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Post by swurveman on Feb 13, 2017 14:14:38 GMT -6
Been looking into this myself - thought this Bob Clearmountain vid was good, although may be nothing new to you? EDIT: Yeah, I did it exactly like that inside the DAW. I notice that he does have one side a bit louder in his stereo bus. So, perhaps it's common and accepted. Here's the sound I got with mics on a plane directly at the guitar with the mid mic lloking just to the right of the sound hole. I am about 6 inches from the guitar for warmth and proximity, which probably makes the image problem worse: https%3A//soundcloud.com/songflowerrecording/acu-tests-feb-13-2017
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Post by swurveman on Feb 13, 2017 12:34:38 GMT -6
I did my first mid/side recording of an acoustic guitar today as a test.
I found out as others have that - when both the cardiod and figure 8 mics are placed at a position where the neck meets the body - when you duplicate the figure 8 mic in your DAW and phase reverse it the result is a combined image that is shifted to one side. And yes, I checked if the duplicated figure 8 track nulled with the original track. It did.
When I positioned the mics at the sound hole, after duplicating the figure 8 and phase reversing the duplicate, the combined image was centered.
So, I was wondering if there's any way of getting around the shifted image when placing the mic where the body meets the neck.
Thanks to anybody with experience with this.
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Post by swurveman on Feb 12, 2017 13:16:34 GMT -6
Yeah, some kind of pedal switcher which has midi programming capabilities. Hopefully a lot of your pedals have midi ports which let your program the effect chains you hate having to retweak Very few of my pedals have midi ports. The pedal switcher solves the chain problem, but I'd still have to tweak each of the pedals for tone/distortion/delay time etc. I am surprised there aren't many advocates of digital FX boxes. I've never owned one, but I'll have to demo some and then a/b them with my pedals. Thanks for your thoughts.
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Post by swurveman on Feb 12, 2017 10:31:49 GMT -6
What about a fast interface + laptop and main-stage using your regular studio plug ins in the fx aux? I've got a low latency interface - RME AES 32. However, if I want to hear effects on a Cubase channel I have to disable direct monitoring and click on the channel monitoring button which produces latency.
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Post by swurveman on Feb 11, 2017 23:34:41 GMT -6
Returned the Slate Raven I bought. Wasn't working for you? How long had you used it? Three weeks.
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Post by swurveman on Feb 11, 2017 14:29:37 GMT -6
Bought two Lauten 387 FET mics and a UA 2-610S two channel tube preamp
Returned the Slate Raven I bought.
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Post by swurveman on Feb 11, 2017 10:47:36 GMT -6
The H9 can only run 1 algorithm at a time. Got it. I'm looking for something that can run chains. Anybody heard/use the Fractal FX8. I saw a demo and liked that you can tweak the parameters inside your computer. I'm looking for sound and convenience.
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Post by swurveman on Feb 11, 2017 9:43:22 GMT -6
the H9 pedal is pretty sweet, and their app to control it is really easy to use. I'd recommend buying a used H9 MAX and a base model H9. when you register 'em to your account, the base model becomes a MAX, so both pedals will have all available algorithms. Why two pedals?
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Post by swurveman on Feb 11, 2017 8:23:05 GMT -6
I had a kid come into my studio three years ago telling me he wanted to intern, because he wanted to be a professional engineer. I was happy to have his help. He told me he was going to Full Sail in Florida and wanted to work in audio. I cautioned him about the industry, but he was determined. He graduated from Full Sail and has earned six levels of Pro Tools certification. It is three years later and he just told me he has a final interview with Levels Audio in Los Angeles. Bravo kid!
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Post by swurveman on Feb 11, 2017 7:57:40 GMT -6
I have a ton of pedals on a pedalboard, but it's a hassle bending over tweaking them, rearranging them if I want a different chain and dealing with too many different power supplies .
So, I'm thinking of selling my pedals and getting a multi FX box that I can put in a rack on my desk. I'm not looking for a cab simulator, just FX's.
Any recommendations?
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Post by swurveman on Feb 10, 2017 14:54:51 GMT -6
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Post by swurveman on Feb 10, 2017 10:13:59 GMT -6
This dreadnaught guitar sound from Ragan is pretty big and based on a song that has the AG as the main framing instrument.
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Post by swurveman on Feb 10, 2017 10:03:11 GMT -6
running vocals through the 1176/la2a combo. mind blown. Which 1176 do you have? What is your combination? I have both the hardware UA 1176/LA2A and I have never had the mind blown experience others seem to have. I've tried the 1176 first. Then second. With all kinds of gain reduction combinations between the two units and I usually just take the 1176 off. So, I'm curious about what type of vocal style (pop/folk/metal/punk?) the combination works on for you and how you use the combination of the two . Hope you don't mind me asking.....
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Post by swurveman on Feb 10, 2017 9:24:48 GMT -6
Which is exactly what I did back in the day. I took my tax return and did something brave.. I used all of it (and then some) to buy a pair of Gefell M930 mics (3000$ at the time), which were way more than I ever paid for any of my gear at the time. Once I got them, I eagerly tried them out.. And total disappointment happened. They didn't sound much *better* than anything else I had already, and no returns on special order mics, so I was stuck with them. Then one of my many lightbulb moments happened.. I took some mixes to a friend's house. He had a really high end stereo system. We listened to some of my mixes and I immediately noticed a huge difference in the tracks where I had used the Gefells. They sounded much, much better, as expected. It was then that I realized that I couldn't actually hear the difference between mics. it wasn't that the mic wasn't superior, it was that I couldn't hear the difference. When I got back to the studio, I listened to the tracks again, and I couldn't hear the differences I heard on the stereo. That's when I made the connection. The problem I have with this is that most people don't listen on high end stereo system's anymore. They're more likely to listen on computer speakers, HK Onyx's, headphones etc. I just sold my Schoeps CMC64's. I expected a lightbulb experience from them, but they never translated well anywhere. I never listened to them on a true high end audiophile set of speakers, but if they didn't translate on all the types of speakers and headphones I listened to them on, it wouldn't have been good enough even if they did sound great on the most expensive speakers. Just my $.02
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Post by swurveman on Feb 10, 2017 7:59:10 GMT -6
Recording Hacks has the MSRP at $3,650.00 for the 151. So, if it's in good shape-and in fact the MSRP was $3,650 - it's a heckuva deal.
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Post by swurveman on Feb 8, 2017 18:00:11 GMT -6
Sounds nice, what preamp did you use Ragan? I'd like to know too.That double tracked "Night Moves" sounded great. Gibson Hummingbird? Also wondering if it was the C or H version. Great deal on some fine sounding SDC's. Edit: Saw it is a Great River MP-2NV. Any EQ?
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Post by swurveman on Feb 8, 2017 8:16:46 GMT -6
I switched opamps between two channels and the channel that had a thin sound is now full and the channel that had a full sound is now thin. So, hopefully a new opamp will solve the problem. Thanks to everybody who gave advice! A buddy of mine had 3 op amps die on his within 3 years. Seems like a common occurrence with them. Thankfully, the unit-API 3124+- is under warranty. You have to email them a photo of the faulty opamp with the legs chopped off. I may sell mine and get a Vintech 473, as I use my Vintech x73i's more than the API.
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Post by swurveman on Feb 7, 2017 9:15:48 GMT -6
I switched opamps between two channels and the channel that had a thin sound is now full and the channel that had a full sound is now thin. So, hopefully a new opamp will solve the problem.
Thanks to everybody who gave advice!
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Post by swurveman on Feb 6, 2017 8:14:15 GMT -6
I think the biggest factor in the recording I just heard was how that drum hit established sort of a baseline room size. Now the vocal in comparison does not seem as wet as it would without that aural clue to the implied size of the space. To get that seemingly drying out effect, in that you really only hear the verb on the trails after the vocal phrase, you run the verb on the same channel as the voice and compress at the end of the chain, while using the dry/wet baalance on the verb and the threshold of the compressor until the comp brings up the verb trails, but they disappear while the singing is going on. Cappiche?? I agree that the drum hit established the baseline room size, depth. Thanks for the compressor advice. A question: On basic drums/guitars/bass songs, what instrument(s) do you use to establish your base room size? I think your mixes sound great btw. Bravo!
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Post by swurveman on Feb 6, 2017 8:01:29 GMT -6
I understand your point, but did they improve their quad pcie technology, or dump their profits off of it to compete better with Slate and Waves et. al.? No. The price of processing came down. Chips are cheaper. The Sharq processor was $30.00 in 2008. There are four of them in my UAD-2 Quad Pcie. Call me skeptical believing their price decrease resulted in a price decrease overall from $1,699.00 to $699.00. I think they dumped their profits, which were huge, to compete with cheaper competitors that didn't require a hardware purchase. We'll just have to agree to disagree.
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Post by swurveman on Feb 5, 2017 16:22:54 GMT -6
I'd also tell them that I paid $1,699.00 for their Quad PCIE card which they now sell for $699.00 Not at all happy about that. One of the worst hardware decisions I've made. I paid $4k or something for my Mac PowerBook 15 years ago. Couldn't give it away now. That's the nature of technology. Buying computers and peripherals is an expense that will lose 100% of it's value over a limited time. Technology is expendable. I understand your point, but did they improve their quad pcie technology, or dump their profits off of it to compete better with Slate and Waves et. al.?
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Post by swurveman on Feb 5, 2017 13:51:12 GMT -6
Great idea swurveman. Maybe send an email to UAD. They do pay attention to requests and suggestions. I'd also tell them that I paid $1,699.00 for their Quad PCIE card which they now sell for $699.00 Not at all happy about that. One of the worst hardware decisions I've made.
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Post by swurveman on Feb 5, 2017 11:25:41 GMT -6
Why not use a room for the early reflections instead of a Haas based 30-40 ms delay? It's been my experience that early reflections in a room tend to sound boxy and/or tubby. And they can make things sound like they were recorded in a garage, and not a good one either. Using straight short digital delays can be cleaner, easier to deal with EQ wise and have little to no phase issues. (theoretically impossible but you know how theories don't always work out) Are you talking about vocals or for all instruments? I would not say any of the rooms of the Bricasti sound boxy or tubby. However, I don't think the plates are as warm and smooth as real ones.
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Post by swurveman on Feb 5, 2017 7:56:07 GMT -6
I'm surprised they don't cross incentivise people who buy their hardware. I now have a hardware UA LA2A, 1176 and 2-610 and nothing in any plugin coupon for buying much more expensive hardware.
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Post by swurveman on Feb 5, 2017 7:46:05 GMT -6
Lack of low end is usually a sign of a cap in the signal path going bad. I told the service tech that I had low end dropout and he still wanted me to change the opamp. We'll see. I'll do it tomorrow. Just out of curiosity, is changing a cap just as simple?
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