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Post by tonycamphd on Dec 11, 2015 16:15:25 GMT -6
I was thinking about equipping a few of my console strips with line input transformers, any recommendations Silver Bullet on the inserts of a couple of your input modules...... Best of all (OK, maybe just "most") worlds. Plus, you can drop it onto your mix bus while mixing if preferred....
Brad will hook you up if you finish his mic..... heh hehYou mean "when", I know, it's pathetic, I'll make it up to him....
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Post by tonycamphd on Dec 11, 2015 13:43:14 GMT -6
10K:10K input transformer. Can use a 600:600 too, though could need some load resistance added to tame resonant treble bump. Could use a 15K:15K too, since 10K load of input will force good response out of a 15K. Are you really ever seeing that max level? What's max out of what usually feeds it? Consider +27 on a transformer is going to be at lowest frequency of interest, so a transformer distortion spec with a 20Hz response, means it'll take +33 at 40Hz, +39 at 80Hz, etc. So consider that saturation relative to frequency component backwards and forwards. cool man, thanx, i have a pair of these Carnhills laying around, they look like prime candidates, do you have any experience with them?
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Post by tonycamphd on Dec 11, 2015 13:41:30 GMT -6
I was thinking about equipping a few of my console strips with line input transformers, any recommendations for good chewy colored 1:1's.. EmRR jsteiger thanx might be worth looking at these for 1:1.... the '4L' version may meet EmRR's qualification of being "purposefully chosen close to or under the headroom line of the connecting circuitry." Roger Foote said it was quite colored (in a pleasing way) in his 502 pico compressor output.... $22 from cinemag. cinemag.biz/output/PDF/CMOB-4.pdf --> more colored cinemag.biz/output/PDF/CMOB-3.pdf --> less colored thanx man, i believe those are output trannys though...
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Post by tonycamphd on Dec 11, 2015 13:16:16 GMT -6
1:1's don't tend to have much color unless they are purposefully chosen close to or under the headroom line of the connecting circuitry. Having said that, I could sit anyone down with about 50 varieties of 600:600 transformers and move between them, and you'd pick up subtle differences between them all. After awhile you'd start to classify them into families....and then you'd be 89 years old and it'd be time to stop..... can I lean on your experience and ask you for a personal recommendation? here's the specs of what exists now, thanx man...
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Post by tonycamphd on Dec 11, 2015 11:43:45 GMT -6
Overheads are where it should be, phase em up fo sho! you can gate the toms musically with a quality gate, FF proG is awesome, and range them way down, all the drum bleed into the other instruments isn't going away, and that should smooth the toms re entering the picture, add punch and clarity, of course without hearing the tracks, take with a grain of salt.
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FF DS
Dec 11, 2015 11:38:28 GMT -6
Post by tonycamphd on Dec 11, 2015 11:38:28 GMT -6
i have all the "pro" FF plugs, as well as timeless 2, saturn and micro, i also own the waves platinum bundle which goes virtually unused because of the FF stuff.
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Post by tonycamphd on Dec 11, 2015 10:22:57 GMT -6
I was thinking about equipping a few of my console strips with line input transformers, any recommendations for good chewy colored 1:1's.. EmRR jsteigerthanx
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Post by tonycamphd on Dec 10, 2015 19:51:05 GMT -6
hows that work? what if i want to pay 5 cents? Are they serious?
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Post by tonycamphd on Dec 10, 2015 19:43:38 GMT -6
I also never spotted that Hendrick's is a Gin of the same name but different spelling. I think top tier musicians, as a concept, is a problem. Top tier is a brand a set of artists create, not an inherently real thing. I could sleep through a U2 concert, a U2 fan would walk out on any of my favourite bands. We all recognize the subjectivity but still insist of concepts of quality - the reason they feel abstract is because they're largely fabrications of social influences rather than musical ones. The reason Hip Hop, Blues, Punk and others came about is because musicians had to make music with what they had. This idea that we need a Hozier or 2 to blow up big time so we can lock an artist in Abbey Road with an Orchestra is nuts. What we need is a larger portion of the 8 billion contributing to our culture, rather than any cultural presence being the prize of the elite. The problem is everyone who thinks they're special has the ability to clutter up the ethos with there garbage, back in the day, there was a limited amount of media outlets, you had to have something that was special, or stood out to people in the position to help you along, or bring it to the light of day, now the focus is so wide you can barely see your nose for your face haha. Music has objectively devolved IMV, if you just based that on "hey musician, play this", in most cases today that would be a fail, competency matters.
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Post by tonycamphd on Dec 10, 2015 19:35:05 GMT -6
Yesterday's musicians were on stage almost every night from the time they were 16 and were often earning a living without needing "day jobs." Today's musicians have just as much talent but not nearly as much performing experience and a huge proportion of today's most talented high school kids simply can't afford a music career. I don't know that this is the case for the top tier musicians. Those who are identified early in their lives get just as much opportunity to perform as players in the past. In fact, I could even argue the opposite; yesterday's singer songwriters could make a living writing tunes for others and barely have to set foot on the stage. Kenny Loggins, Paul Simon, Laura Nyro, for instance. From what I gleen reading these forums and others, the opposite is true - there's no money in writing and recording songs today. Moreover, the ONLY money to be made today is from playing out. I'm not going to actually make that argument ..but respectfully, I'm not buying yours either. Jeez bro, judging from my entire experience it seems you're just way off, there never was a solid living in music for most, now it's a farce for all but a few, and even that will be a modest living at best for all but the luckiest, Bob's spot on, he's consciously lived through the entire era from the inside, recording some of the best musicians the world has ever seen, in case you were unaware, Bob was an original AE gansta at Motown records.
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Post by tonycamphd on Dec 10, 2015 11:35:48 GMT -6
if i was absurdly rich with $ instead of personality haha, i'd find every picture and historical document i could of the stones mobile unit, and rebuild it to the letter, then i'd buy headley grange manor and set up my drumset in the stone hallway, then i'd record when the levee breaks, then i'd listen back and be sad because i STILL don't sound like Bonzo! dammit!!!
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Post by tonycamphd on Dec 10, 2015 11:27:40 GMT -6
Things are progressing slowly but surely. Getting the floor put down in the piano room this week. Hoping to get the piano moved in before Christmas. I will try to post some pictures at that point. Control room is basically finished. Just need to load in the gear and start wiring it up. Live room is ready to go except for some trim work and corner traps. Budget disappeared some time ago but I'm having the time of my life getting this to come together. enjoy the ride pal, if you don't you'll dive on the sword lol, i have to say, with every little accomplishment i make in here, it feels good, when something sounds great as a result, it feels REALLY good! I got some things going just before wiz got here in october, sitting back and watching him twiddle the stuff was an outside perspective in a weird way, the results of which sounded really great, it made me feel like I hit some smack at the moment haha, good luck and keep at it!
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Post by tonycamphd on Dec 10, 2015 11:01:02 GMT -6
the other thing that matters huge is pre amps, i have api's and neve's here, the samar modded ribbons i have sound diff on all, but best through a surprisingly good Delta8 pre(JW super modded out of course 8), it won a little shootout that wiz and i did while he was here, lots of softsided clarity and detail.
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Post by tonycamphd on Dec 10, 2015 10:31:29 GMT -6
I definitely feel one is better on some sources, but the other is better on others. I'm purposely being vague. It seems some folks already know which is which. How long should I let this run before revealing the sources? I say no hurry, do as you see fit though...
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Post by tonycamphd on Dec 10, 2015 9:52:13 GMT -6
Here's the Stam 2A... wow, t4b's and cinemags, hmmmm, how the hell is he doing those builds that cheap? he's in Chile right? Has everyone who's ordered gotten their rigs?
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Post by tonycamphd on Dec 10, 2015 9:43:50 GMT -6
no offense meant to anyone, but i'm the devils advocate, i ain't buyin nothin from no one until i know whats under the hood, $400 is a lot of money to toss on something I KNOW KNOTHING ABOUT, i'd bet the farm it's not using near the component quality, or the quad vca's like the Serpent, I don't think I've seen the inside of his LA2A ish rig yet either, anyone have some pics of that one?
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Post by tonycamphd on Dec 10, 2015 9:37:58 GMT -6
one foot in front of the other pal, enjoy the ride, thats what i tell myself every day 8)
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Post by tonycamphd on Dec 10, 2015 9:30:15 GMT -6
could it be with the super magnet nature of neodymium magnets(rare earth magnets), the mics being side by side could be interfering with each others magnetic fields? hmmm? Again the wildly different outputs is a bit baffling to me... Beyond the level differences, what are your picks? they are relatively close, and i might pick totally different if i had them here in my environment, these "out of my own hands" tests only go so far, but I picked 2 on all of them because if felt the only eq moves i'd need to make would be cuts, i also felt the low mids were just a touch murk push woofy on 1, that drives me as nuts as slice, as i could easily go either way, the cost of that VL seems a no brainer.
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Post by tonycamphd on Dec 10, 2015 9:21:02 GMT -6
could it be with the super magnet nature of neodymium magnets(rare earth magnets), the mics being side by side could be interfering with each others magnetic fields? hmmm? Again the wildly different outputs is a bit baffling to me...
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Post by tonycamphd on Dec 10, 2015 9:18:21 GMT -6
Looking forward to checking this out when I get in front of proper playback equipment. The magnet around a ribbon has a lot to do with output level. magnet, ribbon thickness, and transformer ratio right? what I find most interesting about this side by side, is the apparent much, much greater output by one of the mics, it quite honestly makes me feel somethings wrong with one of the mics or something in the chain? if thats not the case? it's a bit of a head scratcher to me....
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Post by tonycamphd on Dec 10, 2015 9:05:02 GMT -6
I actually did walk both ways to school! haha to be clear, this is all in fun! ok then here we go..... thats not groove! haha, thats a frozen white boy having a seizure behind a drum kit , THIS is what i'm talking about, groove, weight, competence, swagger, MUSIC! how about this? A zillion and one guys think they can lay down groves like this, and all of them are completely fooling themselves...., just bust out a mic and track yourself or anyone else trying 8)
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Post by tonycamphd on Dec 9, 2015 23:07:17 GMT -6
I level matched them, not as obvious at that, i do have a preference, but could see using either mic no doubt, it's all but certain that most people will pick 2 as louder is better, it's just human nature.
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Post by tonycamphd on Dec 9, 2015 22:36:15 GMT -6
Rant starts here; Of course it is subjective, and yes this is JMO, but those first linked tunes are nothing more than slightly more complex greenday arrangements, and IMO are emblematic of the back to back seamless interchangeability of dynamics free rock bands of the last 15years, they also display perfectly what is so sorely lacking from most modern music. Where is the gritty believable depth, and swing stinky groove, for god sake someone GROOVE!!!!! it's vanished, everything is squared off on the 1, super soft wonder bread! todays musicians are so vanilla it's not even funny! Where is the swagtastic, ballistic overconfident competence of any of those old school cats represented in modern day music? Those old school folks were all loaded and ready to explode, now everybody's so friggin cutesie and foCONTRIVEDs, they aren't raucous, they PLAN to be raucous because a publicist or a friend said it'd be cool..., they got nothin!
To me, the single most important thing to find in any music(and i like ALL music i actually can believe in), is you have to believe and care about what the performer is saying/playing and not get bored, I'm not believing too much these days, and i'm so friggin BORED!!! lord help me I'm sooooo bored with uncreative regurgitated focus grouped modern music!! Rant ends here; lol
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Post by tonycamphd on Dec 9, 2015 21:54:50 GMT -6
#2 was hotter across the samples but it was my choice. i'm sure you know this, there's a simple explanation for that, ribbon thickness
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Post by tonycamphd on Dec 9, 2015 21:53:38 GMT -6
ones got bigger bottom, more open clarity, more top end, and has more output.
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