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Post by indiehouse on Jan 28, 2021 7:53:55 GMT -6
Do you think music subscriptions are a necessary part of music consumption? I’ve been on a big vinyl kick lately. But vinyl is expensive and there is just so much music that I enjoy listening to, I can’t possibly own it all, even buying digitally. I have a large CD collection (from way back when CD’s were still a thing) that I converted to digital, but haven’t found a seamless way to integrate it into my casual listening outside of a computer interface.
So, are streaming subs necessary, especially for new music discovery? If so, which do you prefer? I’ve subscribed to Amazon Music HD for the past year, mainly because of the HD playback option, but not sure that I like the interface and the discovery algo’s. Also, the search is clunky.
Curious to hear what you think, despite streaming services being notoriously unfair to artist royalties.
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Post by indiehouse on Jan 24, 2021 7:53:01 GMT -6
Hoping the product is not what we are expecting b/c many don’t seem in the least bit excited ( if we assuming correctly ) lol Come on UAD I’m rooting for you but your moves have us confused. Wonder what the heck they are doing with the Bock acquisition? If you really think about it, it’s understandable. With the AKM fire, their interface supply is probably disrupted. They have to be creative to find other revenue sources to make up for it. Perhaps this new product was already in the works, or maybe it was just a backburnered idea until the AKM fire disrupted things.
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Post by indiehouse on Jan 16, 2021 20:13:50 GMT -6
@indie, you got the sowters and the mod: right ? On the ADG? Mine is whatever it came with. Not sure.
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Post by indiehouse on Jan 12, 2021 9:43:28 GMT -6
I LOVE producing and arranging. I’m much better at that than mixing. And to me, having someone better than me mix my stuff is a lesson in itself. I feel like I can learn way more from that than from some random YT videos or mixing sites. I do really enjoy mixing though, I just don’t have the time to do it all right now. I’ve really only tried out hiring a mixer on a couple songs so far. I want to see how it goes before going too far with it. I had a friend, who freelance engineers for a living, mix one of my tunes a while back in exchange for letting him borrow one of my mics. I was not happy with it at all. I did a better job on my rough. So that was a disappointment. My latest is with Eddie Ashworth (Sublime), who is my old college advisor. He’s super busy though, and it’s taking a while. But I still have high hopes! If you want I will mix a song for you...no charge. pm me wiz Man, you are AWESOME! That's very, very cool of you.
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Post by indiehouse on Jan 12, 2021 9:41:31 GMT -6
Getting there on install. Man, cabling takes a bit. Mislabeled a few things, so added effort to it. Loving the color and how it reflects on the gear. Going to be interesting to take some measurements of the room when it's all in place. The lower stance of the desk and 40mm increased width will definitely do something. Just hope it's not too different. Edit: With the increased width between the sides, gotta figure out the monitor arm. Liking the placement overall though. . Dude. This is fantastic. Choice gear as well.
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Post by indiehouse on Jan 11, 2021 19:13:17 GMT -6
A dilemma, my decision jumping back into to uaville was to be pretty brutal about limiting plug purchases, but I got lucky with UA’s generous plug offer when I bought my x6, so it cuts both ways. Your call but I do find the 176 pretty special: I’d draw the line one plug later otherwise known as a UA user’s famous last words! I know. That was the struggle. I’m sure it’s a fantastic plugin. Is it going to make my mixes magically better compared to the gazillion HW and SW options I have already? Well, that WAS the < $100 question. Now it’s the $299 minus $50 coupon question.
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Post by indiehouse on Jan 11, 2021 18:29:59 GMT -6
I painfully passed on the 176. I coulda had it for less than a hundred with all my discounts and coupons. But I passed, largely in protest of UA’s plugin resale policy. Or lack thereof. Plus I’ve got some badass vari-mu HW.
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Post by indiehouse on Jan 11, 2021 5:53:40 GMT -6
The mixer is paid to clean up other people's shit. That's what I do. I enjoy doing it but it's frustrating. Half the artists I mix, the engineer had no idea what he was doing. If the band did it themselves, maybe one band member would sound a lot better but the others would be unusable if this was an analog world unless they were older and came from analog. Half the time they use a barely eqed "metal" or "Lead Balloon" VSTi kit that sounds awful, totally random automation and pumping compressors, band-passed sound, clipping everywhere, etc heard it all. Then they pay for mastering because it's cheaper and they can't make it loud themselves. I'm doing something right now where the power supply on a well-known producer's interface gave out, leaving switcher spurs all over the raw tracks. He didn't help things by scooping and clipping everything and telling them it "would all be fixed in post." Which it is. Years later and not pasted over with whack a mole samples. That’s kind of a degrading generalization. Maybe true with bands that come to you, but I don’t think what I’m doing is shit. But that’s just me. Plus, I really dislike typical/local metal music.
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Post by indiehouse on Jan 11, 2021 5:50:20 GMT -6
This is kind of a great thread. I’ve been hiring more experienced mix engineers lately to mix my stuff, mostly because I lack time at this stage of life. I have way more songs to produce and track than I have time to mix. It’s funny I hate being brought in as mix engineer, I would always prefer to be a part of things from the beginning. I guess I like to have a say in the making of the bricks I get to put together. I also feel really weird when somebody else is hired to mix what I have tracked. I guess I really have a problem just doing 1/2 the job, I really feel weird when I’m giving feed back to another AE, I feel like what I have to say will be taken to hard, or out of context. I LOVE producing and arranging. I’m much better at that than mixing. And to me, having someone better than me mix my stuff is a lesson in itself. I feel like I can learn way more from that than from some random YT videos or mixing sites. I do really enjoy mixing though, I just don’t have the time to do it all right now. I’ve really only tried out hiring a mixer on a couple songs so far. I want to see how it goes before going too far with it. I had a friend, who freelance engineers for a living, mix one of my tunes a while back in exchange for letting him borrow one of my mics. I was not happy with it at all. I did a better job on my rough. So that was a disappointment. My latest is with Eddie Ashworth (Sublime), who is my old college advisor. He’s super busy though, and it’s taking a while. But I still have high hopes!
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Post by indiehouse on Jan 10, 2021 22:07:25 GMT -6
This is kind of a great thread. I’ve been hiring more experienced mix engineers lately to mix my stuff, mostly because I lack time at this stage of life. I have way more songs to produce and track than I have time to mix.
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Post by indiehouse on Jan 10, 2021 16:25:13 GMT -6
Thanks Mark. I do the same thing, set up buses. These days, I put the Ocean Way room verb first on every track at just enough level to hear the change, but never heavy handed. Then I have Liquid Sonics 7th Heaven, Relab XL480, Phoenix Verb, and sometimes Sound Toys' Little Plate. On rare occasions I put a separate reverb on the main vocal track. I liked the vocal delay on your vocal. Any idea which one that was ? I used to have the Lexicon PCM-42 on a bus on my mixer back in the day. Man, that thing was so easy to use and blended perfectly with the whole track. None of the delays I've tried have quite gotten there, so I tend not to use them at all. Looks like there are 3 delays on the vocal: Echorec, Repeater, and Echoboy. For reverbs, the vocal has PhoenixVerb, Cinematic Rooms, and VerbSuite Classics. That’s interesting. You have 3 delays and 3 reverbs all on the vocal? I feel like I need an education on how best to utilize delay and reverb.
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Post by indiehouse on Jan 10, 2021 6:46:27 GMT -6
I had a Z-67 as well. Sounded really nice. Had sort of a pre-eq’d sound. A big top end lift. It’s a “pretty” sounding mic. I think most of the sound comes from a tuned capsule. Mine had a 12AX7 tube, which I thought was a bit lame.
Was this mic moddeled after a M269?
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Post by indiehouse on Jan 7, 2021 9:40:23 GMT -6
Well, I’m so overwhelmed with the tone and functionality that I feel like I should wait a week to comment, so people don’t think I work for the company. I’ve found everything you and others have said to be absolutely true. More thoughts soon. That's exactly what I fear my reaction would be...overwhelmed.
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Post by indiehouse on Jan 5, 2021 9:07:55 GMT -6
I think the tech help person was talking about plugins on the master track, not the master track itself, but I am just guessing. Yes, but if you read my question, I clearly ask if just having a master fader WITHOUT plugins will add latency.
I've never heard of this before. I feel like a newbie asking all these fundamental questions, but I am on a mission to learn something I didn't know before.
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Post by indiehouse on Jan 5, 2021 8:26:15 GMT -6
I just had a Motu guy tell me that the master fader track in PT's will cause latency.
Me: "I always have a master fader track set up in my sessions. Does this cause latency? I realize that having plugins on that master fader track would cause latency, but does just the master fader track itself cause latency?"
Motu: "Sure. It's the bottleneck for the entire project. It has extra buffers to accommodate this."
Is that true? Should I not set up a master fader track until mix time?
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Post by indiehouse on Jan 4, 2021 13:59:16 GMT -6
Oh man, that's sweet.
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Post by indiehouse on Jan 4, 2021 11:32:53 GMT -6
FWIW, I’m pretty sensitive to latency and I regularly track keys VIs (Diva, Keyscape, MTron, etc) at 256 buffer (88.2kHz) and have no issue with the feel at all. Thanks man!
Still working through understanding it all. I'm probably overthinking it, I just know next to nothing about midi stuff. Just trying to sort out if I have a setup problem with my rig or if it's working as intended.
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Post by indiehouse on Jan 4, 2021 4:44:07 GMT -6
So what about people that say they have the option to set their buffer to 32 samples when using higher session sample rates? I mean, it's definitely possible to do this... Here's a screenshot of SSD5 running in Logic at 88.2/32: Very taxing on the CPU of course, but it still works. I can even record MIDI if I stick to extremely basic/lightweight VIs. Thanks for that info. That’s helpful to know a comparison.
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Post by indiehouse on Jan 4, 2021 4:36:25 GMT -6
Ah. I was just reading about this. Thanks for that info! So what about people that say they have the option to set their buffer to 32 samples when using higher session sample rates? It probably has more to do with the interface they are running would be my guess. And computer. I mean hell I just was working on a track in 24/96k and the lowest I could do on my HDX system was 128 samples. Why? no clue. Im not using any Vi's either. But if I had to guess it would be because Im working on a slowish portable hard drive. Hmmm...It’s def not my computer or SSD. Maybe the Motu 828ES? I’ll continue to investigate.
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Post by indiehouse on Jan 3, 2021 19:41:42 GMT -6
Dude, I dig the logo as well! It’s definitely very cool, I was just saying it struck me as a modern looking badge on a vintage looking mic, that’s all. Can’t wait to hear more about this mic!
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Post by indiehouse on Jan 3, 2021 19:08:07 GMT -6
Something else to keep in mind here.. 64samples at 88.2k is the same as 32samples at 44.1k. Since you are doubling the sample rate the latency samples double so (assuming the clocking 100% the same which it probably isn't 100% but super close) the amount of actual time that passes in 32 samples at 44.1k is the same as 64 samples at 88.2k What you're asking to do would be the same as 16 samples at 44.1k aka 32 samples at 88.2k. And you're interface just isn't going to do that. If you want better latency then you need a different DSP work flow. So UAD synths or HDX DSP stuff. otherwise I'm pretty sure you'll always be dealing with around 32 sample latency unless it's DSP driven. Ah. I was just reading about this. Thanks for that info! So what about people that say they have the option to set their buffer to 32 samples when using higher session sample rates?
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Post by indiehouse on Jan 3, 2021 18:06:19 GMT -6
Hey all, The Heiserman 251 will come with a Heiserman badge.. like Dave mentioned we may change the look... I personally am on the fence. If you don’t like the badge you can pull it I guess.. 🤷♂️🤷♂️ Eric I can see that, I like the logo, but it doesn’t sit right on a vintage style mic. Maybe try something more vintage on the vintage inspired models and the current logo your original designs? That's pretty much what I was getting at. To me, the impression I get when looking at the "H" logo is ultra modern. I don't know why. I think it just says 'digital' to me, maybe because all the dots remind me of something? If I think about it long enough, I may be able to articulate it better. But, my opinion on this probably (definitely) doesn't matter, so I'll just say that this is a killer looking, old school 'classic' looking mic, and I'd prefer something along those lines in terms of a mic badge. But that's just me.
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Post by indiehouse on Jan 3, 2021 16:50:22 GMT -6
What causes those short audio dropouts? Is that the buffer setting too low? I am still learning, so bear with me. What is happening is the CPU is being asked to do too much, in to short of a time. When the audio buffer time expires, your audio has either been "crunched" by the CPU within the designated time frame, or not. If not, you'll get the drop outs. You can either give it more time, by raising the buffer, or give it less to do, by minimizing processes. Removing plugins, closing applications that don't need to be running, turning off oversampling, running a lower session sample rate, and so on. I hope this is accurate, if there are any computer experts on here, I'd love to hear more. Hmmm...I’m running 1 plugin VI (Addictive Keys Upright), at 24/48, 32 sample buffer on a 2020 i7 iMac (64 GB RAM), and I still get audio dropouts? Doesn’t seem like I should.
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Post by indiehouse on Jan 3, 2021 16:00:25 GMT -6
What causes those short audio dropouts? Is that the buffer setting too low?
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Post by indiehouse on Jan 3, 2021 14:13:17 GMT -6
But you actually have the option to go down to 32 samples at 88.2? I don't have that option. 64 is the lowest option I have at 88.2 and higher. Why is that? I feel like my computer could handle it. That is indeed strange. I'm guessing it's an issue with either the DAW or interface. Been a while since I used PT, but I definitely have the option for 32 samples in both Reaper and Logic. Maybe try a different DAW to troubleshoot? By chance are you connecting the MOTU via USB? If so, maybe Thunderbolt would be worth investigating. Just tossing some ideas out there. No, I'm running TB here.
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