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Post by drbill on Feb 12, 2023 18:58:00 GMT -6
Also, check out the weight tank compressors if looking at non-500 series. Ditto!!!!!!! <<thumbsup>>
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Post by drbill on Feb 12, 2023 9:24:35 GMT -6
Silver Bullet would take out the API and NEve options you are looking for in one foul swoop. SSL too if you get a mk2.
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Post by drbill on Feb 11, 2023 22:35:28 GMT -6
I usually let the vocalist "work" the mic. Pull in close when they want to, and back off when they need to. Depends on the song, vocalist, mic, delivery. It's all variable. But I'm usually around 2-12" -- usually. I consider 12" close as well.
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Post by drbill on Feb 9, 2023 15:08:25 GMT -6
All depends on the base metal under the gold, and the thickness of the gold. Silver plate on a standard XLR will oxidize but it's the same conductivity either way. Wears less than gold. You could debate this endlessly.....but I kinda think gold plate XLR's are an unnecessary extra expenditure for no proven benefit, so gold as a selling point does nothing for me and glosses over more important mechanical considerations. Are normal XLR's silver plated Doug? I always thought (A**umed) they were nickel.
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Post by drbill on Feb 9, 2023 14:42:48 GMT -6
I thought gold for no oxidation ? Yup. Exactly. ericn - yeah, I get the softer metal part. Makes sense. In real world experience, I've never had a problem with that, but I can see that if you plug / unplug something a hundred times a day, over 10 years you might have a problem.
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Post by drbill on Feb 9, 2023 13:32:56 GMT -6
I'm thinking about the debate around gold plated connectors..... What's the debate Doug? Not familiar with it.... Gold plated has always seemed to be better in my applications....
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Post by drbill on Feb 9, 2023 13:27:32 GMT -6
Love my ADC's. IME, they last an entire lifetime. I wonder how much - it at all - better the BL TT's are. Maybe Seth can speak to that. Would be nice if they made an ELCO version as well. As common as they are, I HATE D-Subs.
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Post by drbill on Feb 7, 2023 16:20:48 GMT -6
Well at least my Soundelux U195, is serial number (get this)... 007 I expect at least a $5K CASH offer from Plush now. Goes with that Walther PPK. And he even has a Degree in, Triggernometry. Hmm... Maybe $5K is too low guys? Chris I have 007 Weight Tank. And I have 007 Silver Bullet mk1.
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Post by drbill on Feb 6, 2023 9:26:48 GMT -6
Chad says, “Oh, the Grammys are still a thing?” 😂 Haha! That's kinda what I was thinking. As we were easing towards it, I just didn't have the interest like I used to.....
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Post by drbill on Feb 5, 2023 18:18:26 GMT -6
Sounds like you've put a lot of effort into the studio. Personally, I wouldn't cheap out on the wiring. It's the life blood that gets your signals routed where you need them. I've redone wiring and patch bays multiple times. Always wishing I'd gone 100% every time I had to redo something. After 5 or so times of re-doing things, I finally went 100%. Paid once, and will never regret it - although it WAS expensive. BTW, I did most of the work myself so I could get grounds and such dialed to my exact specs.
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Post by drbill on Feb 4, 2023 17:18:15 GMT -6
Nice. My 500 racks run so FREAKING hot right now with solid state class A gear that I can't imagine putting a unit with 3 tubes in them to be honest. Some of my modules get so hot right now that I can barely touch their faceplates. Gear Bitch #2 has always been and will be design the thing so I don’t have to think about space for venting. This could be commandment #2 of the 10 commandments for gear design!!!!
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Post by drbill on Feb 4, 2023 14:14:31 GMT -6
Looks to be a fairly easy build. Nice. But before anyone goes all gaga over a Vari mu in a 500 format, I only see one tube and small-ish transformers. My 14B's have 4 tubes per channel, and a couple transformers as big as my fist. A V-Comp has (if memory serves) 5 tubes, and yeah, big transformers. My Manley VariMu has at least 4-5 tubes per channel, and huge transformers that make it weigh as much as a small boat anchor. All of them have no IC's that I recall. But there are several IC's on this 500 version. I wouldn't be expecting a one to one similar comparison with any of the above. It's kinda tempting as I'm a 500 freak, and I hope it sounds awesome - but I'll wait for clips I think. . I love Vari Mu's but I'm kinda over stocked right now with 8 channels of em.... The IGS Tubecore 500 (Vari-Mu) has 3 tubes, some decent sized transformers (for a 500 series module) and WIMA's. They're 250v DC though so without a decent rack you might run into a few issues. Nice. My 500 racks run so FREAKING hot right now with solid state class A gear that I can't imagine putting a unit with 3 tubes in them to be honest. Some of my modules get so hot right now that I can barely touch their faceplates.
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Post by drbill on Feb 4, 2023 11:00:14 GMT -6
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Post by drbill on Feb 3, 2023 19:06:27 GMT -6
Looks to be a fairly easy build. Nice. But before anyone goes all gaga over a Vari mu in a 500 format, I only see one tube and small-ish transformers. My 14B's have 4 tubes per channel, and a couple transformers as big as my fist. A V-Comp has (if memory serves) 5 tubes, and yeah, big transformers. My Manley VariMu has at least 4-5 tubes per channel, and huge transformers that make it weigh as much as a small boat anchor. All of them have no IC's that I recall. But there are several IC's on this 500 version. I wouldn't be expecting a one to one similar comparison with any of the above. It's kinda tempting as I'm a 500 freak, and I hope it sounds awesome - but I'll wait for clips I think. . I love Vari Mu's but I'm kinda over stocked right now with 8 channels of em....
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Post by drbill on Feb 2, 2023 14:49:32 GMT -6
Well that's a shame because I was looking to replace my U67 with the a UA Bock, now I'm just looking at other mics. I'm sure its still going to be a fine mic and who knows... down the road I may even end up buying one! But as of now the appeal to me is gone. I don't need more mics to get anything done. Plenty of stuff here... about 3 dozen total with couple different flavors of Neumann, old Latvian made Blues... if someone's after a real hi fi piece? Things like a real 1971 U67 or a Manley Reference? All I gotta do is phone a friend. The appeal to me was getting something of a legacy piece. Yeah that's UA Bock serial number #23... yeah its cool. Now without him there in my mind there's no difference between #23 and #2300. So why stay on the pre-order? I was going to have the first one through the door at Sweetwater, and now I don't. Life goes on. To me pieces like that have some appeal... the collectors thing. My pair of Blue Baby Bottles are within the first 50 made. I also have two of the first thousand UA 1176's ever made. Bought way back when they were a new company and it was their only product 20 years ago. How has the industry changed in that time..? And UA themselves? I remember ordering them from guiTarget and the guy I was dealing with, the dept manager when I picked them up... he's going - "What are these things?" Its a limiter? And its analog? What would you use this on? Why not use waves L1... that's what everyone is using these days! Uhhh huh. Shut up Beavis. Gimmie the boxes before you hurt yourself. True story! In my mind a brand spankin' new 2022 UA Bock mic would've fit in great with all my other low serial # junk. But now..? Why? Whats the point? Now its just another mic. And that's not all that interesting to me. Yeah, without David involved intimately, the shine is kind of gone.....
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Post by drbill on Feb 1, 2023 14:13:22 GMT -6
LMAO a5 drbill ! OK, fine. God knows instrumental music has certainly paid for a lot of my life and kids' "higher" education. No worries bro. Just trying to keep it real. Haha!!! Instrumental music has to stand on it's own without lyrics. It's the true artistic musical experience. . LOL (Of course, 95+ % of the music I write has been instrumental and put my kids thru their *lower* education as well).
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Post by drbill on Feb 1, 2023 14:06:35 GMT -6
Not at all IME. Completely different than a 67. Kind of polar opposite different. ok, I con't have an 'inny' so just speculating. I have several 87s, plus clones, plus a 67. The inner tube 87 sounds more like a C12 and a U47 had a baby - very neumanesque, but WAY open up top. A *real* 67 is more akin to a ribbon that a C800G or C12.... IME anyway. PS - you absolutely should try to hunt one or two down for your vintage 87's.... <thumbsup> PPS - or even better yet, if some of your 87's are Ai's, get that version ITube retrofit.
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Post by drbill on Feb 1, 2023 14:04:11 GMT -6
Acquired a grail. Even though I felt like I won the lottery when I sold my 1200 for $1950, I should have kept it and sold it for $7k in 2023.... LOL. I don't regret it though. Was not seeing much usage for me at that point. Have fun with it.
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Post by drbill on Feb 1, 2023 14:00:30 GMT -6
Then it's the delivery of the song. The delivery is the vocal.Sorry Ward. Shortsighted. What about instrumental music? Pure music IS instrumental music.
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Post by drbill on Feb 1, 2023 13:58:07 GMT -6
It takes experience to know how to use the tools and what their limits are.. This. ^^^. It's painfully obvious by many (most?) of the examples put up on the internet used to judge equipment. Great gear does not make great mixes. In fact, if I were using mixes to determine how useful specific pieces of gear are, I'd have been avoiding many beloved pieces I own. LOL I know I am still learning and hope that folks don't judge the gear I use by my mixes.
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Post by drbill on Feb 1, 2023 13:54:29 GMT -6
Or perhaps an 'inner-tube' inspired modded 87? which is an attempt at a 67, innit? Not at all IME. Completely different than a 67. Kind of polar opposite different.
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Post by drbill on Jan 30, 2023 19:15:43 GMT -6
I engineered a record that received a Grammy for an artist on Quincy's WB label using my D&R desks, MCI JH24, a modded Trident desk, and an API desk with MCI's at O'Henry's - and a few overdubs at Bill Schnee's. It sounded great, and won a Grammy. Great sounding record. The next record from that artist that came hot off that win and was done on ADAT's with an 02R for the majority of smaller overdubs, then the same larger studio's and their consoles with ADAT's for the big ensemble stuff. The sonic difference is astounding. Astounding in the bad sense. As mentioned, no love for ADAT;s here. Great story, Bill. My question is, who engineered the ADAT takes and where? I'm guessing it wasn't you. Didn't Chuck Ainlay or someone of his stature do some recording with an O2R with some famous artist? Probably sounded ok.. : ) Thanks Don! Yeah, I had minimal input on the 2nd album. If I had, it wouldn't have been ADAT's. LOL. I don't want to out the producer and put him on the spot, but that was the era where "doing your own engineering at home" was becoming hugely popular. The producer did a lot of the engineering, and the mix crew mixed it. A few sessions were done in the usual places....
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Post by drbill on Jan 30, 2023 19:13:01 GMT -6
Well, here's a track from that album. I just posted to Soundcloud. I was told I was dying. My voice was damaged, but I went to a cheap studio and sang all the songs I could think of. Live, one take, guitar and vocal, nothing else. I felt I wanted to leave friends with something more than memories and a few photos. I began healing, so I added tracks later, one by one as I could afford to. I could have replaced the acoustic guitar and vocal, but I felt it was more honest to leave them the way they were. https%3A//soundcloud.com/martin-john-butler/you-dont-know-me%3Fsi%3De7abf99afb3f42dd8525bd6e4eebd4c1%26amp%3Butm_source%3Dclipboard%26amp%3Butm_medium%3Dtext%26amp%3Butm_campaign%3Dsocial_sharingGlad you made it thru Martin!!! Live to sing another day.....
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Post by drbill on Jan 30, 2023 15:43:55 GMT -6
When I used ADAT around 2006, it was done in a real studio in a good sounding pro build room properly treated. All analogue gear except for the capture. That's why it sounded analogue-ish. I doubt it was the ADAT There were still studio's using ADAT's in '06? Wow. In LA they were pretty much extinct by that time.
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Post by drbill on Jan 30, 2023 14:41:04 GMT -6
First - how do you even sync team 4 tracks? IME, that's impossible without some kind of crazy internal non-authorized hacks. And even if you could, I guess the question is WHY?!?!?!?!? Second, yes I remember. I made some gear pimp have a great month when I purchased a pair of Timeline Lynx's, the requisite custom cables for the Lynx/MCI and a 3/4" syncable video deck. IIRC, it think it was somewhere around $15k. Oh...and I bought a blackburst as well, and actually learned how to use it. And how to not use it. . Haha! Stripe black burst referenced code on the JH24 when it was FREEWHEELING and unresolved, then lock, sync and resolve to the TL modules. . The real fun started when tapes came in where the code was not striped properly, or one or the other of the decks were not resolving properly, or they were sync'd and tracking, but not resolved and were slipping over time. I know entire projects where the engineers never ran the entire program material from start to finish to see if there was any "slippage". They were always FF or REW and hitting play, and the machines would line up, and VERY gradually start to drift because of TC errors in striping, resolving, etc.. Geez....now I'm giving myself a nightmare. I luckily was working in the Film world at that point in my life, and those guys knew their stuff - I learned a lot from them. Nothing like working with people who have knowledge you don't, but are good about passing it along. Yes. There were solutions for *almost* every problem, but trying to wrap your mind around the solutions could be difficult at best. Those guys had to deal with that **** everyday and they were very helpful at figuring out sync issues. Especially with stuff coming over from Europe and the UK.
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