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Post by drbill on Apr 14, 2023 10:22:39 GMT -6
Dammit! Brad, drBill and Locomotive finally found the crack in my GAS proof suit that's kept me from upgrading to a MK2. Anyone wanna buy a pair of Anamod 660's... There are more cracks coming......
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Post by drbill on Apr 14, 2023 9:38:13 GMT -6
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Post by drbill on Apr 14, 2023 9:37:12 GMT -6
More info!! This collaboration is awesome!!
Locomotive Audio and Louder Than Liftoff are proud to announce a collaboration on the very first expansion module for the Silver Bullet mk2 stereo Tone-Amp: the Fairi-Mu by Locomotive Audio. Fairi-mu is a stereo vari-mu tube compressor inspired by the vintage classics. It draws on the heritage of Locomotive Audio’s acclaimed 14B and WT-COMP compressor designs to deliver smooth, euphonic compression to mixes and individual tracks. When the Silver Bullet was initially conceived back in 2014 it had always been a dream to get some real tube mojo into the signal flow of the unit. When the mk2 version was launched in 2021 for the mk2 version, we knew our friends at Locomotive Audio were the right partners to bring this valve vision to life.
Features: Vari-mu compression when sidechain is enabled Tube & transformer saturation when sidechain is bypassed Attack: 20, 40 ms - selectable by jumper Release: 200, 450, 900 ms - selectable by jumper Ratio: 1:1 to 5:1 - varies with compression Threshold and Output Gain - adjustable via trimmers Sidechain HPF: off, 100, 200 Hz - selectable by jumper Stereo Link or Dual Mono sidechain 12AU7 tubes Custom wound American-made transformers Locomotive Audio and Louder Than Liftoff are proud to announce a collaboration on the very first expansion module for the Silver Bullet mk2 stereo Tone-Amp: the Fairi-Mu by Locomotive Audio. Fairi-mu is a stereo vari-mu tube compressor inspired by the vintage classics. It draws on the heritage of Locomotive Audio’s acclaimed 14B and WT-COMP compressor designs to deliver smooth, euphonic compression to mixes and individual tracks. When the Silver Bullet was initially conceived back in 2014 it had always been a dream to get some real tube mojo into the signal flow of the unit. When the mk2 version was launched in 2021 for the mk2 version, we knew our friends at Locomotive Audio were the right partners to bring this valve vision to life.
Features: Vari-mu compression when sidechain is enabled Tube & transformer saturation when sidechain is bypassed Attack: 20, 40 ms - selectable by jumper Release: 200, 450, 900 ms - selectable by jumper Ratio: 1:1 to 5:1 - varies with compression Threshold and Output Gain - adjustable via trimmers Sidechain HPF: off, 100, 200 Hz - selectable by jumper Stereo Link or Dual Mono sidechain 12AU7 tubes Custom wound American-made transformers
The Silver Bullet mk2 is a 2RU analog mojo and tone-shaping box for 2-bus, tracks, and mics. A dual-interface analog expansion slot inside the unit accepts stereo Mojo Modules (like the Fairi-Mu) or Colour modules, which allows users to expand and customize the processing of the unit. There are simple controls for drive and wet/dry mix on the front panel of the Silver Bullet mk2 for the “Mojo C” processing block.
Come see and hear Fairi-Mu in action in the Silver Bullet mk2 at NAMM: Locomotive Audio Booth 15324, ACC North
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Post by drbill on Apr 14, 2023 9:34:26 GMT -6
Sweet. My buddy does those faceplates for them. Love em. Got an LA2a that's distressed to look like it's from the early 60's....
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Post by drbill on Apr 13, 2023 16:24:12 GMT -6
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Post by drbill on Apr 13, 2023 14:00:01 GMT -6
Announcing : Fairi-Mu!Louder Than Liftoff and Locomotive Audio. Together under the same hood!!! But what is it? Compressor? Saturator? 2 Bus Processor? EQ? CompreSat? SaturComp? Or all of the above?? Be one of the first to see / hear it at the Locomotive Audio Booth - NAMM 2023 - Booth 15324 PS -Mmmmmm - yummy tubes and transformers!!!
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Post by drbill on Apr 11, 2023 9:43:20 GMT -6
One thing is for certain. You won't be able to spend hours and hour and hours and hours and hours fine tuning a record. You'll have to develop your skills to be fast AND achieve whatever it is that you want to be up to your standards. IMO if you can't do that, you shouldn't work for hire as you'll either end up working for free in the name of making it great and under valuing yourself. Or you'll be unaffordable. Either way, I do it by project. With revisions being hourly. I am the kind of person who will do whatever it takes to get it to sound as I hear it in my head. Unfortunately, I will probably give away a lot of time. Lots to think about. I'm not really thinking of being a public recording studio. I'm just interested in working with a handful of people I believe in to see if we can create something that both of us are proud of. I have been giving away my time, but it's like Bill said; some have brothers or cousins who own a computer and a little gear so when we start discussing the next project, they want it free as well. I'm fine with doing a tune for free to see how we get on, but after that, there has to be some compensation. On most of these projects, I have spent way more time fixing their parts than they spent recording them. But that's ok on a one-off. This direction could be a great plan for "making music" for fun. It's a horrible business plan though. Ultimately, you have to choose which path you want to go down.
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Post by drbill on Apr 10, 2023 21:22:15 GMT -6
So it’s not surprising that the people that get paid like it’s 1985 can only pay like it’s 1985. I'd go back INTO the studio business if they could pay like they did in 1985,,,,
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Post by drbill on Apr 10, 2023 18:52:09 GMT -6
<snip> Do any of you find it funny that in the last 40+ years, studio prices have not increased? <snip> Like many of us here, I have to work a day job to support my musical career. Actually, the day rate for high end studios is down significantly. I'd guess down 80% or so. Rooms that were $2000-2500 per day (that's a 12 hour day at most) are now down to $500 with flexibility on the amount of hours. Working a day job makes your hourly time SIGNIFICANTLY easier. If you have to take time away from your main source of income, it makes no sense to work for less on your "music" gig. Anybody can understand that. It would be like starving your family so some lame band can come in and record. That's insane. Now....add the cost of equipping and maintaining the studio, and your "music" hourly should be AT LEAST if not significantly higher than your day job. If it's not - you will be miserable, and hating the studio business in short order. Respect yourself, your abilities, your perseverance, and most of all your family. If you can't do that, you're barking up the wrong tree. Nobody should deliberately go into the studio business in 2023 to "make money". You've got to take care of your #1 priorities first before launching into the studio "biz". Good luck! Like all of us - you'll need it!!!
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Post by drbill on Apr 10, 2023 14:10:10 GMT -6
PS - Beyond your personal esthetic - Gear doesn't matter. Mics don't matter. Acoustics don't matter. Location (mostly) doesn't matter. Ammenties on the premises matter a BIT. (Video games, big screen TV, fancy coffee machine, pool table, etc..). The only thing that matters is your output, and your reputation. Repeat that several times before wasting money on things that don't matter : The only thing that matters is your output, and your reputation. The only thing that matters is your output, and your reputation. The only thing that matters is your output, and your reputation. I think more people were impressed by my old Midas Verona than than thr RND 5088 that we put in, purely based on size. Yeah, you obviously need to have enough gear to do the job. But which gear, how much, etc. is a phantom dream that we keep chasing and throwing money at. We are our own worst enemies (financially). Size does matter though.....,
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Post by drbill on Apr 10, 2023 14:07:45 GMT -6
HEISERMAN H47Tube got a bit of a deal on a new one ! It’s only money SWEET!! You will love it.
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Post by drbill on Apr 10, 2023 14:00:48 GMT -6
500 is fine. The differences will be in the topology and design of the unit itself - not in the form factor of the delivery medium. The exception - tube mic pre's. You need a lot more juice to the tubes, and a rack mount unit is way more accessible to doing that.
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Post by drbill on Apr 10, 2023 13:57:32 GMT -6
PS - Beyond your personal esthetic - Gear doesn't matter. Mics don't matter. Acoustics don't matter. Location (mostly) doesn't matter. Ammenties on the premises matter a BIT. (Video games, big screen TV, fancy coffee machine, pool table, etc..). The only thing that matters is your output, and your reputation.
Repeat that several times before wasting money on things that don't matter :
The only thing that matters is your output, and your reputation. The only thing that matters is your output, and your reputation. The only thing that matters is your output, and your reputation.
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Post by drbill on Apr 10, 2023 13:49:01 GMT -6
My fairly unique and tried and tested method. Studio time for FREE. Period. End of story. THEN, an HOURLY only wage for your services when you are engineering, producing, arranging, playing, etc.. Studio is not available for outside engineers to book.
You can't argue with "I can get time for free from my bandmate or brother in law". Cause they can. What they CAN'T get is you. How much per hour do you make at your day job? How much per hour does your client(s) make at their day job? How much does a plumber make when you call him? An electrician? Average those all out and charge that much an hour for your personal services. You will have far less people arguing and lowballing you when you tell them your WELL equipped studio is FREE!!!! (probably WELL more equipped than their bandmates studio or their brother in laws freebie studio) and they get yours for FREE!!! as well - and they only have to pay you a fair hourly rate to compensate from taking your valuable time away from your paying job and/or family. (Only an @$$ would argue with that, and you probably don't want to work with @$$'s anyway)
My guess on hourly is somewhere between $40 and $80 per hour depending on where you are and how affluent or not your clients are. This MO has worked very well, and culls out the freebies, and makes people respect your time. Also, time starts at the hour booked - not when they show up. Never take sessions without a deposit. If they book 2 days, they have to give at least 2 days notice to receive their deposit back. If they book 2 weeks, then 2 weeks notice to cancel. Etc.. Balance of session paid for by CC or cash at the END of the session. Hard drives don't leave before balance has cleared your bank or you have cash in hand.
Respect yourself and others will respect you. Whore yourself out, and others will see you as a whore. Sad, but truth.
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Post by drbill on Apr 9, 2023 14:56:00 GMT -6
Ok, I'll also consider these quiet rack then. I see some designs available in Europe. Costly, but why not, if it works. If they have the adequate depth it could work. It COULD. My experience is that they don't. They cook your computer. Big time. If you're willing to build a vocal booth, change that over and make it a machine room. Problem solved. Make sure you have more than adequate HVAC to keep things cool. My experience is that you need double whatever you think you need. Your HVAC guy will think you're crazy. Or move to a fan-less laptop in your main room. For ME - I will never have another studio without a dedicated machine room. It's in my top 3 things I need in a studio.
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Post by drbill on Apr 9, 2023 14:53:04 GMT -6
It has a lovely sound. I could record in it. But it's the sound of the computer that's the main issue. If the room does sound good, you're way ahead of the game getting your computer OUT of the room, and somewhere else. That's simple (relatively) compared to getting a vocal booth to sound good.
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Post by drbill on Apr 8, 2023 14:44:11 GMT -6
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Post by drbill on Apr 8, 2023 14:36:14 GMT -6
Because people are idiots? Seriously it makes sense if you discount the cost of shipping, people tend to buy dirty cheap sand full of bugs moisture and crap vs more expensive clean sand. Yup. Playground or Aquarium sand, spread out for at least a week to dry. <thumbsup>
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Post by drbill on Apr 8, 2023 14:34:11 GMT -6
I bet they had enough returns from the base getting bent to make a design change. Honestly, I doubt that. You could literally run over them with a truck and they would almost certainly be fine. I'd guess they wanted to reduce the dimensional size of their shipping container, and also reduce the cost of welding the base on and getting them squared up perfectly.
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Post by drbill on Apr 8, 2023 9:27:04 GMT -6
For whatever it's worth - my Sound Anchors are DEFINITELY welded on the base. And they did not come filled with anything. I filled them with sand after I got them. I've had them for quite a few years though.
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Post by drbill on Apr 5, 2023 16:36:50 GMT -6
500 series? Serpent SB4001 all the way.... drbill, is that the one you use the most? Or do you have several to pick from? I've got the serpent SB4001 and the AudioScape GSSL. I use them about equally. They are both great. A bit different.
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Post by drbill on Apr 5, 2023 14:00:06 GMT -6
I mic hats with a 251, just like drbill and dan . Seriously. Is there any other way?
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Post by drbill on Apr 4, 2023 18:36:23 GMT -6
Love my LC25s (by Trace Audio - builder who is on this board with great communication.) I though the LC25s had better frequency selections than the LC40s, at least for my purposes. I am very impress with CAPI! I agree with you on the freq choices between the 25 and 40. I have 2 25's and 1 40, but I want another 40 and I'm going to link them in series to be 2 20 band EQ's!!
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Post by drbill on Apr 4, 2023 11:10:21 GMT -6
Sonically are these basically API 560s but with knobs and different frequencies? EDIT: don't know why drbill's statement isn't showing up. Was asking about the CAPI LC25/40s. yes.
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Post by drbill on Apr 4, 2023 10:14:58 GMT -6
I always fall back on the old faithfuls. But I get the wanting to change things up. For me, pretty similar to you - 3A, 1176 are the standards. I also like the Weight Tank Comp for a bit of more color.
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