|
Post by drbill on Apr 11, 2024 17:51:54 GMT -6
There’s a Mara MCI near me that I was considering getting, even though it was much more expensive. I’ve heard prints of my same mix and stems through a dozen different machines at this point and I liked the Otaris better Cool. But if you are stepping into a tape machine of ANY brand, maintenance and service should be your #1 priority - by a long country mile. Mara still supports the MCI's. I'm out of the loop on Otari's as far as service is concerned, but you should line up a tech and service before even considering a tape machine. This coming from someone who owned and loved many over the years. Service, keeping them up and running is always far more difficult than you might expect. There was a period of time where I had to spend about $500 every time I turned one on. The closest tech in Los Angeles was 30 miles, and 2 hours away at best. That's what killed tape for me.
|
|
|
Post by drbill on Apr 11, 2024 15:12:26 GMT -6
If you are looking for tone and tape mojo, head towards Ampex and / or MCI. Otari machines had great mechanicals, but not much tone IMO.
|
|
|
Post by drbill on Apr 11, 2024 10:04:24 GMT -6
Also, the comp/limit knob switch was on the back, deep in a rack, so I have no idea if I was using them in LIMIT mode or not. It just sounded good when I patched in, so I didn't ask questions! Oddly enough, I almost always use my opto "comps" in Limit mode. (2a's & 3a's)
|
|
|
Post by drbill on Apr 10, 2024 18:14:15 GMT -6
One thing not really mentioned here.... Build quality. The construction is second to none. Hands down. I know this gets said all the time, but really, I've owned TONS (literally) of gear over the decades, and nothing save my Manly Vari-Mu comes even close to the same build quality. Something to keep in mind. I expect this unit to easily go 50 years and far outlive me without a hiccup. I've had to replace the fans in mine as they get old and worn out. But that's it. Whaaaaa?? What a POS. I'm going to sell this thing immediately!!!
|
|
|
Post by drbill on Apr 10, 2024 15:32:29 GMT -6
I don't own one but would have no problem recommending the AudioScape if it suits your needs. Especially if you are in the US.
|
|
|
Post by drbill on Apr 10, 2024 13:28:19 GMT -6
One thing not really mentioned here.... Build quality. The construction is second to none. Hands down. I know this gets said all the time, but really, I've owned TONS (literally) of gear over the decades, and nothing save my Manly Vari-Mu comes even close to the same build quality. Something to keep in mind. I expect this unit to easily go 50 years and far outlive me without a hiccup.
|
|
|
Post by drbill on Apr 10, 2024 13:25:24 GMT -6
This is one of those things that I’m just gonna have to go rent and do a comparison myself again. Yup. That's the only way you can really quantify things. I was skeptical - until I demo'd against the exact same "patch" IR in my own room, on my own mix. That's what flipped me.
|
|
|
Post by drbill on Apr 10, 2024 9:45:43 GMT -6
Not sure how long I've had mine, but it's been at least 12 years. Probably closer to 15. One of the Bricasti guys (not Casey - and I've forgotten his name) brought it to the old studio for me to audition. I was in the middle of a mix, and I was using one of the convolution verbs with an IR of the Bricasti in the mix. Might have been one of the stone room IR's. Can't remember. We swapped out the hardware for the IR and after about 30 seconds to a minute of futzing and listening, I asked to be excused. I went and got my checkbook, came back, and wrote a check on the spot for the hardware. The difference in "aliveness" was astounding for me, and worth the $$$$. They were cheaper then.... . I understand if some don't "get it". But for me it was absolutely worth the money.
|
|
|
Post by drbill on Apr 9, 2024 21:03:08 GMT -6
Believe he uses the Studio A preset &$#^@#$*!^T!!!!! Shhhhhhh......
|
|
|
Post by drbill on Apr 9, 2024 15:14:54 GMT -6
How come I'm the only one that voted for option c ?? Surely someone else must want one as well.....
|
|
|
Post by drbill on Apr 9, 2024 15:11:57 GMT -6
Kind of a silly question from my perspective. Still in the racks here. The things it does for me, nothing else can touch. Thanks drbill. I appreciate the reply. I do understand it may sound silly for those who really get value from it, but alot of people sold theirs. Matters not, for me, I just want to add that last small % I can't get from my current selections and I am very much about long term relationships with gear and value those perspectives from those who have been utilizing it for this long! The box does so many things exceptionally well....but even if the box did only one thing - putting reverb on mastered final mixes - there are a couple patches at low ratios during mastering that would make it worth twice the money. It's like freaking magic. I've had so many clients say that to me - and I never tell them how I do it - so shhhhhhhh.......
|
|
|
Post by drbill on Apr 9, 2024 10:52:01 GMT -6
Kind of a silly question from my perspective. Still in the racks here. The things it does for me, nothing else can touch.
|
|
|
Post by drbill on Apr 7, 2024 11:13:03 GMT -6
SNIPThe big elevation change consoles look awesome, but I'd never buy one due to reflections. At least that's been my experience. It's funny how that works! But it is so true. Bad angles and poor reflections can kill centered mix components. You listen back to your mixes elsewhere and just shake your head! I had a more ergonomically designed console in the last studio. One that was far less obtrusive than some of the "old school high rise" styled consoles. And when I had the weird opportunity to hear audio in the studio without that console in the mix position, I almost fell out of my chair. It was then I vowed to move away from consoles for mixing if I could. Reflections kill.
|
|
|
Post by drbill on Apr 6, 2024 14:53:26 GMT -6
I’m hoping this new console design will meet most people’s needs, or at least will be a jumping off point with minor modifications. Matt - I'm not in the market (at least at this point), but what's the thought process behind the elevated design? Have you thought about a more low lying, acoustically neutral streamlined approach? The big elevation change consoles look awesome, but I'd never buy one due to reflections. At least that's been my experience. PS - looks KILLER and I'm sure sounds awesome.
|
|
|
Post by drbill on Apr 5, 2024 20:13:06 GMT -6
In LA, a 4.0 would barely make the news. Gotta get into the 5's or 6's to get everyone to pay attention. Each Richter point is 10X's stronger.
Funny how those amplitude graphs look so "audio-like". LOL
|
|
|
Post by drbill on Apr 5, 2024 13:35:02 GMT -6
I wasn't speaking for you. I was speaking for the 4 people in the room. Gotcha!
|
|
|
Post by drbill on Apr 5, 2024 9:20:09 GMT -6
Power down here.
|
|
|
Post by drbill on Apr 5, 2024 9:08:58 GMT -6
There’s a shootout here somewhere where you can hear the BT’s against vintage 550, vintage 550A and new production. We all thought the BT sounded better than everything and was six and one half dozen with the 550. Yes. That was a long time ago, but I'm sure it's still around and would be a good listen for jaba. But it wasn't "all".
|
|
|
Post by drbill on Apr 4, 2024 9:40:38 GMT -6
Different strokes. I have owned the BT's and still own a pair of EQP's, but could easily work without either of them. Just my perspective. But I love and absolutely NEED my Miad LCPQ4040's, Avalon 2055's, API 550A's, CAPI LC25's, Eisen LilPEQr's, and the SB Air EQ's. Just curious: you love 500A's but sold/could live without the CAPI BT50s. Is there that big a difference? You mean 550A's? Yes, there was a big difference to me. I actually have/own A-1's that came out of Leon Russell's console, which are "theoretically" not as "good" as the A's - but I've use A's most of my life on the API consoles I worked on. I love those, but either way, I could never really get along with the BT's even though I tried all different kinds of opamps. I'm probably the only person though...
|
|
|
Post by drbill on Apr 3, 2024 13:25:50 GMT -6
What I'd like to see is a straightforward midi implementation (not a proprietary data protocol) for totally future proof digital support. I'm not sure how they are implementing that, but I'd be willing to bet some real analog that it will be a proprietary format - otherwise there will be dozens of "competing" boxes / software implementations with a cheapest one wins mentality.
|
|
|
Post by drbill on Apr 3, 2024 13:23:00 GMT -6
Either way, bleeding edge new protocols are a great way to take a bath, so it's for those who can afford a bath or those feeling lucky enough to avoid one. The cost/risk ratio doesn't look attractive for the level of recall/performance I need, and the capabilities of the processing in the digital consoles I use for music broadcast are more that good enough. I would think most touring rigs with outboard analog are gonna be driving that analog in a fairly 'preset' sort of way anyways. Be interesting to see what adoption plays out to be. I wasn't aware that live touring was their push. Yeah, for that application at this price, I can't see that being a huge win. Almost everyone I know doing live sound (not my gig) is 100% digital "ITB".
|
|
|
Post by drbill on Apr 3, 2024 9:33:51 GMT -6
At this point they all suck.
- BMI has been bought out by venture capitalists as of late, and the future is (IMO) sketchy. Their recent "sell off" payout was not transparent, and not encouraging. - ASCAP is equally bad, maybe worse with internal...um...let's call it politics, and for TV/Film writers is problematic with their survey system. Archaic. - SESAC is pretty much invitation only. Used to be hot, but I don't hear much about them anymore. They have been good for writers doing commercials.
I think it's a crap shoot at this point in time. The powers that be are not smiling kindly on writers / publishers.
As for transferring your catalog - it can be anything from easy to incredibly difficult - if you transfer your existing library to your new PRO. I've got 44,000 titles with BMI, so it would be a nightmare. Some people leave their old titles at their existing PRO and have their "new" titles come up at their new affiliation. Not sure how that works.
|
|
|
Post by drbill on Apr 3, 2024 9:22:33 GMT -6
So sad..... RIP Clarance! I will always treasure my KANE refurbed RCA 77DX. It's my time machine for jumping back 80 years....
|
|
|
Post by drbill on Apr 3, 2024 9:19:31 GMT -6
My SA3As, it’s hit or miss if that’ll happen. Try the original SA3a's - the Serpents. If you can find them. I lucked out and ended up with 4 of them. Love em. The Chimera is supposed to be very close, but I have not had the opportunity to try them.
|
|
|
Post by drbill on Apr 2, 2024 19:37:11 GMT -6
Looks like fully loaded to be in the $8000+ range.....
|
|