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Post by swurveman on Nov 18, 2019 14:16:50 GMT -6
Hey folks, Is there a reasonably priced replacement for IBP phase plug? I know I cou!d find a 1176 replacement, and hell, I own two hardware units. Is this crazy talk, or am I ready to ditch the hardware dongle? Thanks, Craig I have the UAD-2 and use the Waves Inphase which is $39.99. Works great. I'm going to dump UAD also. I paid the premium price when it first came out for the hardware. Took one helluva bath on that and their DSP craps out before my Waves and other plugins.
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Post by swurveman on Nov 13, 2019 8:22:43 GMT -6
I actually suggested to Positive grid they should make hardware versions of single amp styles and sell them for like $399. Like a Marshall one, Vox, Fender, etc... Looks like Fender, with their Tonemaster series, was listening to you, John! I have a Line 6 Flextone Plus modeling amp with speaker that is probably 15 years old. It would be interesting to here the improvements over the past 15 years.
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Post by swurveman on Nov 11, 2019 8:09:47 GMT -6
I used MD421's, but they pick up a lot of bleed. The E604's are very convenient for placement and sounded good when the tom is hit. They do rattle though. So, the convenience of clipping of them is offset. I'd put them on stands. If I ever record a live drum set again I'd invest in great gates. Editing tom hits to silence the bleed when they are not hit is a pain in the ass.
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Post by swurveman on Nov 11, 2019 8:06:27 GMT -6
Would love to find a discount on SD3. I’m ready to make the jump from Slate Drums. Also Neural DSP Nolly and Goodhertz Canopener. Do you guys think SD3 will go on sale? I suspect they are pissing away a lot of money waiting for people to do it their way, or no way at all. And they are vindictive little bastards not even allowing their customers to view SD3 forum posts. I have a lot of Toontrack products and can make good drum performances with Avatar and Music City and the Sound City one. I'd be interested in SD3, but if they're gonna punish me for not reacting immediately to their diktat, fuck them.
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Post by swurveman on Nov 11, 2019 8:01:16 GMT -6
I now use the Waves SSL plugin for both my drum and parallel busses. I had a hardware Smart C2 and an API 2500. The 2500 had much more of a midrange sound. So, if you wanted the snare to pop it was the better choice. The C2 was warmer. If you wanted to brighten your overheads and give the snare a bit more oomph the 2500 was an excellent choice. I have not heard the 2500 plugin, but have read that it's not comparable to the hardware. Anybody using it? Thanks. Yeah, the plugin just doesn't grab the transients in that example like the hardware. Of all the high quality gear I sold, the API 2500 got tons of interests and offers.
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Post by swurveman on Nov 10, 2019 10:31:05 GMT -6
Very cool. Hope you can make a good living and keep it going.
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Post by swurveman on Nov 10, 2019 9:31:56 GMT -6
I now use the Waves SSL plugin for both my drum and parallel busses. I had a hardware Smart C2 and an API 2500. The 2500 had much more of a midrange sound. So, if you wanted the snare to pop it was the better choice. The C2 was warmer. If you wanted to brighten your overheads and give the snare a bit more oomph the 2500 was an excellent choice. I have not heard the 2500 plugin, but have read that it's not comparable to the hardware. Anybody using it?
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Post by swurveman on Nov 8, 2019 17:08:45 GMT -6
Are you talking about tracks that have been compressed and EQ'd while tracking? What did they sound like that was different from the way you were tracking? Yes a lot of the tracks are fairly heavily processed on the way in. Vocals and bass in particular. But what really strikes me in all the pro multi-tracks I’ve heard is that every instrument sounds “even”. As in no excessive high end or low end. Every instrument is very well balanced across its frequency spectrum. For example: the bass sounds very even from low note to high note, very smooth, with a surprisingly little amount of low end. In other words, no “boominess” or big pillowy low end. In fact, soloed the bass tracks can sound a little weak, but in the mix they balance out very well, are super easy to work with and if u need more lows you just dial up a little low end on an eq and done. Thanks. How about thing like snare, overhead and kick transients? How much are they tamed? It would be interesting to hear their unprocessed tracking vs. their processed.
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Post by swurveman on Nov 8, 2019 15:10:45 GMT -6
The biggest insight I've taken away is from hearing the raw multitracks themselves and realizing what top tier raw tracks are supposed to sound like. And its great because they have some of the biggest names in metal, Lamb of God, Opeth, Bring Me the Horizon, Godsmack. Are you talking about tracks that have been compressed and EQ'd while tracking? What did they sound like that was different from the way you were tracking?
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Post by swurveman on Nov 6, 2019 9:21:27 GMT -6
Thanks man. Since I won't be doing any more work with him, I'll probably just let it go. I tend to avoid conflict when I've made up my mind that a working relationship is over.
Unfortunately, it soured the end of the project. I'll just tell him to release it on his next project, if he can find someone else to do all the heavy lifting again.
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Post by swurveman on Nov 6, 2019 8:39:17 GMT -6
Yeah I fight this constantly. I can never see myself like someone else sees me...I’m constantly thinking about I’m going to be “found out.” I would love to hand off stuff to other people, I.e. track stuff with other people...but it costs money. I think the only thing you can do is put what you do out there and not absolutely hammer yourself. A big frustration to me has been when writing with co-writers, finishing a tune - then demoing it for free - and there are fucking crickets. Not a thank you, or a “great job” or even a “this sucks.” You get to the point where it’s like what’s the point? It’s a constant struggle. I think the key is just to pick and choose friends wisely and put your nose to the grindstone. But you’re not alone. I am in the process of mixing an album where I wrote 90% of the song, did all the drum programming, bass playing and most of the guitar work and am now mastering the album. I asked the guy I'm collaborating with, which is stretching it because he's done very little in the big scheme of things- to redo one lead guitar part he did, which was sloppy. He told me he wouldn't because the "feel" was right. I couldn't fucking believe it. It's so off that I'm going to have to tell him I won't release it. He was a good catalyst, but these kinds of things just piss me off.
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Post by swurveman on Nov 5, 2019 9:31:57 GMT -6
I'm still not buying SD3 due to their one time ultimatum. They won't even allow me to read any of the SD3 forum threads. I'll bet I've spent $700.00 on their software. It's bizarre.
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Post by swurveman on Nov 5, 2019 9:26:17 GMT -6
I dumped Slate after a year, but had a lot of other great plugins. It's a good deal and I understand, particularly for people starting out, why they would choose Slate Everything over buying things piecemeal from other vendors.
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Post by swurveman on Nov 5, 2019 9:22:38 GMT -6
I personally have 50GB+ of song ideas, riffs, etc, that I never go back to because my moods and (dis)likes change daily. All I can say is that keep doing it, but having at least one other person to work with is key. Even things that I disliked sounded better when someone else added their ideas to them. I'd add the cavet that you respect the person's musicianship and songwriting. That being said, I took on a project with a writer/player who I did not think was particularly good after hearing him over a period of time, but his enthusiasm and encouragement brought out more productivity and some of his weaker ideas morphed into some good things. His catalyst was very beneficial.
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Post by swurveman on Nov 5, 2019 7:45:34 GMT -6
Rising to the pro level as a musician, recording engineer, mixing engineer and mastering engineer is a tall task. I think a lot of people are dissatisfied at one or more levels of the modern home studio. It is convenient, but it is very hard to do it all well.
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Post by swurveman on Oct 31, 2019 14:01:13 GMT -6
I always have my GML 8200 high shelf boosted about 3dB around 14k. I will often also do about 1.5 dB at 4k if I want a little more high mids. It's amazing how just the shelf opens everything up.
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Post by swurveman on Oct 18, 2019 8:00:46 GMT -6
I used it with Cubase 8 and it worked fine, not sure if that's true of 9 and 10. What's your overall impression of the Artist Mix in general? It's been awhile, but I felt like I could mix faster with my mouse. For fader rides, they are usually section (chorus/prechorus etc) specific. So, I do the fade with my mouse and then cut and paste it with tweaks needed instead of riding a fader again and again every section. Things like scroll to track and scroll into view I could do faster with the mouse. Same with Record-enable, solo, mute etc. Same with plugins. I suspect that people who developed as engineers with faders and desks would feel more comfortable than I did. I developed with a mouse. So, that's my comfort area.
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Post by swurveman on Oct 17, 2019 8:02:28 GMT -6
I used it with Cubase 8 and it worked fine, not sure if that's true of 9 and 10.
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Post by swurveman on Oct 16, 2019 11:41:28 GMT -6
Interesting that it appears that he has two Apogee PSX-100 SE's in his rack after all these years.
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Post by swurveman on Oct 16, 2019 8:10:59 GMT -6
My guess is that, since only young people buy music, they are hoping that 13-17 year old kids in the car with their parents listening to the country music channel will hear this and ask them to buy it for them. Old Town Road was a much better song, due to to its better, easily singable chorus. Country claimed it, reluctantly, but it uses "country" images more as a metaphor than the rest of country music, which presents "country" as a lifestyle to its listeners.
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Post by swurveman on Oct 9, 2019 13:42:18 GMT -6
I thought this caption regarding American Girl was interesting: “The American Girl is just one example of this character that I write about a lot,” Tom Petty said. “The small-town kid who knows there’s something more out there, but gets fucked up trying to find it. I always felt sympathetic with her.”
I know that girl too. I'll bet a lot of people here also know her.
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Post by swurveman on Oct 7, 2019 8:23:22 GMT -6
I liked the Great River better. More consistent clarity, the low mids were less muddy. To each his own.
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Post by swurveman on Oct 2, 2019 16:52:00 GMT -6
No one piece of gear dramatically changed my mixes. I kept buying different pieces high end gear thinking they would, but none did.
Mixing is so complex that everything matters, and it's really how skilled you are with everything (Compression, fader rides, gain staging, EQ, FX, Saturation, Distortion, Parallel Compression, Mix Bus gear etc.) that makes you unique.
And of course none of it matters if you have a shitty room, and/or monitoring chain and aren't accurately hearing what's coming out of the speakers.
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Post by swurveman on Sept 30, 2019 16:17:41 GMT -6
I demoed it with Cubase. The Raven's faders didn't align with Cubase's. It was a pain in the ass. Nice idea. Didn't work.
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Post by swurveman on Sept 28, 2019 11:10:43 GMT -6
I don't understand how these "shootouts" can be accurate/informative, when the singer's mouth relative to the position of the capsule in the microphone is different in all three.
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