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Post by donr on Aug 8, 2017 8:22:19 GMT -6
I have a Rivera Silent Sister with one 12" Celestion. The back of the speaker goes into a labyrinth. It mic's really well, but it's not silent. Just a lot less loud than an amp. I'd sell it, PM me if you have any interest.
I mostly use either a Kemper or the Two-Notes Torpedo these days. Less strain on the neighbors and my marriage.
Nice ISO cab, Ragan.
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Post by donr on Aug 8, 2017 8:06:05 GMT -6
Yeah, I don't know where popular music is headed now. I can't imagine young people are getting as much out of it compared to my day. It was really important to me when I was young, and there wasn't a whole lot else competing for my attention.
I feel blessed to still be making a living at it after fifty years, and it still gratifies me as much as ever to do it.
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Post by donr on Aug 7, 2017 21:53:29 GMT -6
Finally got to this, John. (I've been a little busy though I could dodge in and out.)
I love your artist, JK. It's the reason I came here originally. You posted a tune on GS that I wanted to hear more of. Went looking for you after a time and some GS communication, and you'd been banned. WTF?
What I mainly love about JK's tunes is an honesty and reality about his writing, and his sincerity as a performer. I know it when I hear It's what I go for too, even as the expectation of my band has more latitude.
I know JK is writing and making demos primarily to sell his songs, but I for one really like John Kennedy as an artist. It's how I got here in the first place.
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Post by donr on Aug 7, 2017 21:26:55 GMT -6
Vincent, it's a pleasure to hear you sing and kudos for taking on the responsibility for how your recordings sound. Thanks. In truth I've been a session vocalist for years and predominantly recorded myself in my home studio, even for big projects. I just want to find that "sound" I've always felt was what I needed to sound like. My MK U67 comes close. I'm hoping this is my last stop. We'll see. Totally OT, but you've referenced Sergio Franchi as an influence, and my own experience with Sergio F. was to see a Ragu Spaghetti Sauce commercial a long time ago where Sergio had the first Lamborghini coupe I'd ever seen by a consumer, and as a fledgling teenager, I was mightily impressed.
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Post by donr on Aug 7, 2017 19:48:52 GMT -6
So I picked the WA-2a both times, but I mainly thought the settings were better respectively on the WA in each case.
The lesser of the choices in the numerical and aphabetical examples were sounds I wouldn't let out the door of my studio.
Ragan, is that the best you could get out of the STA? I have the plug from Klanghelm, and from memory it is better than the examples you posted, given the WA's to compare. OTOH, the STA is a program leveler, not a vocal flatterer.
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Post by donr on Aug 7, 2017 19:38:50 GMT -6
Vincent, it's a pleasure to hear you sing and kudos for taking on the responsibility for how your recordings sound.
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Post by donr on Aug 6, 2017 19:12:23 GMT -6
I assume "B" was a different setting of the "2" compressor. Sounded that way to me. "B" was a better setting.
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Post by donr on Aug 6, 2017 16:38:42 GMT -6
Judging on MacBookPro, 2 sounds better on the B version. Sounds finished and good. A sounds like it needs something else on it before it goes out the door.
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Post by donr on Aug 1, 2017 22:41:55 GMT -6
Nothing wrong with Comp 2, other than it was to me too mannerly for the performance and material. Too 'radio ready?'
2 sorta softened the edge of Ragan's vocal to my ear. Ragan said his voice is hard for him to record. It's all context to me. If the material warrants, edge is good. If you're crooning (like I do mostly,) maybe you want smoother.
Point is, I wouldn't shave off vibe at this point in the production.
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Post by donr on Aug 1, 2017 15:05:44 GMT -6
#2 sounds like more compression. I like 1 a little better. 2 sounds like it was rounding off your vibe a bit, although it sounded more like a record.
Edit to say if I were producing, you're gonna want to keep that vibe before it it gets shaved off elsewhere.
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Post by donr on Jul 27, 2017 10:28:48 GMT -6
My band uses these cases, for over 10 years, no damage ever, and they fly over 100 times a year. The case is made from corrugated plastic, like a cardboard box made of plastic. It gives a bit, but it will not crush. Superior shock absorption. www.casextreme.com/index.phpBut for one time use, jcoutu1's suggestion is probably the way to go.
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Post by donr on Jul 27, 2017 10:20:32 GMT -6
The features are impressive. The Tolerance Modeling Technology channel differences sound pretty sweet. I wonder if Billy Decker has tried this.
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Post by donr on Jul 26, 2017 22:43:36 GMT -6
Alright, you wanted it, here's a taste. I took a vocal clip from a Gracie Day Telefunken session, using the AK47. I ran it through my DIYRE EQP5 and new Klark Teknik EQP-KT. Photos of settings are uploaded too. Basically, a cut and boost at 60, boost at 10k, cut at 20k. I also ran the KT through with 100 on the low. Files are labeled and should be self explanatory. Just a super quick test. drive.google.com/drive/folders/0B8iD3xtCrd1MWmFxRktyd1BTM1U?usp=sharingJesse, thanks! What'd you think, out of the box? Sounded viable to me. OT, but having used in studios but never owning a real Pultec, I have always, on plugins, gone wide on the treble bandwidth. Anybody do otherwise?
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Post by donr on Jul 26, 2017 22:39:57 GMT -6
Arrived, unboxed, racked, patched, tweaked while shooting some video, carried laptop back to house to upload, spilled beer on keyboard, black screen, sad. But here's a pic. Yikes, bum. Nice picture tho..
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Post by donr on Jul 26, 2017 22:22:08 GMT -6
I'm ok with losing the Roswell mic drawing, and the pool of entries. Que lastima.
I do wonder how many lurkers are here at RGO. The posters you could fit in some Studio A's. Not complaining. It's why I'm here.
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Post by donr on Jul 26, 2017 22:13:27 GMT -6
I've touched on this before, but I believe personally I've done better mixing if not recording with monitors with known limitations and headroom.
Monitors with accurate response and huge headroom to my ear make everything sound better than what the recording will ultimately be listen to on. I have gotten fooled by really good monitors.
Pro engineers I started recording with were making good decisions from start to finish on Altec 604's.
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Post by donr on Jul 26, 2017 19:24:47 GMT -6
Nice pictures, Jacobamerrit. The shipping label says 19lbs, are they that heavy?
Somebody fire one up and talk about it. For me, as The Happenings might say, it's "See You In September."
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Post by donr on Jul 26, 2017 19:19:07 GMT -6
I'll second Wave's tech support, they've been great when I needed them. Same with Slate, although it's very hard to get someone when you need it in real time.
Chase, did you find out why your MBP system was starting out like you'd never launched PT or installed your plug-ins before?
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Post by donr on Jul 24, 2017 12:18:11 GMT -6
Just ordered a couple.
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Post by donr on Jul 17, 2017 18:07:00 GMT -6
The OX is an impedance load box. You can take a head or a combo, plug into the box and then crank your power section of the amp up to where the sweet spot is. The kicker is the ability to use their cabinet, mic and room modeling. Along with delay and plate reverb. I played with it and listened through headphones and it really sounded pretty damn good. You really can hear that real amp breakup...because it's well, a real amp. You can go digital out or line out to the DAW...Little steep at $1299 though...but for someone with a bunch of amps, this thing could be killer - if for nothing else, just for practice, etc. I've been seeing a lot of guys on YouTube with the Two Note Torpedo boxes for load/ cabinet emulation. Seems like this is a new category of gear that is taking off for home studios. Or even, apartment studios. I use the Torpedo Live in my stage rig and also recording. It's great. I met Guillaume Pille, Two-Notes owner, at Hellfest in France late June. Nice guy.
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Post by donr on Jul 15, 2017 9:43:44 GMT -6
Congrats and best to you and family.
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Post by donr on Jul 15, 2017 9:43:33 GMT -6
Congrats and best to you and family.
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Post by donr on Jul 13, 2017 13:29:16 GMT -6
Do you have any suggestions for matching the bass level with the drums? I'm obviously not Billy and stand to be put in my place here. According to some a good way is to let the bass add 3db to the kick. So an easy example set the kick at -3db, then bring in the bass so that the combined level will be 0db. If your mixing at lower volumes then adjust accordingly. Then add the rest of the kit, sort out any clashing frequencies etc. If that's the Jacquire King trick via Bobby Owsinski, I've tried it and it works. Works outside my studio on anything I play it on. Good rule of thumb, accepting that there may be exceptions.
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Post by donr on Jul 13, 2017 13:22:42 GMT -6
I'm curious about how your pro control fits into your workflow.. How much of a mix is done on the faders vs the mouse? Do you use it for plugin control? Thanks! Mike it doesn't at all...i only turn it on when clients come in to "wow" em......i mix and have always just used the mouse......because however i sat behind an argosy desk with a huge procontrol in it for 15 years, i got comfortable with the heigth of the desk and how the speaker were played on it....i like how they vibrate the whole desk...help me get the lo end right.....so when i moved 3 years ago to westwood, i bought the exact same thing just a bit smaller of a footprint....everything else is the same....... Ha, awesome.
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Post by donr on Jul 11, 2017 18:28:07 GMT -6
In the vinyl days when it was all analog, the pro guys might pull down all the channel faders once in a while if the gain staging within the console got out of hand. Sometimes the master bus meters would peg, but no engineers I worked with would slam the console for sonic reasons into the 2 trk tape machine. Levels were ulitimately respected for fidelity.
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