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Post by donr on Jun 15, 2022 21:53:50 GMT -6
Bomb Factory was one of the first third party plugins as I remember. Software has come a long way since then, and I couldn't use them after OS9, but I still have the license on my iLok.
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Post by donr on Jun 15, 2022 6:18:18 GMT -6
To that point, did anyone here like the Bomb Factory 1176? I used it on MacOS8 and 9 before AVID bought it.
Back on topic, I find the Sonnox Oxford Suppressor useful.
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Post by donr on Jun 12, 2022 16:34:28 GMT -6
I'm late to this thread, listening for the first time today. I'm impressed with these UAD pedals, especially the Ruby and Dream. I think they'll compare favorably to the Iridium, which I'm using live, on the Marshall or Vox setting, with Two-Notes CabM IR. I also use drive pedals in front of the Iridium.
As for the Sunset video, those three guys could make anything sound good. Where there was a discernible difference between real amp and pedal, I thought the pedal tone was completely acceptable as a recordable sound. Which is where my head is, in 2022. Tim made a good point about the tools being the tools, in the classic recording studio heyday. You basically had three amps to choose from. Today there's tons more options, but choose something and make some music worth recording.
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Post by donr on May 3, 2022 19:37:23 GMT -6
Don, did BOC play in a bar in Crockett, CA as Soft White Underbelly in 1980? I have vague remembrances from when I lived there. I remember wandering into one of the many bars that they had there and thinking why are they playing here of all places. Crockett is one of those places that if you didn’t know it was there you would just drive by and never see it. Anyway, it was a long time ago and every time I hear a BOC song it takes me back there. Jerry, I don’t know. I can’t specifically recall. We did some Soft White Underbelly shows in SF and one in Marin County. Also a club in Oakland.
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Post by donr on May 3, 2022 19:37:04 GMT -6
Don, did BOC play in a bar in Crockett, CA as Soft White Underbelly in 1980? I have vague remembrances from when I lived there. I remember wandering into one of the many bars that they had there and thinking why are they playing here of all places. Crockett is one of those places that if you didn’t know it was there you would just drive by and never see it. Anyway, it was a long time ago and every time I hear a BOC song it takes me back there. Jerry, I don’t know. I can’t specifically recall. We didn’t d some Soft White Underbelly shows in SF and one in Marin County. Also a club in Oakland.
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Post by donr on Mar 31, 2022 16:13:47 GMT -6
So, what were the pedals used ? I realize I never answered this. No pedals. I didn't use any at that time. All amp distortion. In this case, a MusicMan 4x10 combo. It was cranked up pretty good, and I was standing right next to the amp in the studio. Stock '72 SG. The magic was Shelly Yakus' recording, one close mic and one about 4' away with a limiter on it, two faders, one track on the tape. See the Warren Huart Shelly video for his recollection.
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Post by donr on Mar 31, 2022 9:37:14 GMT -6
Talking to Rick Beato was a treat. His videos have reach, too! Nice guy.
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Post by donr on Mar 25, 2022 9:26:39 GMT -6
Just because you are a character, doesn't mean you have character. "We know how you love the warmth of our compressors, spanning from authentic replicas to modern new algorithms, but have you wondered how they would taste? Coming this summer, we're bringing Slate Digital to the dinner table. We're proud to announce Slate HEAT, offering the latest in hot-sauce and pepper emulations - and we're starting with three Fabrice Gabriel-curated sauces: FG-Jalapeno, FG-Habanero, and FG-Ghost.
That's right, Slate is bringing the HEAT back to the cooking."
Apologies for going off-topic.
Ha, this makes me think of the "Daryl's House" videos, where they stop playing and start eating.
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Post by donr on Mar 17, 2022 15:01:46 GMT -6
The luxury of isolated concrete slabs is only possible with excavation up construction. If I were Warm, or Chuck Surack from Sweetwater, I might try to lure a bankable artist/producer into using the studio to give the room some ‘name’ gravitas. But Bryce and certainly Chuck Surack don’t need to take advice from me.
When I was starting out in NYC, I worked at CBS’ 52st and 30th St studios, A&R Studios, Bell Sound, among many others. I list these because none had any vibe to speak of, it was all bright uniform light and very much a business environment, and recording was done rapidly with no fooling around. The first NY studios with any atmosphere I saw were the early Westlake rooms, the NY Record Plant, and Lucas/McFaul Warehouse.
When I moved to Florida in 2003, I had a consultation with Russ Berger about building a studio on my property. Turns out I'd seriously underestimated the cost of doing that, and wound up in my (ground floor) basement.
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Post by donr on Mar 17, 2022 9:41:13 GMT -6
I had to do the WUP so I could get resizable GUIs. I'm working on a 4K monitor with Nuendo running in HiDPI mode. My eyes are not what they were and the clarity really helps. At least now I can see the interface well enough but the issues with some of the plugins still remain. I do know all about proper gain staging. I've been at this since the 70's and worked on tape for many years. I'm very glad those days are gone. Anyway, the limitations of those few old Waves plugins took me by surprise. That one vocal sub was a combination of 6 other subs for a total of 24 vocal parts. On a few peaks, it just edged over 0dB feeding that all vocal sub. The output of that sub was about -15 feeding the master buss but the input to it was a bit hot. Problem was solved by swapping out the Waves Deesser for something else. It's too bad they haven't gone back and fixed some of those older plugins. MV2 can be quite nice to bring up some intimacy in a vocal on occasion. Just have to watch to make sure it never clips. Waves has had a few redone plugs but they make you buy a new plug and still sell the old ones to unsuspecting new customers: They made Q10 64-bit float internally to not have rising low end rounding noise at higher sample rates Waves Sibilance is great and better than the de-esser SSL 4000 EV2 is cool and vibier than the PA 4000 and less fat than UAD. CLA Mixhub was a little convoluted but sounded better than the original Waves SSL pack. Scheps 73 is way way better than the V series 1081 which sounds awful. Scheps Omni still has a bad clicky CLA 76 type FET model so i suspect sometimes they are repackaging some old algorithms mcirish, I use a 4k TV as monitor and can't use the full resolution because the graphics are too small. I need readers to read anything now. Dan, I have nowhere near your comparative experience, but I like the CLA Mix plug to do that subtle SSL bus comp thing. 29 bucks every once in a while. As for gaining, I often trim down inputs to plugins, and make up the gain with what's after that.
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Post by donr on Mar 17, 2022 9:32:01 GMT -6
I'm still on my 2013 era MacPro trashcan in the studio, even as I type this on a 14" M1 64gig Max laptop. Maybe I'll hook this up to the studio, but I'd have to upgrade a lot of software and some hardware to do it. I'm getting too old to fiddle with things that aren't broken.
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Post by donr on Mar 16, 2022 23:24:22 GMT -6
I'm surprised folk are ragging on WARM's studio space because it isn't 'vibey.' The physical construction looks thoughtful and enviable. If you wanted lava lamps, tie dye and Christmas lights, you could bring that. That said, how many hit records have been made in really good technically designed studios? I've read some MIX (and other) stories over the years of really acoustically ambitious studio builds. Recording artists with an album budget I think are mainly attracted to the talent on the other side of the glass. Wherever they work.
If anything amazing comes out of Bryce's studio, it'll be because of who's playing and who's recording. Ain't that the way? One thing WARM might shine at is really quiet acoustical stuff with super quality outboard electronics because they've got such great isolation.
Edited to say also, how good the main room flatters the music made in it.
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Post by donr on Mar 9, 2022 14:17:37 GMT -6
You know the prices are bad when the guys used to paying 2x-4x what a comparable PC costs are complaining about them. I've been paying around $4k each for cutting edge Macs since the Powerbook 180. With inflation, they've gotten significantly cheaper over time. The modest M1's seem like a super value for DAW use considering the power. en.wikipedia.org/wiki/PowerBook_180
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Post by donr on Mar 9, 2022 4:14:45 GMT -6
I paid almost $4k for my trashcan in 2017. Looks like the new Studio would run rings around it.
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Post by donr on Mar 9, 2022 4:12:09 GMT -6
I long ago made my peace with the cowbell and the SNL sketch. I decided to ride that horse in the direction it was going. And here we are decades later.
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Post by donr on Feb 7, 2022 10:54:37 GMT -6
You make good points Eric. It takes experience to become a great mix engineer, monitors and FOH. At minimum, not everyone working in sound reinforcement has the natural aptitude for the job of mixer. But some people just take to it intuitively.
At the gig, it behooves everyone, especially the artist, to ensure everyone is on the same page of making the show as good as possible, as efficiently as possible. Our experience, the vast majority of sound companies are professional, talented and personable, and we're all happy because the show is fun in spite of the hard work.
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Post by donr on Feb 5, 2022 10:30:01 GMT -6
I'd like to add that I really like using IEM's. It's made my enjoyment of performing live soar. I rely on a talented monitor engineer and I get great band vibe and sound no matter what the venue, indoors or out. We all sing and play better as a result of going in-ears several years ago.
I get plenty of thump from the FOH subs, which are usually under the stage. We do have stage amps also, although we're about half as loud onstage as we were in the heyday.
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Post by donr on Feb 3, 2022 22:55:43 GMT -6
Here's my experience with IEM's. Some of this is beyond the scope of Ipedrum's question, but here it is. After trying the custom molds, I prefer silicone foam tips, from Comply. Better seal because jaw movement singing would cause leaks around the molds. The in-ears have to function as ear plugs as well as monitors. I use Shure 846's which may or not be the most spectacular sounding IEM's but they're honest sounding, and quite a bit more durable than other brands the other fellows have tried. I don't EQ my monitor mix, I want to know what I'm sending to FOH, both vocally and instrumentally. I get a balanced stage mix in my ears, stereo panned like the players and singers onstage. My voice and guitar are centered (as are the bass and drums,) and my guitar FX are stereo. I'm a couple dB louder than the band so I know what I'm doing.
I carry extra tips and cables and replace as needed. I use the Lectrosonics digital M2 wireless system, which is another level better than analog FM wireless. It's more important IMO than the brand of in-ear monitors you use. It's not cheap. For analog wireless, Sennheiser is the benchmark, and the latest Shures are pretty good. I do have an older pair of Shure phones in case I lose my 846's or they break, which they haven't. I have lost a couple pair of IEM's over the years. As well as several pair of bluetooth earbuds.
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Post by donr on Jan 21, 2022 21:07:45 GMT -6
Ah, a tune with some depth. Nice John!
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Post by donr on Jan 19, 2022 18:58:05 GMT -6
I haven't covered this entire thread, may I ask what thunderbolt hubs people are using with M1 Macs? I'd need backward compatibility for 2 Tbolt 1 data paths, as well as a firewire 400 path to replicate my current setup, and some USB3 ports too, as well as lesser USB ports for the usual control UI/midi stuff.
All downstream from a Thunderbolt 4 output on the M1max, if I'm going to retire my trashcan MacPro.
EDIT Oh yeah, iLok doesn't work with M1?
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Post by donr on Jan 19, 2022 11:40:39 GMT -6
There’s something to listen to period music on period systems, hear it the way they did. 60’s stuff on 604’s. 40’s stuff on a Lansing Iconic. Not easy to do, but if you get the chance you’ll find a lot of records are a lot more hifi than you knew, the playback was just mismatched. Heavily compressed modern on a horn system? No thanks! I'll never know but hey, wait! How did we get here? I just like condensers more than dynamic's okay? That's all.. *Run's away. Edit, removed the other post.. Just a load of waffling .. My fault, Shadow, I'm always derailing threads. : )
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Post by donr on Jan 19, 2022 8:27:25 GMT -6
A bit off topic, but I'm always astounded by how full and ballsy the classic Warner Brothers cartoon soundtracks and SFX sounded. The audio just blazes on any playback system.
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Post by donr on Jan 8, 2022 14:58:35 GMT -6
That's awful, Jesse. We all know how much effort you've put into your space, and how it was a good fit to begin with. Seems this issue has impacted so many studios over the last 20 years or so. Owning your space is the only insurance, besides being a good asset at the end of your recording career.
Good luck, may you land on your feet.
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Post by donr on Jan 8, 2022 14:53:42 GMT -6
I've had similar thoughts about selling cars and registering them with States' DMV's. If I sell a car I bought new, paid the sales tax on, the new buyer has to pay sales tax again on the purchase price of the vehicle to register it. And so on when the new buyer sells again. The only work around is leasing, where in some states, you only pay sales tax on the portion of the car's value that's the lease term. In others tho, you have to pay the sales tax on the new value of the car at the time of lease. It's a racket, I tell ya.
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Post by donr on Jan 7, 2022 22:48:57 GMT -6
This biggest problem with Dropbox is people using 'share' rather than 'copy link'. Dropbox wants 'share' so they can keep it in a closed system, or harvest details for advertising. I get 'shares' all the time from people who use some other email I don't have linked to dropbox, and I have to get them to use the correct email or figure out how to 'copy link'. Then, people are eternally confused about a link to a folder - they copy something to a new location and forget the original folder you shared, then complain they don't see the updates because they aren't looking in the right place. Yes, just copy link if you want to send somebody a file and that file only to that person(s). I've got no experience with 'collaborative' cloud sites. When I did BOC's "lockdown" LP, we just sent .wav overdub tracks to a central location and added .wav overdubs from others into my own sessions before compiling the master session for mix.
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