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Post by joseph on Feb 27, 2018 19:21:56 GMT -6
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Post by joseph on Feb 27, 2018 19:08:39 GMT -6
The H3N2 vaccine was not particularly effective this year, I think because the egg cultures mutated. That was the brutal strain, which caused sepsis in some people.
Can still help with lessening severity of symptoms though.
Anti-vaxxers fixate on the Mercury in multi-dose vaccines, but it's not the same isotope that is toxic and sticks around in your body.
I usually get inflammatory response/feverish from the shot, but on balance it's the right move to get one. I was laid up for a week like John, during my paternity leave. It was awful.
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Post by joseph on Feb 27, 2018 18:58:31 GMT -6
Anyone have more examples of the Redd handling loud sources/vocals? Looks like MJB's Soundcloud link covering this from earlier in the thread is no longer available. Also FWIW, there's a used Redd listed on Guitar Center's website. You can also hear me singing opera in the video I posted in this thread a while back. I’m probably peaking somewhere around 110 db. Your vocal was the most flattering I've heard on the REDD. I think distance and a more open vowel technique and graceful consonants were factors, not to state the obvious.
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The Flu
Feb 26, 2018 11:41:13 GMT -6
Post by joseph on Feb 26, 2018 11:41:13 GMT -6
Take it easy!
I had it bad this year too.
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Post by joseph on Feb 26, 2018 9:02:22 GMT -6
Often been interested in the eq because it's 4 band and particularly the cut at 500hz.
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Post by joseph on Feb 25, 2018 13:33:39 GMT -6
The modern Moogs like Sub37 use VCOs but don't sound vintage to me. They just have better tuning control, same with DSI Prophet 6 and OB 6, which are step up in terms of vintage character although not quite there (part of this is tuning stability and part saturation of filter), but they have other advantages as well like arp/sequencer and alternate tunings and OB 6 has full polymod and so on.
The Minimoog reissue is more vintage and the Behringer has the cheap interface but maybe 95% of sound. Low bass is not as good. Looks and feel is really important too I think on the Minimoog.
Deepmind is a DCO Juno 106 derived synth with full second OSC but the filter is more brittle sounding and the instrument feels cheap, and it doesn't have the famous analog chorus. Also the effects package is nice but I personally much prefer Lexiconish reverb and analog delays and choruses on synths.
UBXa probably more faithful copy but OBXA quite limited modulation wise. So good for regular sounds but nothing crazy.
I also doubt Behringer will nail the sound, but that's another matter.
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Post by joseph on Feb 25, 2018 10:16:45 GMT -6
Does it really sound as good going slower though? Generally timestretch works better speeding audio up than slowing it down, given the interpolation.
A situation I'd use something like this for is a drummer without click pushing an end chorus too hard, for example. But when I've tried Izotope it still sounded shit on the transient impact. I'd expect a chorus played too slowly vs another chorus to work better.
But very cool to have a metronome that can follow the track with the emotional center of the song.
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Post by joseph on Feb 25, 2018 9:20:04 GMT -6
That's it, Ross...exactly. And I am by no means dissing the redd- on the contrary, it sounds incredible. Like Hi-Definition. No, I feel the same way about almost all the REDD male vocal examples I've heard, sounds too forward and has a bit of an emphasis on the transition from upper mids to highs. I wouldn't say it's sibilant though, just kinda calls attention to the vocal in a way I don't like. Reminds me a bit of some of the nicer Brauner mics but with more color. The big phase shift on a CK12 is higher up. For my taste, I just prefer other mics that don't have this emphasis, particularly for acoustic or indie music. But for modern production stuff with dense mixes or torch stuff it's pretty ideal. I do wonder whether a lot of this could be changed with positioning and people are just close miking the hell out of their shiny new mic, the REDD may sound better with a little more distance. Like Vincent's examples sounded better to me.
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Post by joseph on Feb 25, 2018 8:58:13 GMT -6
It's all about the filters, the sound of the filters and choosing when and by how much to downsample from the A to D converter's internal sample rate. My experience with plug-ins has been that 48 can sound better than 88.2 but not as good as 96. I assume this is because the high-end markets for digital audio gear are post production and live sound which are standardized on 48 although I recently learned that 96 is making inroads in touring sound. Aliasing isn't what we think of as distortion coming from the analog world. It is a masking of detail in the midrange. Another interesting thing is that it is easier to hear on a big sound system in a hall than in a recording or mastering studio. I noticed this especially with the more sophisticated clean plugins like DMG, and in general on good monitors the soundstage just seems to be deeper and more refined tracking with 96 and 48 vs 41.1. Also certain plugins that have oversampling options built in sound as good with it off at higher sample rates and with less latency. I wonder if it's advisable to always LPF 96khz mixes more so than 48khz given this discussion about harmonics from recorded audio in inaudible range creating distortion in the audible range www.gearslutz.com/board/mastering-forum/968641-some-thoughts-quot-high-resolution-quot-audio-processing.html
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Post by joseph on Feb 13, 2018 22:07:06 GMT -6
I think the lack of transformer, the new circuit in any case makes a big difference in the transient response. The 184 sounds harder and less flattering, not just brighter. Yeah it's the hardness that bothers me more than the brightness. Josephson C42's are brighter than KM184's but they are not a 'hard' sounding mic. Yeah I always thought C42s had incredible depth for a cheaper transformerless condenser. They are maybe too bright overall for some things but they pull out the midrange detail so well without any obvious color or flatness, and yeah not hard either. Honestly I think the Josephson mics are the best in the world from a technical perspective.
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Post by joseph on Feb 13, 2018 20:24:37 GMT -6
I think the lack of transformer, the new circuit in any case makes a big difference in the transient response. The 184 sounds harder and less flattering, not just brighter.
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Post by joseph on Feb 13, 2018 8:40:27 GMT -6
For vintage proggy sounds then you can't do much better than Diva which has Moog style oscillators, envelopes and ladder filter plus Oberheim style state variable filter. Can also do classic Juno/Jupiter and MS20ish sounds.
For indie rock prog, then the Repro-1 and 5 package pretty much nails the Sequential Circuits Pro One and Prophet 5 Rev 3. I think these two are the best hardware emulations so far.
Remember to play in mono.
For Buchla style west coast synthesis you have Madrona Aalto (they also make a nice physical modeling synth called Kaivo) and the new Arturia Music Easel.
For cinematic, Dark Zebra with Diva filters is my favorite, and can do all sorts of sounds. It's somewhere in between additive and wavetable. They also added an awesome waveshaper, new interface and reverb to the latest non-Dark version. Ominsphere is very flexible but it's more of an advanced sampling synth, a rompler with synthesis options rather than a classic subtractive or additive synth.
u-he also does Bazille which is a semi-modular synth with digital FM and Phase distortion oscillators and analog style filters, really excels at sequenced thriller sounds.
For Wavetable, Serum is the most famous and used on all those horrible EDM tracks, but sound-wise I'm liking the demos of the new Ableton 10 Wavetable which comes with Cytomic filters apparently.
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Post by joseph on Feb 11, 2018 16:35:27 GMT -6
i love when SDC sound great on Vocals. I often use the M-300 (with a pop filter or windsock) or Josephson E22S Yeah I rather like the E22S on vocals too.
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Post by joseph on Feb 8, 2018 13:32:38 GMT -6
Have to agree that a band should rehearse a whole lot before recording a record.
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Post by joseph on Feb 3, 2018 14:30:00 GMT -6
This circuit is probably the easiest to make sound great and the easiest to make sound horrible. The GSSL has a mono sidechain, the put the HPF in there, but the original SSL design doesn't need it, the L/R VCA's are what make that compressor glue and sound so transparent. I built my own version but included transformers on the inputs and some gain stage changes. It's kind of like a RED 3/SSL all in one, I love it. I also built a parallel 15k+ mix knob that lets you inject what is kind of like the Clairphonic back into the main output. Took a while and theres a few people that put ideas in my head to get to that point, but man I couldn't imagine not having that buss compressor. Even if it's not compressing it still makes the mix better. I'd seriously go full out Rocky Balboa if someone tried to take that from me. Yep, to clarify it's the GSSL without turbo mod that has the mono sidechain. Your custom compressor sounds awesome.
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Post by joseph on Feb 3, 2018 10:35:52 GMT -6
Hopefully Klaus will do a tear down on this like he did with the u47 fet.
Conveniently or not so conveniently my sweetwater account has 7000 in credit. 🤔
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Post by joseph on Feb 3, 2018 10:24:41 GMT -6
I wonder if he would do a custom dbx VCA version rather than That or whatever he's using, or even transformers on the output.
I have a turbo-mod GSSL with goldcans and it's definitely grimier sounding. Although the ratio calibration is different and it's not perfect on mine, it does the 30-10ms attack 100ms or auto release thing perfectly.
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Post by joseph on Feb 1, 2018 15:05:42 GMT -6
In your world a nice pair of 170's would be a perfect stereo pair, add a Hardy M1 2 ch + with Transformers and the combo would work perfectly in Opera or Crooner world! As much as I think Daves mic's and the Blue have serves you well, I think it's time for a real quantity stereo pair as goal! Yeah, a good stereo pair has been on my list, although I was going to start looking at a pair of SDCs or Ribbons, not MDCs like the TLM170 or U89. I have a tendency to lean toward some color. Clean mics, like my old KSM44 end up through tube preamps. I'm honestly not sure the TLM170 would be my thing. For this reason I was sort of hoping for a pair of U67ish mics. The MK67 was just too dark to do the trick and the CM67LE Dave made for me wasn't quite right either as it replicated the frequency de-emphasis with a roll-off. I tend to go the root of Al Schmitt with my approach; limited EQ, mic placement tricks, picking the right mic for each job. But, I would be game to give a TLM170 a try. As for the Hardy, they're nice. I didn't love singing through it either time I tried it, but I'm sure if you want clarity it's a great preamp. For a while I was leaning toward picking up two Grace 501s. I'd used a Grace a few times and liked their warm and neutrality. Also know they are good for ribbons. I actually picked up the SSL Alpha Channel, which should arrive on Monday. Not as clean as the others, but cleaner than my ACMP-84, with a dumbed down version of the SSL EQ, and the VHD to play with for color when I want it. I'm looking forward to trying it out. I've recorded through a couple of SSL consoles in my time as a studio singer and as recently as last month at jeremygillespie 's place. Also, I've used the Super Analogue Channel Strip. The Alpha Channel is not the same, but it came highly recommended by my mentor and even Jeremy gave it a thumbs up for that kind of sound. We'll see. As for the BLUE mics, the Stage II is really top notch, especially with the B7. The Stage I is meh. I'd love to hear the BLUE caps on a CMV563, as they were designed to be interchangeable with the original Bayonet style caps and work on the CMV563... Maybe down the road. In theory they work on the new ones too, but you need to pick up the bayonet adapter piece. I wouldn't mind hearing an M7 on the BLUE either. Maybe you should try a pair of Schoeps, with maybe MK21 or MK22 capsules. These are often used as spot mics in classical recording.
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Post by joseph on Jan 31, 2018 23:03:14 GMT -6
The filtertrons clip sounds particularly good!
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Post by joseph on Jan 31, 2018 23:01:31 GMT -6
I sure hope so, thanks!! Health is everything. Doesn't really matter what mic Tom Petty or Prince liked best, does it? Without health, you have nothing. I've been through some unhealthy times and it's true. And it sure doesn't matter now for those poor guys that are gone. Fentanyl was involved with both of their deaths. I almost died from a Fentanyl overdose in 2003. I consider myself very lucky. Seems like an interaction of drugs (Fentanyl included) crept up on each of them, and poor physician oversight.
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Post by joseph on Jan 30, 2018 11:21:56 GMT -6
I saw that a couple days ago. If I'm being honest, it seriously tempted me for a minute. But then I came to my senses and realized that it's still six thousand dollars. I have no business owning a $6K mic. I'd buy the REDD way before that. Also, I have that MK67. And if the people who say the MK67 sounds just like a U67, then that makes even less sense to me. I mean, am I right? (Seriously, someone please validate my decision to not buy this mic!) I can totally see that. I never considered it myself but can see how someone would. Neumann claims its not just temporary either. So it is a regular product again. So if you are dying for one the road I am sure you can get one. Spend that money on a bunch of other things. You can get a bunch of mics for that money. Some really nice ones too. Cool, good to know. I'd like to get one of these eventually. Maybe next year or the year after. Other dream purchases would be Bricasti (maybe the cheaper one when it comes out) or that new Waldorf Quantum. Also aren't U89s and TLM170s and even TLM67s used a lot for opera and lieder/song recordings these days, along with Schoeps, U87s and M49s?
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Post by joseph on Jan 18, 2018 22:52:25 GMT -6
Ditto on Rumours
For me, I like to rock
Always
Tom Petty - Century city Neil Young - See the Sky About to Rain and Mellow my mind Breeders - Glorious, Sinister Foxx Van Morrison - Into the Mystic Wings - Let me roll it AC/DC - Have a Drink on Me The National - I Should Live in Salt
edit: Almost forgot - Smashing Pumpkins - Rocket
If they are my speakers and I'm not doing rock
Giulini - LAPO Schumann Rhenish Karajan - 1966 Bruckner 9 or 1965 Sibelius 4 Carlos Kleiber - Weber: Der Freischütz, Wolf's Glen scene. Klemperer - Mendelssohn: Hebrides Maag - Mendelssohn: A Midsummer Night's Dream Any Teldec Alban Berg Quartet Gilels - Beethoven, Les Adieux Celine Frisch - Rameau Tomita/Holst - The Planets, Jupiter NIN - Ruiner
Recently a lot of mixes I use to ground myself are a bit unbalanced, like especially PJ Harvey, Working for the Man.
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Post by joseph on Jan 15, 2018 9:32:40 GMT -6
I wish AKG hadn't discontinued the 422/426
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Post by joseph on Jan 15, 2018 9:28:50 GMT -6
VMS is 100% accurate you guys are just afraid of being outed as frauds in blind tests.
I know this is true because I read it on the internet.
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Post by joseph on Jan 12, 2018 9:43:19 GMT -6
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