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Post by rocinante on Jun 11, 2017 14:23:57 GMT -6
Lot of people reselling the 8 space api with compatibility issues. Happy BAE user here. I'd love to hear more about this API issue you mention. Please elaborate. thanks, Brad Random 500 units werent working when fully loaded was what i read when i researched it. This was two years ago but people were sending them back. I wanted one too and almost went for it as others reported they worked great but i chickened out. This was on the purple site but iirc other places (online distributers) as well.
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Post by rocinante on Jun 11, 2017 8:44:13 GMT -6
Lot of people reselling the 8 space api with compatibility issues. Happy BAE user here.
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Post by rocinante on Jun 4, 2017 18:26:54 GMT -6
Maybe you'll find this helpful. This is a two channel tube mic preamp using an Ian Thompson pcb. Its chock full of 6922 tubes, cinemag input transformers and carnhill output transformers. It took me awhile to design the front panel and switches but in the end i like how it came out. This is also one of my favorite mic preamps albeit one channel can get noisey depending on mic and source. Need to fix that, otherwise its good.
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Post by rocinante on Jun 4, 2017 10:08:05 GMT -6
Hey John, that was well written. I don't know if anyone says that during this entire thread. But seriously; good piece brother.
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Post by rocinante on Jun 3, 2017 17:15:21 GMT -6
Studio One has a fully functional generator and scope. Waves makes one too. I mostly use the hardware cause its easy but for calibrating eq's the software is handy too. I still trust the hardware more though. I also have used zeitgeist and digital scope and both were ok. The plug ins that came with Studio One i found to be nearly as good.
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Post by rocinante on May 28, 2017 11:17:23 GMT -6
I gotta say i use just the DI even though i mivht record the amp too probably half the time but its completely dependent on the material. I use a tube DI but also the Warm wa12. During mixdown its a Pultec into Waves Cla3a. Sometimes Klanghelm.
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Post by rocinante on May 28, 2017 11:13:13 GMT -6
Thanks. I unfortunately had to put the brakes on this till i finish moving but it will get done.
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Post by rocinante on May 25, 2017 12:23:12 GMT -6
Luckily in this day and age it's okay to have both automation, and doing it old school. Automation is amazing and honestly ive done tracks that would have required 2-3 people (and back in the day it did) but these days i just assign what i needed those people for and obviously it has made everything a lot faster. I remember we used to have to wait and explain the song and everything we needed done which could take forever. Recall is a story in itself. Laying on top of the console moving the faders, in a completely absorbed, physically involved, very Zen moment is the butter to my bread. Nothing else is like it and after I'm done and listening to the mix, i cant help but think to myself: 'man i love this shit' I do have to mention that when im neck deep in work that I'd been putting off for as long as i could, and the deadline was yesterday working on something else while the pc does everything ive programmed it to isnt just helpful, its necessary for me to stay alive. Because i am moving I've lately seriously considered just getting a summing mixer (actually finish the one I'm building ugg) and doing it all through that and maybe one day I will, but more than likely I'd do both for at least a little while. I'm afraid of mixing console withdrawl. And this is from a guy who has a friggin modded Ghost. It aint no Neve.
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Post by rocinante on May 23, 2017 12:35:40 GMT -6
I still ride the faders even when the band is great. We all make mistakes and sometimes that singer screamed just to loud but the compression is perfect on the rest of the track and I don't want to add another (well not like that but I use compressors on top of compressors), and so I ride the fader for a moment. Another example is: The violin comes in a little too strong on that one part (and boy can they stick out) and its already got an EQ feeding an la2a and valhalla after the Tc Electronics M-0ne (thank you Svart it's a miracle worker), so it just needs a 3 db dip. Ride that fucking fader. Some songs I am adjusting all the time which I picked up interning as the chief engineer (and my mentor) never took his hands off the board, and was always making adjustments. Sometimes a simple song needs no fader riding as its set and I just have to sit back and finish my coffee, but only two weeks ago I was mixing 3 violins, one accordion, one cello, five different guitars with each recorded on multiple tracks and summed into the 5 tracks, one bass, one keyboard, a full drum kit, a 4 piece percussion kit, and five vocals, and mixdown required me to practically lay on top of the board while I made adjustments everywhere. That's some zen shit right there. It was fun.
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Post by rocinante on May 23, 2017 8:08:43 GMT -6
I fader ride every song. Somewhere. I often have to automate a few track somewhere but there is something about 'that place right there' that feels better when I am in the moment adjusting. I often do this on my console even though I usually level all the faders on the console and use my daw controller for fader adjustments. In he end after the main automation I too prefer drawing with a mouse. There's something about the daw not reading the controller right that has never worked for me, and I always end up needing to adjust the finer points.
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Post by rocinante on May 22, 2017 14:19:07 GMT -6
Okay the old cd is bad. Like I needed to make a cd really quick in a basement bad. I am pretty certain that any old fans would just like the new album since it has the same songs redone. I worked and signed some agreements that I would never It mostly the distribution I was concerned about. Purely a marketing question I guess. Also the album will be far cheaper. I am going to be doing a kickstarter to get it put on vinyl and cd but otherwise the album will be available for the first year at $3.00 with a donation button should the listener want to give us more. 19 songs. One song is free with a button for donation if one should like.
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Post by rocinante on May 22, 2017 9:24:49 GMT -6
Despite the tragedy going on in my life, (I found a place and am slowly packing the studio) there's been another development that has been an anchor for me and I owe it all to RGO's very own Nobtwiddler. Paul and I have been finishing up my band's album which was 10 years (on and off) in the making. 7 years ago a flood took out my studio while i was in the hospital and wiped away most of the material that was recorded and lets just say I had a hard time dealing with that. I have since recovered and moved from Burlington to Minneapolis where I've rebooted the band back up with some of the older members as well as newer ones and rerecorded and mixed and finished the album. It took years and features a large cast of musicians and I am so super proud and happy how it turned out and it was Paul's help that made it that way. I can't express how super talented he is (go to his website and see his clients for proof) and the incredible work he does putting on that frosting every cake needs. With his magic touch everything came super alive including my mistakes which he also let me take the time to fix. I am going to write another thread about the process; for instance I mixed violins, vox, tubas, and drums on some tracks that spanned 8 years and were recorded in 5 different studios/locations, using multiple techniques, various gear, and sample rates etc... and how it all glued together with Paul's help. But i actually have an important question. While cutting my teeth many years ago i recorded my bands demo and needing to sell merch during tour made cd's and got a few soundtrack clients which lead to me releasing the demo on CDbaby which does the digital distribution. I hate the demo and think the songs do an injustice to the band. Most of the songs have since been rerecorded so should i delete the old album pointing fans and potential listeners to the new one or keep the old demo but pointing fans and potential listeners to the new one? I am afraid of the songs we redid that are available on both albums with the later being far superior. Believe it or not the royalties from films and downloads of several songs pays for stuff like our website. I own all the rights to everything (although several sneaky labels tried to screw me out of that which was why i released it on cdbaby). Your thoughts please. I don't know what I'm going to do Saturday mornings anymore. I was beginning to enjoy Teen Titans.
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Post by rocinante on May 9, 2017 1:18:32 GMT -6
The MSP7's had a clearer hi end compared to the genelecs IMO and even the mids translated well enough to make me feel that they were a better more rounded moitor. I am fairly certain I like these LSR's a good deal too but I'd really like to put them side by side in my room with the MSP7's.
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Post by rocinante on May 8, 2017 12:32:30 GMT -6
I absolutely adore the msp7s and wish i hadnt sold them. I'm right now using lsr308s which are good but i plan on getting msp5s to accompany them. I didnt think i needed a sub bass but i have never heard them with one so maybe... Btw, I traded in my genelecs for the msp7s.
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Post by rocinante on May 6, 2017 8:30:29 GMT -6
Y'now, sometimes debate is interesting, sometimes I get insight regarding things I was unaware of, and sometimes the vitriol gets so off putting I promise myself never to get caught up in it again. That said, I don't care what facts or figures people present or why's and wherefore's, and why "I'm wrong", vinyl feels much better to me, whatever the reason, there's something going on that we may not be able to fully explain yet. I'd guess that digital, no matter how high the resolution inherently is missing parts of the whole picture, and I think we sense it somehow. I also get that a digitally recorded album put onto vinyl can only present what it gets, not add anything, and still, albums I've heard on vinyl that were done digitally still sounded better to me. I can't say exactly why, but they do. Former SOTA /Audio Research/ Magnepan owner, Vinyl isn't better its compromises are different . Vinyl is the sonic reference many of us grew up hearing and probably formed our sonic expectations. Vinyl is a ritualistic experience, vinyl is about the long play not the short, it's about the heyday of the music biz. It is not some magic elixir that can repair a bad digital recording, that is an emotional response to the experience and yes emotion is an integral part of any musical experience, we have to seperate that. I'll wager and having recently experienced way to many " high quality " reissues that suffer from sources that have suffered at the hands of time and the promised savior of modern DSP I'll argue it's far from the best of both worlds it's for the most part the worst sonic wise, but the experience is grand ! Yes.
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Post by rocinante on May 5, 2017 16:52:51 GMT -6
If its on vinyl itll be played on something that is probably better than computer speakers.
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Post by rocinante on May 5, 2017 16:50:26 GMT -6
Latest generation i5 isnt gonna be bad.
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Post by rocinante on May 1, 2017 23:29:54 GMT -6
Well i think your two cents is right on the money. 😉 Yeah looking back (and although i like them) those small vu meters aren't nearly as accurate as the larger ones.
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Post by rocinante on May 1, 2017 1:54:31 GMT -6
Iirc all of the 54s and clones have had meter issues with some resolutions. It makes me think theres something with the gain reduction metering circuit.
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Post by rocinante on Apr 28, 2017 20:45:53 GMT -6
The build quality actually looks alright. Id leave the caps even (cheapo gray kemets and a few wimas) but id like to see the underside. ...And swap the xfmrs obviously as thats a big part of the sound.
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Post by rocinante on Apr 24, 2017 8:38:30 GMT -6
I agree but how many purchases have you made that were because of a review?
Also I used plenty of Behringer stuff live but the main problem has always been longevity; their shit don't last very long. But for $40 you can always get another. I was working with a client that recorded a lot of stuff at home. I had thought we would have to retake a few of the vocals as for half the album he used an mxl mic and borrowed a Neumann tlm103 for other vox but when i listened to it what i thought was the tlm103 was the mxl and vice versa.
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Post by rocinante on Apr 19, 2017 17:37:00 GMT -6
That gamble website is something else. I was waiting to hear my dial up modem try to reconnect.
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Post by rocinante on Apr 19, 2017 9:18:23 GMT -6
Dave thank you, that stuff is really interesting and i love hearing the various histories of consoles like the ones you worked on. Plus your description and knowledge is for lack of a better word; awesome. Consoles hold such history and it follows them like an infamous pirate ship. In the only facility i worked at we had a a Trident 80b and it was my first large console. Looking back and after having used a AWS, a 2408, and several Neve's to include just a few, that console was just massive sounding. Nothing like the 8078 I had the pleasure of using twice but still a great console. I had a mackie at home that i used for my live sound gigs but it was like a recorder compared to a bagpipe, or a yugo compared to a Ferrari. We had techs and at that time i knew very little about repair and design. I need to just eat it and buy some Capi so i can finally finish the modifications and improve my Ghost master section. Thanks again for the great history lesson.
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Post by rocinante on Apr 14, 2017 23:15:51 GMT -6
A semi-modded Ghost. So nothing spectacular but its got its points. Ah fuck it, i like it. Ive had it for awhile now and had wanted one for years before i got it.
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Post by rocinante on Apr 14, 2017 19:12:09 GMT -6
My daw templates (PT10 and Studioone) are busses through the console so its no work to set up. I default to whats intuitive and the daw mimics PT 10's mixer. Stereo bus out 1 and 2 are my drum bus which go through hardware bus compressors and eqs. Track/channel three is often patched with a 1084 and an 1176 and its usually where guitars are sent. And so on and so forth. I use my daw controller faders using the console faders as a 'trim'. It takes maybe 2 minutes a session to set up. An electric guitar playing some death or doom through a 1084 and an 1176 (with some fab filter for touch up) makes me smile everytime. Minus some waveform editing theres hardly any work.
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