|
Post by jeromemason on Jun 20, 2015 11:59:08 GMT -6
Exactly man..... when you're mixing on a console, one that's got eq's and compressors, your hands are instinctively adjusting while you're listening.... pretty soon when the layout of the console is in your muscle reflexes, both hands are making critical adjustments but at extremely fast speeds. I worked 4 years in being the AVL director for a mega church down in FL, I had to learn there how to move very quickly when making all kinds of decisions, not just eq and compression but gain and level, then when I moved into the studio it was like a fluid transfer, I was right at home.
This new way of hybrid or ITB mixing is so much different. I went with PT 11 for the sold purpose of me losing a ton of plugins so that I could focus more. I sold a pair of really good and critical monitors you could hear a cricket fart on in a metal record for a pair of KRK's man. I just found that in this new age of mixing and using this hybrid setup or ITB, you should really find the things that you know work and stick to them. Every new plugin that comes out, I'm always not jumping onto until I feel like it's something I could replace in my arsenal, and I said replace not add, it's just too easy to collect entirely too many plugs.
I used to run the tape on my buss too, now I'm starting to get reluctant about puttubg anything on my buss besides the T-Racks Sontech.
|
|
|
Post by jeromemason on Jun 18, 2015 12:55:52 GMT -6
Classic "don't buy converters, buy my absorption" scientific analysis.
|
|
|
Post by jeromemason on Jun 14, 2015 2:59:36 GMT -6
Based on my time for a parallel pair of FC526, he must like making $11/hr or less. If he builds one perfectly, no problems, no troubleshooting. Maybe that's just Nashville for ya. I sold mine for $575, so I made a little over $200 on it. I know just from my experience, I wouldn't had taken hardly any less than that for it. It took a little while to build and calibrate that one. I think BAE is riding on it's success and name a little on this one though. API circuits are not insanely complex or full of parts, they are very simple. That seems like a very high price to me.
|
|
|
Post by jeromemason on Jun 13, 2015 3:19:58 GMT -6
Had some extra time tonight after I got done working and went ahead swapped the opamps to the opa2134's. Really does open the monitor up and improves the imaging. Sound was instantly smoother and more punchy. You'd have to spend a ton to match these monitors if you were buying off a shelf, the clarity and and overall sound is outstanding.
A word of wisdom here guys, if you're not familiar with swapping SMD parts don't attempt this, especially on this speaker. The input boards have probably the most sensitive PCB I've ever worked on, it's extremely easy to over heat and lift a pad/trace. I had to really take my time on these and gently work those opamps out, even more so when cleaning and prepping the pads.
If anyone is wanting this done shoot me a message. Definitely is a whole new world from the stock versions.
|
|
|
Post by jeromemason on Jun 12, 2015 18:05:48 GMT -6
Well this is just becoming inconceivable....
|
|
|
Post by jeromemason on Jun 12, 2015 13:35:26 GMT -6
I love Dr. Bill's point that plugins "don't sum" they just don't! "SUMMING" is the most mis-used, misunderstood word on audio forums these days. Most people have no clue what it even is. But they sling it around like crazy. I've said this before and I'll say it again - summing ITB or summing OTB is virtually identical for all critical intents and purposes. It's what's SURROUNDING the OTB summing network that brings the analog goodness that people love. This is so very true.... I hate to see people sucked into expensive OTB summing mixers that are just simply a resistor buss. If you're going to go with summing mixers go with something that has some transformers and a good makeup gain stage. A lot of the consoles people talk about have line to line input transformers, and these transformers effect the sound on how hard or soft you hit them, like a console. Other consoles that didn't use transformers still broke the input signal down and processed it and then returned it to a balanced signal, it's all these little things that cause your mix to open, the little phase shifts and harmonics, it's what causes the "sound" of OTB. I'd recommend anyone curious and considering this idea to look at some block diagrams of mixers, either consoles or summing boxes so you can understand exactly what they are doing, it will probably flip a light on and you'll get it. I don't see how VCC can do this, at some point the DAW is going to be what sends a stereo summed file, and that is done by it's own mathematics. I think the idea with VCC is that when each instance is placed on every channel it's something similar to the "Heat" function PT has, it's just applying emulated sonics of consoles to the track, but when it comes to the "summing" section that's on your master it's doing nothing more than applying even more of that. Your DAW is what is summing the audio, not VCC. I think people get confused right there. This is just my opinion. Some folks swear by VCC, and you know if it's making them mix better then I'm not anyone to say what they should do, I certainly wouldn't want them telling me what I should do and how I should use my chosen setup. But, I do hate to see marketing tactics fool people into thinking that a plugin system is responsible for summing their two mix out of their DAW, it simply is not true. If you understand that, and you still love what VCC does, then use it, enjoy it , and make better mixes, that's something that is YOUR personal preference.
|
|
|
Post by jeromemason on Jun 12, 2015 0:40:27 GMT -6
I really wish the demo's wouldn't do the drop out thing after so many seconds. I thought we'd moved out of that type of trial software 5 years ago. I've bought more plugins off of full version trials than I have ever bought from the kind that drop audio after such and such time. I just get aggravated with it and move on. The full trials, I end up liking them, using them on a session or something and then am somewhat forced into buying them. I'd been following that plugin a bit and was anxious to try it, but I can't do the limited demo thing.... I'll have to wait and see if it's a must have or something.
I had a Ward Beck for a while and thought it was a pretty interesting EQ, lots of people said it was like the Canadian SSL.... I didn't really feel like that, but I did like that eq.
|
|
|
Post by jeromemason on Jun 11, 2015 19:54:02 GMT -6
Condensor mic's distort usually <8K, a lot of what folks think is bothersome is really distortion caused by the capsules resonance. Like a lot of folks are saying, ribbons and dynamics don't have so much of this problem, ribbons more so. The issue is that condenser's give you a very open and detailed sound pretty easily, but this is one trade off. Now, capsules can be designed to minimize that resonant distortion which then makes the esses sound natural. A desser really can take the life out of a vocal IMO. If you can get a great capsule that doesn't distort that resonance quite so bad your sound will be much larger and open.
If you think about it, if someone is speaking next to your ear normally you're not bothered by the sibilance of their voice, in fact, if they were very close to your ear the lower and mid frequencies would probably bother you more. When you speak across a condenser mic or off axis you're simply putting a band aid over the fact it's distorting those frequencies. Again, if someone were standing next to you and speaking near your ear, which would you hear more definition and power in? On axis or off? The first step in all of this is to have the capsule in your microphone tuned to remove those esses and compliment your voice. After that, then finding the sweet spot of your vocal is what I'd do next. Now, that's the ideal way to go about it, if you can't afford to have your capsule tuned then skip to step two and then save your money and have it done. It will literally sound as if you're singing right next to someone's ear and the amount of compression and eq you use will dramatically decrease. This is the fix, the other ways are just work arounds.
|
|
|
Post by jeromemason on Jun 11, 2015 17:51:26 GMT -6
I always put it slightly above the singers mouth maybe 4", and then angle the mic down ever so slightly and that usually fixes it. How far away should I be from the mic , 12 inches ? Then have it 4 inches up , pointing down towards the mouth ? Well, I'm not sure, I'm not recording you I'll usually set the mic up that way, have a listen and tell the singer to move forward or back until it sounds right. I think the best possible thing you could do is record yourself at about 5 different positions and whichever sounds the absolute best, mark it with tape and roll on.
|
|
|
Post by jeromemason on Jun 11, 2015 14:39:05 GMT -6
I always put it slightly above the singers mouth maybe 4", and then angle the mic down ever so slightly and that usually fixes it.
|
|
|
Post by jeromemason on Jun 10, 2015 2:29:38 GMT -6
First time I've ever bought something w/o reading it's compatibility.... I just assumed a company like Izotope would have the latest plug-in versions. So, I bought this and can't use it. I guess I'll hang onto it long enough to see if they make an AAX or use it as an upgrade to Nectar 2. Rats!
|
|
|
Post by jeromemason on Jun 8, 2015 20:17:51 GMT -6
You can have it both ways.... the C12 base can be used, and with a few changes it can be dimed into a very open and detailed mic, but that upper air can also be controlled if you put it in the right hands
|
|
|
Post by jeromemason on Jun 8, 2015 20:07:41 GMT -6
C12's IMO are more delicate on who you put them on, and sound great on a lot of instruments. 251's are more of a mic you can throw up on most people and get a good sound. The plate bypass cap rolls off a lot of the upper air that C12's are known for, also, the C12 has some resonant distortion in the capsule around 10khz which is why that bypass cap on the 251 helps to control things getting harsh or too bright.
If you want a mic for vocals the 251 IMO is better suited and will get you farther. Both are great, it's just what you plan on using it for. C12 is great on some vocals and quite a few instruments. 251 is great on a lot of vocals and some instruments as well.
|
|
|
Post by jeromemason on Jun 8, 2015 19:12:34 GMT -6
Those comps and pre's are pretty darn cool, and that digital rack is out of this world. They sound good for sure, really impressed when I messed around with them.
|
|
|
Post by jeromemason on Jun 8, 2015 18:55:06 GMT -6
This whole thing has got to make some serious splashes in the main stream public and media before people really understand what's going on here. Most folks you talk to think that Pandora and Spotify(free) are totally ok, and have no idea what it's going to do to the creative minds that would had been in the music business.
A boy once prayed, "Lord, please send us another Beatles, music is just not touching souls as it used to..." The Lord replied to him, "I already have, but they had to sell all their gear and start working at gas stations because no one thought to change a technicality in the royalty payout's that was created around WWII"
The boy sobbed, and sobbed and sobbed etc. etc. etc...
|
|
|
Post by jeromemason on Jun 8, 2015 0:06:07 GMT -6
LOL. Nothing other to do than to laugh at that right there. Maybe like the market crash of 08', we've hit $6,000 with that masterpiece of Bro' Country.
|
|
|
Post by jeromemason on Jun 7, 2015 23:43:51 GMT -6
Me too! Nice deal.
|
|
|
Post by jeromemason on Jun 7, 2015 1:04:17 GMT -6
I think you should be fine then.
|
|
|
Post by jeromemason on Jun 6, 2015 23:07:05 GMT -6
Is it possible to vent the rubber? As in, could you cut small slots in it to allow air to flow around it?
|
|
|
Post by jeromemason on Jun 6, 2015 15:56:16 GMT -6
I don't think there's really anything left that I want...Maybe the RMX, Harrison EQ or 33609...but do I really need them? Save your cash on the 33609. Its modelled without the coloring part, if you buy it now you will have to pay extra for the mk II. The problem with UAD is they do not bring inovative new plug ins. I had way more fun with plug ins from indipendent developpers such as klanghelm, airwindows, tonebosters etc. Great stuff and much cheaper too. The T-Racks 33609 I have is just as good. I've used the UAD one and I bought the T-Racks version of it when the group buy was going on, I use it to add instant punch, amazing what that plug will do.
|
|
|
Post by jeromemason on Jun 5, 2015 16:09:46 GMT -6
Melodyne. Most natural I've used so far.
|
|
|
Post by jeromemason on Jun 4, 2015 12:50:45 GMT -6
If it were me, I'd take a few listens to that hit Cabrera had and then see if that gives you inspiration and direction on the things you need to do here. In my mind, I can hear the drums needing to be snapped to a grid, the kick and snare replaced and the guitars snapped around as well, singer can be loose on that one. If it was swing it'd be one thing, but he's kinda slowing down and pushing and it really is killing the flow there.
|
|
|
Post by jeromemason on Jun 4, 2015 11:45:32 GMT -6
Kinda got a Ryan Cabrera thing going on there.
|
|
|
Post by jeromemason on Jun 3, 2015 17:57:27 GMT -6
You need to fully modify them. Audio grade electrolytics and a good poly's in the eq and pre sections. Increasing to 22uf extends the lowend, you could even try 120nf where the 100nf are if you wanted to go deeper, although, they go plenty low after the 22's. Elna Similic II is the cap of my choice, Wima's for poly's, in the amp section I believe I went with some nichicon audio's as well, there's only a couple near the signal. You could also experiment with a lower ESR in the power section.
What you're hearing is the speaker being opened up after cutting the limiter. NS10's, HS80's etc are not that flattering of a speaker, they will produce ear fatigue on their own, even with the limiter, you've only opened the speaker up now, you're not being spared anything. This is a positive though, you're not being spared, but you're not being fooled. Replace the caps, if you can, the op amps with opa2134's in the pre board. I think those opamps in it are like JRC's, I think, not really ideal for smoothness. The cap swap will sweeten the top and pull out the bottom though.
|
|
|
Post by jeromemason on Jun 3, 2015 2:01:47 GMT -6
|
|