. I guess the best way to check it would be to mult a vocal thru each channel of the Burl and my Symphony and compare...I could check pitch and latency.
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Post by RicFoxx on Feb 22, 2014 19:00:40 GMT -6
It would definitely be interesting if they start modeling API/Neve/Helios pres for use with the Apollo. Who cares if they're exactly the same, just as long as they share the characteristics of the originals. You would think that's the plan, but are these companies going to compete with themselves and possibly cut into their hardware sales? Maybe sales would be so good it wouldn't matter. That being said - it wouldn't really matter for me since I already have those in hardware...I never record anymore than stereo at one time, so...but it's definitely interesting. When I registered my newest Apollo last week they gave me a complimentary plugin...the Helios 69. Last time they gave me a free plug (Fairchild 670 Legacy) the next week they released the MKII. Maybe a new Helios is coming with the new Unison Technology???
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Post by RicFoxx on Feb 22, 2014 11:13:06 GMT -6
Yep, drums sound great!
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Post by RicFoxx on Feb 22, 2014 9:25:01 GMT -6
Ill have my files to you today cowboy...Ive been trying to get the gremlins out of my system!
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Post by RicFoxx on Feb 21, 2014 11:35:08 GMT -6
Installed UAD 7.5 last night. It went smoothly, and it looks like I will be able to track MIDI drums at 64 samples instead of 128. So there was indeed a bottleneck of sorts on the way the Apollo was accessing the Thunderbolt bus for v7.4 and prior. I am a little disappointed in UA in how they marketed the T-Bolt thing and somehow failed to mention that they had not implemented full bandwidth utilization - or whatever the issue was. There is now less latency on the Apollo/Mini link. I am still experiencing a bit of strangeness in how PT handles "resource allocation" though. If I close a session at 64 samples, it will not load BFD at next startup. However, if I close at 128 or above and then change the value to 64, I am good-to-go. Weird. The Firmware to properly take advantage of the Thunderbolt card has not been released in 7.5, it addressed the Unison technology in the Apollo.
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Post by RicFoxx on Feb 20, 2014 18:56:27 GMT -6
Yup, yup… all good stuff. Thanks guys. My greatest takeaways here are to check out the suggested track… thanks Jerome, to spend some time with my references before each session and to fight the battle in the mids. All good info but these few were great. Many thanks! The little Equator D5's are a great little speaker with good mids and can be had for $349/PAIR new. Imaging is good also...great reference speaker! Here is a review: www.soundonsound.com/sos/dec12/articles/equator-d5.htm
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Post by RicFoxx on Feb 20, 2014 7:44:07 GMT -6
Yeah - it's impressive...BUT - to me - it's the least "logical" of all the DAWS... The "X" Version is dumbed down a bit but I know exactly what you mean. I hate having to go to the manual for simple stuff. But with that said, I almost always use logic for creation. It's really feature rich for $200. The Drummer feature is worth $200 for me alone. I haven't jumped into Flex Pitch as I have AT and Melodyne but I have tried it a few times and thought to myself...that feature is as good as both programs. Also, the Track Groove feature is nice...I use it like this: record a mono drum loop from me playing a kit that has just the feel Im looking for, choose it as groove source and check the other tracks that I want it to follow and boom a natural tight sounding quantization (mostly for bed tracks.) Really good program with some quirks...just like the rest of the DAWS.
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Post by RicFoxx on Feb 20, 2014 7:25:26 GMT -6
I can't comment on Ensemble vs Apollo because I have not heard the Ensemble but I can tell you that the A/D on the Apollo is pretty close to my Symphony and a not to far from the Burl. My problem with the Apollo is the Monitoring section is a notch below the Symphony..not bad but when directly compared to it, you immediately recognize the differences.
The Apollo is great for low latency monitoring through UA's Console but just be warned that the round trip latency is not good...the lowest I get is 17.2ms compared to the Symphony's 4.3ms. This is supposed to be dramatically improved with the next firmware update that will utilize thunderbolt bandwidth and speed for processing Audio and plugin processing whereas now it just opens up the processing stream...or something to that nature as Im not a tech. dude, I just know that latency sucks playing Virtual instruments.
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