Post by jeromemason on Aug 17, 2017 8:13:06 GMT -6
When I got started in this business I was 17, I'm 33 now, but back then I got hired a lot by local churches, choirs and concert venues to record and mix their big events and such. Your post kinda took me back in a nostalgic moment for a second there.
One thing that you might want to give some thought to is whether that's how it would sound sitting 10 rows back. It seems like everything is just slammed in my face and there's not a lot of dynamic movement. One way to create that with a recording like you have is with a basic hall that you would feed the each mic'd head/instrument into to get it having some depth, that'll let you pull back the faders on the spots/direct ins. Then, because the sax is carrying the melody I would feed that into the same room, and put a plate behind it, something like a 2.5s rolled up to about 400hz and slowly slide that up until the sax starts to feel like it's special. Doing all that will allow you to pull back some compression and the spot faders a bit.
Another thing I would do is if you can use a transient designer on his kick to bring out the sustain a bit it'll sound more natural. Those guys love to throw pillows and God knows what else in there, so using a TD will get those drums ringing a little which again will allow you to pull things back so your mix has more dynamic movement.
I normally don't do critiques, but it brought back a lot of nostalgia.
Post by jeromemason on Jul 22, 2017 15:29:38 GMT -6
Still have one let guys. This does include the newest Burr Brown I/O chips and sidechain mod.
Like I'd said in the OP, if you've heard a PWM501 these are very similar with the mods, but because of the combination of the overeasy circuit and the ability to pass infinite on ratio you can do so much more. This will definitely be the last time I sell any of my gear, modded or not, so you should really grab it if you're look for a comp that can be used on just about anything and sound smooth and ultra detailed.
Post by jeromemason on Jul 11, 2017 1:10:17 GMT -6
Just from the look of how it processes, I would bet it truly would make a vocal absolutely massive sounding. The parallel eq I think is where this goes from being a good compressor to a great one. I'd love to have one.
Post by jeromemason on Jun 23, 2017 13:43:12 GMT -6
I'm going to let one of mine go. These to me sound a lot like a PWM501 after this mod. The amp choice gives it a smoother feel and a fuller sound. It still maintains the character of a 160, the same type of snappy compression, but is just more useable, after this mod it's in another league.
What's great here, I'm selling this for what they sell for. You get the mod free.
$200 shipped and you can either pay for PayPal or use the friend option.
Post by jeromemason on Jun 23, 2017 2:34:07 GMT -6
If the 24AO is even better than the 16a then it would be a no brainer, if all he's looking for is outputs.
Also another thing to throw into all that Herbie would be to look into the BLA Micro Clock III. I was able to use a pair of outputs from the Motu to monitor with instead of having a dedicated DAC after using the MKIII. Made that much difference for me and saved me quite a bit of coin by being able to have one unit locked up the MKIII.
Also if you go with more than one of these Motu units you can network them together and your computer will see it as just one interface. I'm not sure if you've ever had to deal with aggregate devices but by your computer only seeing one interface it really knocks out all the bugs and crashing, helps a hell of a lot with the latency too.
Most modern SPDIF I/O chips are nothing more than AESiD (single ended 75 ohm AES3) so the outputs are usually a little higher in voltage than SPDIF specification.. However, most receiver ICs are only looking for *edges* to trigger on. They don't really care about the voltage level of the incoming signal as long as it's enough to trigger a 1 or a 0.
That being said, the SPDIF/AESiD spec is defined as 75r, so most systems will have a 75r source impedance (usually set with resistors) and a 75r load (also usually set with a 75r resistor)..
Some folks will know that in transmission line theory, this type of termination scheme forms a resistive/impedance divider, so that the load only sees half the signal amplitude/voltage.
If you split the signal and add another parallel 75r load, then the source now sees 37.5 ohms instead of 75r.. You'd just double terminated your signal.. And the signal will be divided once again, to about 33% of what it originally was.
Some transmitter ICs might be able to handle the extra load, but some will not.
In either case, your signal level reaching the receiver chips might be too low for the receivers to properly decode.
I wouldn't split the SPDIF or AES signal as you might get strange anomalies in the audio and/or bit-level errors in the datastreams that might not be heard right away..
If you were to make a buffer, what slew rate would be the minimum? I'm not up to snuff on the digital side.
Post by jeromemason on May 18, 2017 17:01:12 GMT -6
Yeah, well it's not a totally vented box from what I can tell.... I believe it's a passive radiator design.
I've heard plenty of subs, and these are damn good when it comes to the cabinet and woofer. The crossover, not so good, I had to build an inline LPF because they just didn't knock out enough even on the lowest setting. But, that was honestly a trip to radio shack and $7 worth of parts. Now they rock.
Post by jeromemason on May 17, 2017 18:15:06 GMT -6
Running 2 subs is definitely the way to go. Way fuller and not having to drive the amps so hard produces a much smoother/accurate bass. The subs I bought have a passive radiator so they dive deep but have a ton of punch, really happy I went this way.
any suggestions on where to place these and should I pull the tape measure out in getting the symmetry correct??
i've got no suggestions, but I can tell you this. If you've got a null in your mix position (and even if you don't), moving your subs 1-2 inches forwards, sideways or backwards can make a HUGE difference in the sweet spot listening position. Then the crossover points are critical. Transitioning from non-sub to sub monitoring is tricky in my experience. I had a buddy from JBL help me set up my older CRM and it was really tweaky - and WHERE the subs want to live? ? ? LOL Usually in the most awkward place - equipment and walking wise. I guess Murphy is their cousin or something.
Well I'm just looking for advice from folks like you that have this set up. I do have a null at 125hz but other than that my room is pretty flat, but that was running one sub. There is two open space between a pair of diaphragmatic absorbers I built, I think sticking them right there would be my first place and then just adjusting doing sweeps until I get that null pulled up a bit.
Post by jeromemason on May 16, 2017 13:28:22 GMT -6
Well I've ordered a pair of subs, Bob Olhsson@ericn@emrr any suggestions on where to place these and should I pull the tape measure out in getting the symmetry correct?? I've never done a pair, totally new to this. And they'll be here tomorrow so I def want to get up to speed on how to set these up before they get here because I have a pile of work to mix.