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Post by indiehouse on Apr 21, 2021 5:21:43 GMT -6
Yep, that’s where I bought from as well. I paid 29 for Molot and got a free Applied Acoustics plugin, which I doubt I will install.
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Post by indiehouse on Apr 20, 2021 19:02:57 GMT -6
Has anyone tried the Stam 87 with the Lundhal tranny and Tim Campbells capsule?
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Post by indiehouse on Apr 20, 2021 18:59:34 GMT -6
I bought Molot last week during the sale.
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Post by indiehouse on Apr 19, 2021 20:57:56 GMT -6
I think offering mix feedback is important for me, followed by quality/price ratio. So many great mastering options. Thanks! Like commenting on frequency dependent issues your room/monitoring doesn’t reveal? Or do you want actual mix evaluation, like “the chorus needs to lift more, try adding a high harmony to the lead vox and a B3 pad.” I think frequency, stereo image/balance and dynamics would be on the table. But I’m always open to hearing feedback about the latter!
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Post by indiehouse on Apr 19, 2021 18:17:37 GMT -6
I think offering mix feedback is important for me, followed by quality/price ratio. So many great mastering options. Thanks!
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Post by indiehouse on Apr 19, 2021 14:06:40 GMT -6
I’d love to find someone who would give me mix critiques as part of the process, do I can ultimately improve the song.
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Post by indiehouse on Apr 19, 2021 13:34:05 GMT -6
Anybody using this plugin?
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Post by indiehouse on Apr 19, 2021 13:33:27 GMT -6
So many great recommendations. Thanks! I have put a few feelers out.
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Post by indiehouse on Apr 19, 2021 10:15:47 GMT -6
I wouldn’t schedule paying work around the delivery of gear with an unknown (and likely lengthy) waiting time, no matter the maker.
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Post by indiehouse on Apr 19, 2021 8:42:32 GMT -6
Any recommendations for a good mastering engineer who works in the indie rock/pop/acoustic genre?
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Post by indiehouse on Apr 19, 2021 0:13:25 GMT -6
You know the adk z:mod 251 nearly comes in at that budget if you can find a second hand one.. I love the focussed whisper quiet sound of this mic. i think it fairs qute well against my bock 251’s i had. I have bought a couple of ge 5 star tubes i am about to test out in the ADK and the Upton to hear the changes when they arrive. Don’t the ADK’s use 12ax7’s in their mics? Not sure if a 6072 is a drop-in replacement or not.
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Post by indiehouse on Apr 14, 2021 14:56:19 GMT -6
I’m hoping someone eventually posts some clips of the Stamchild vs the UAD and/or Waves plugins. I’m planning to. It’s just a lot of work/time. I’ll try my best!
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Post by indiehouse on Apr 12, 2021 17:47:57 GMT -6
Can we talk Fairchild attack/release times?
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Post by indiehouse on Apr 12, 2021 13:33:04 GMT -6
I made one of those silly unboxing videos. I don't do this, ever. First time, actually. But, my eight year old daughter is into stuff like this, so she wanted to do it!
I plan to use this on a tune I'm mixing. I hope to post tracks soon. Josh, if you swing by this thread, I'd love to know more about the bypass volume jump.
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Post by indiehouse on Apr 12, 2021 12:28:31 GMT -6
Trying to. Just want to make sure there isn't anything funky with it. I've had to send a pair of the 1073EQ's and the ADG in for repair after receiving them from Stam. Just really going over it with a fine tooth comb. The only thing that's a bit weird is a volume jump on the bypass. Haven't gotten an answer to that yet. Looks to need some calibration tweaking to the meters and output of 1 channel, but very minor and looks to be super easy. It's a pretty transparent compressor. stam has really done an excellent job with this piece! Really stoked to finally have it!
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Post by indiehouse on Apr 12, 2021 12:11:12 GMT -6
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Post by indiehouse on Apr 12, 2021 12:09:58 GMT -6
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Post by indiehouse on Apr 11, 2021 12:06:56 GMT -6
Why not hardware monitor? Zero latency always. Can have a bloated session with a million plugs and decide to overdub a vocal during mix down. No latency. Or am I not understanding the question? Same question. Is there something I’m not understanding? Seems like some were talking about plugins adding latency while tracking through them, which I get. But if you are overdubbing into a “mixed” session, and have loads of tracks and processing already, why not use the interfaces direct monitoring? Don’t most interfaces these days have that? Are there drawbacks I’m not aware of? Is the recorded track off when overdubbing to a heavily mixed session? I’ve never had an issue that I could hear.
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Post by indiehouse on Apr 9, 2021 6:41:27 GMT -6
Carries up to 16 channels or you add say a tb card, Dante what ever, Lynx has them. I hear you. The TB3 card is like 650. Not sure if you need to send it in, but if so figure shipping both ways plus maybe labor. $$$
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Post by indiehouse on Apr 9, 2021 5:57:57 GMT -6
^^This^^, only increases bandwidth, (there’s an Aurora n 16 on GS It’s USB.
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Post by indiehouse on Apr 5, 2021 12:54:45 GMT -6
I'm thinking about grabbing this from Plugin Discounts for $118. But I've already got the UAD Distressor. I have a pair of HW Distressors sitting in my rack. Thinking that between these two plugs, I could probably part with the HW. Is that blasphemy?
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Post by indiehouse on Apr 5, 2021 12:17:31 GMT -6
Yeah, that's the other part. Just stop with all the gear fussing and stick with what I've got. It's just that I've heard the same about having a great capture AD for the 2-buss, which led me to looking at a Dangerous AD+. But then, I started adding up the numbers between that and the Dangerous DA, and the Motu stuff. I could just sell it all and get a Lynx Aurora (n) for similar money. Well I still think the best course of action is to build it all and then try it with what you have. Then if possible, demo a Dangerous and a Lynx and make your call then. It can make a difference, when I was able to use a SSL Duality console i did NOT like the Lynx Aurora 16s running at 44.1 or 48k to capture my mix. I MUCH preferred the RADAR 6 with Nyqust cards running at 96k. So I did all my prints to that unit. But the Lynx were my DA's still into the console, I never really felt like that was holding me back. It just never sounded the same when I was monitoring through the console what I recorded back. Not until I recorded my mix to the RADAR. But again, you need to establish a baseline first before jumping down that rabbit hole. So I'd stick with what you have and then learn how the Sumbus changes your workflow if at all and how it sounds. THEN you can start trying to decide if the AD and/or DA's are helping or hurting and how to change that. Don't get ahead of yourself. Solid advice. Thanks!
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Post by indiehouse on Apr 5, 2021 12:15:16 GMT -6
Also, what role does compression play in making things bigger? Doesn't compression make things smaller?
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Post by indiehouse on Apr 5, 2021 12:14:23 GMT -6
Follow-up. How do YOU define making things big? Low end is definitely part of it. I tend to think a short plate type reverb pushed up just enough tends to make things sound bigger. Would you agree?
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Post by indiehouse on Apr 5, 2021 11:55:58 GMT -6
I personally have found that the A/D is more important on a summing/mixer capture setup. Because you want to capture the magic of said device as well as possible. That said, a shitty DA isn't doing you any favors. But none of the gear you have mention using I would consider shitty. It'll all decent or great. Honestly, before you go down that rabbit hole, build the Sumbuss and start using it with the converters you have now. No sense in getting all reved up to change stuff when you haven't even heard it with the current stuff. You need to a baseline at least before trying other stuff. also...so jealous of the kit! I want one so bad. Been out of stoke forever haha Yeah, that's the other part. Just stop with all the gear fussing and stick with what I've got. It's just that I've heard the same about having a great capture AD for the 2-buss, which led me to looking at a Dangerous AD+. But then, I started adding up the numbers between that and the Dangerous DA, and the Motu stuff. I could just sell it all and get a Lynx Aurora (n) for similar money.
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