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Post by rocinante on Nov 14, 2015 23:58:46 GMT -6
Studio one 2.6 I had been and still use PT 10. But I just got used to Studio One and am trying my damndest to get off Avid's tit. Studio One 3 I guess supports it. So I guess its just a matter of what do I want more; to upgrade to stidio one 3 or get another daw controller. I honestly just want to be done with it.
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Post by rocinante on Nov 14, 2015 23:37:38 GMT -6
M7, Yeah mostly the power supply. Most pro audio recording gear is around 15v (with some being at 24v like Neve for instance) and excluding tube stuff. I forgot about Grace. Affordable but damn good. The BLA Auteur is alright too. Both available in 500 format and affordable. For Eq you could grab some Lindell pex 500s. That 10 slot is a great deal.
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Post by rocinante on Nov 14, 2015 11:29:39 GMT -6
You literally have a million options so you're kinda asking for a flavor of the day in stereo. Which is cool. So first off; no, dont get 3 wa76s. One is enough since you want a pallete. 500 is a smart option but you'd have to grsb a 500 rack which runs about $300-$350 used for a 4-6 space. I prefer tube preamps for piano which I consider one of the harder instruments ro record. If I dont use tubes I prefer clean and transparent then. I don't know your budget but considering your using wa76s and Rode's im guessing it isnt infinite. Don't get me wrong the wa76 and rode mics are awesome (I own both) and are an absolutely smart way to get into recording. I think its ridiculous when people buy super hi end gear as their first pieces. I had really great results with the A-Design Pacifica on piano for instance. So that kind of flavor which is available in 500 series as well. I also had great results with Great Rivers mp-2 on piano but I had equally good results with their amazing me2nv. Considered by many to be one of the best all around preamps out there. For compressors; Once again the A-Designs Nail is good but I like the classics as well; Dramner, la2a, la4a, 1178, etc... Ive also had good results with the not very often mention gap comp54 on pianos. Thats just a few ideas. You really have sooooo many options I could go on forever.
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Post by rocinante on Nov 14, 2015 1:01:42 GMT -6
Well I had another session today with the mc mix/artist mix just not come through for a bit. Everytime I have to restart the hui protocol in eucon which requires me to restart my computer to be implemented. This is ridiculous. I made the studio so I could just plop down and get to work and spending 30 minutes so that my daw controller is usuable really puts a damper on that. I want to just turn the thing on and go. Several times when this has happened I just say "F it" and use the mouse. Qcon looking better and better.
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Post by rocinante on Nov 12, 2015 22:15:33 GMT -6
Ive had 3 doa edcor audio transformers and one mislabeled power xfmr. Almost sent 250v into a circuit expecting 9v. Thankfully I checked the filaments before connecting them. I tried edcors in tube preamps and didnt like them. I tried them on 312 circuits and returned to the cinemags and EA's. I didn't bother with the neve clones. The pultec though; they were great in them. And the LA2A.
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Post by rocinante on Nov 12, 2015 21:34:41 GMT -6
I had no idea the US-2400 is totally compatible with 7. That certainly clears up the Tascam being the go-to for 24 channel daw controllers. I wanted one for a long time but was afraid of the lack of support. Other wise its a mcu and extensions or several $1000s of dollars of artist mix's or the Qcon and a few extensions. If I didn't find the artist mix for the price I did I would have gotten the Qcon. I might still trade the artist in for one if Studio 1 keeps giving me problems with it (the artist mix intermittenly drops out from time to time which requires me to close Studio 1 and is a giant PITA). From what I've read the Qcon is user friendly and feels robust. The new version looks slick. The mcu is too big for my needs since I use a console with the daw controller. Unfortunately the avid transport doesnt work with Studio One 2.6 which sucks. Works grest in PT. It's a shame about the x-touch. Maybe wait it out a few more months and theyll correct all the hiccups. Its got a lot to offer but unsurprisingly Behringer just didn't seem to come through with all of it working correctly.
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Post by rocinante on Nov 12, 2015 13:05:40 GMT -6
The insides of Rubber Bands looks very similar to other stuff. I'm not interested in pointing fingers. They use Edcor in nearly everything, which ain't terrible but comparing them to cinemag or carnhill like other reputable desingers... well there is no comparison. Poor choice IMO for stuff that runs in the plus $1500 price point. I'm sure the s-type is good. The mixbuzz was great. I used it at a friends just last week and its a solid bus comp. I wonder when the he69 makes it into the market.
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Post by rocinante on Nov 12, 2015 12:03:43 GMT -6
What they need to come up with is an affordable dedicated hardware controller for plug ins. Something i could rack or have on my desktop. But yes they also need to make an updated tascam. That's incredibly interesting about it working with 8. I read there were a few drivers developed by users that made it work in 7. Im positive actually. One dude built a little website dedicated to 7 drivers for the us-2400. I think tascam thought the dm3200 would take the us2400's place. As you all know the dm3200 is considered the worlds biggest mouse.
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Post by rocinante on Nov 12, 2015 11:57:59 GMT -6
I deleted my account but the best one i found was a bcf yahoo group. Thats where i got all the info. Light sensing might be the wrong term. It works like a sensormatic senser which are the big things at department stores that stop tagged items from leaving the store.
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Post by rocinante on Nov 12, 2015 11:48:53 GMT -6
screen captureHere's a pretty old pic from years ago. The newer desk with artist mix is far more ergonomic. Less... steam punk. Nah its still punk rock as hell.
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Post by rocinante on Nov 12, 2015 8:50:25 GMT -6
Sure Tony. Believe it or not the bcf has a huge cult following and theres a bunch of online groups who have really taken the bcf to a whole nother level. The faders midi signals work by light and how far the faders are between the two light sources/receptors; which are located on either end of the fader track. One near 20db and one at -79db. Thats all, so as long as you have something in that track your good. Unfortunately the tracks are on a single pcb. You can seperate this pcb from the bcf case though. Same with the top row of rotary faders and buttons below them. Saying all that its not that hard to take the plastic and frame of the right side of one bcf completely apart, as well as the left side of another bcf. Then completely toss out the bottom and front and merge the two. Then add wood sides and front and voila; "poor man's Icon". Faders jumping out of the tracks can be troublesome and are a total bitch to put back in. Frank from frontpanel.de has also explored the bcf but hes gone far more in depth as far as the software. I'll try and find some pics of the bcfs i hacked.
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Post by rocinante on Nov 12, 2015 2:35:28 GMT -6
I tried a couple of daw controllers over the past years and finally settled on the artist mix. I like how well it integrates with PT but for other DAWs it is actually a PITA. Especially S1 v 2.6. I completely hacked apart a couple of bcfs with the intentions of either connecting it up to my console or making it more ergonomic. I ended up building a 16 channel daw controller. After a while the bcfs got a little sticky and felt limited so I sold my hacked 16 channel controller and grabbed an artist mix which im for the most part pretty happy with. The new x-touch looks promising snd I really like the jog wheel and well lit scrible strips. I'll definitely wait to see how the xtouch integrates with other daws before even thinking about getting one. Im also curious on peoples experience with the qcon as well as it definitely looks like it could be a decent controller.
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Post by rocinante on Nov 12, 2015 2:12:26 GMT -6
well that gives a clue what to expect from a service perspective 5 years down the road.... Lol
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Post by rocinante on Nov 11, 2015 21:25:26 GMT -6
Yep.
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Post by rocinante on Nov 11, 2015 3:37:00 GMT -6
You know, i kind of put together a little theory about who's behind IGS and was further validated by others who had come to the same conclusion. If you look at the layout it has a certain design signature. I can't prove anything but if its who I think it is its good stuff. I'm rambling. I tried out their Tubecore and thought it was definitely high quality.
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Post by rocinante on Nov 9, 2015 17:08:54 GMT -6
"The 1RU mixer is $2500, optional meter unit is $750, optional mono fader unit is $1000, and its optional stereo fader unit lists for $2000." Quite a drop from the Neve. Granted you gotta fill it with stuff if you dont already have a few sweet tens, but as far as im concerned this is meant for someone who already has a bunch of 500 series gear. I'm still unclear on the recall functions and how integrated with a daw it can get.
I wonder whose gonna release the next modular 500 series console?
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Post by rocinante on Nov 9, 2015 0:15:33 GMT -6
Honestly the coolest part was the history. It was like rocknroll 101. Especially the incredibly long thread from roughly a decade ago on R/E/P where all these engineers discuss various albums recorded on different helios from around the world. its long though. I have to say that Ian's 69 filter pcb is really something special and made the whole thing practical. I already had two dual channel eqs (one with a tube stage and one discrete both with edcor and carnhills) and their used all the time. Imagine kind of a pultec meets neve. Add some grain.
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Post by rocinante on Nov 8, 2015 15:13:33 GMT -6
No kit. Research, following schematics, myopic drive, a few quality friends equally obsessed, lots of mistakes,and lots of emails with some pretty awesome designers and engineers. I picked the brains of everyone from David at Cinemag to the Realios designer to engineers on staff at various studios that had helios consoles to Ian at Ruff Records to GroupDIY to GS. I wanted the preamp eq to have the option to be balanced out so used the consoles amp card (22113) following the 2128 preamp. I also am using cinemags for the in and out transformers but have been leaning toward Jensen for the input xfmr. I 'should' probably use sowter's remake of the lustraphone (which was a cheapo off the shelf xfmr at the time) but David at Cinemag is a good dude and i like giving him money. Plus they make bad ass xfmrs. Lustraphone remakes are also ridiculously expensive. All in all im 99% done and it was an interesting learning experience. It also gave me a ton of respect for designers and what they go through. Oh and I'm using Ian from Ruff Records eq filter pcbs which use carnhill inductors.
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Post by rocinante on Nov 8, 2015 10:58:43 GMT -6
Uses a eucon like protocol for recall? Neat.
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Post by rocinante on Nov 8, 2015 10:39:23 GMT -6
I'm pretty sure Zeppelin recording and mixing on a Helios had a significant role in how their album sounded. Warm, wooden, raw, and full are a few words that come to mind. I am pretty sure they will even make a great album on a Mackie.... Indubitbily. I just am a helios fan. I actually am finishing a helios mic preamp eq clone because of Zepellin and Floyd's sound and insistence in using them.
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Post by rocinante on Nov 8, 2015 1:40:01 GMT -6
I'm pretty sure Zeppelin recording and mixing on a Helios had a significant role in how their album sounded. Warm, wooden, raw, and full are a few words that come to mind.
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Post by rocinante on Nov 8, 2015 1:33:16 GMT -6
I use the waves la2a (cla) every session. I think that says I find it useful. I just finished a 5 song hip hop album that was made for a documentary on the artist who recently lost his war with cancer which I used plug ins for most of the mix and im totally confident it will sound just as good as if I had decided to use hardware. Cytomics 'the glue' and Klanghelm sit on my daws drum and main bus and are used all the time. They alternate or get used in conjunction with either of two buss comps (gssl with turbo and sss or TK Audio's bc1). So I like and use them as tools that are useful. But I don't think they do what hardware can do. I don't consider myself to be a super producer/engineer with some ostentatious list of clients. Hell I record and mix mostly folk, metal, hip hop, and punk demos and the majority of my better paying work is conferences and voice-overs which i rarely use any of my nice hardware on. But I also won't fool myself into believing that an Ashley or Presonus compressor is gonna do what an 1176 or a Distressor does. I tried too. That said I use dbx 160xt's (which by no means are very expensive) on almost every band session as well as an ART VLA II. Both great tools. IMHO.
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Post by rocinante on Nov 7, 2015 20:10:04 GMT -6
And YES, gear always matters. It's just today's fad to believe that gear doesn't matter, or doesn't matter as much as the person. Just ask any professional why they aren't working on mackie mixers with MXL mics.. Amen I'm so sick of hearing people trying to justify their cheap ass gear or plug ins. It has its place sure and can be useful but doesnt compare. The enormous sound of recording a guitar with a u47 and a 421 through a neve pre going through an la2a cant be had through plug ins. It takes the real deal. And it sounds great.
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Post by rocinante on Nov 7, 2015 12:57:01 GMT -6
I cant tell you how many times that during a live show when the band shows up with double stack Marshalls and an complex areay of pedals I know their not gonna need much mixing in the house system. Im also afraid to. 90% of the time theu dont give me the honest level they are gonna play at and a few of their pedals when engaged really raise the volume. But that dude with the angled amp stand and a couple of decent pedals (maybe a mic clip on the amp) is gonna totally get integrated which is gonna sound a lot better. Usually its a professional musician with enough experience to know what works. Now this is live sound and not studio so different context, but not. I also do a good bit of live recording that translates a lot better when the guitarist is actually in the mix. Plenty of times smaller is perfectly enough. And bassist with huge stacks are going DI. If at all. Dont get me wrong I record through the various marshall jcm and 4 x 12 stacks here in the studio but I also have a few 2 x 12 crates that sound terrific. It doesnt need to be on 11.
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Post by rocinante on Nov 7, 2015 10:44:06 GMT -6
I have yet to use a sim i kept with a band. They're fun though. And good for getting ideas down late at night. Oh and tons of albums were also re-amped.
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