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Post by tonycamphd on Nov 29, 2015 2:34:58 GMT -6
I've never owned a mic with electolytic capacitors in the circuit(like the ones pictured), that were top shelf, electrolytics in the audio path generally sound bad, especially in mics.
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Post by tonycamphd on Nov 28, 2015 21:47:29 GMT -6
I mean no offense by this at all.. a mic shootout should have a super neutral pre, and no compression whatsoever, there is no way to make a reasonable character judgement otherwise IMV, mics have their own compression characteristics that need to be sussed out without additional compression.
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Post by tonycamphd on Nov 28, 2015 21:00:47 GMT -6
complete with growling, the man was indeed a swagtastic beast, how could anyone expect him not to growl? The coolest thing is he makes music simply working the hi hats with his foot and nothing else, the guy oozed music, and the drum sound is just unreal. Enjoy 8)
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Post by tonycamphd on Nov 28, 2015 20:55:21 GMT -6
It's been a long time since I've been bombarded with so much bullshit in such a short film. The video is pretty though. Any modern CNC machine (like mine) can easily accomplish this work simply and easily. I liked the "Scientist applies the gold sputtering", not a technician, but a Scientist! Made me lol, I guess the job market for Scientists is tough? 8)
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Post by tonycamphd on Nov 28, 2015 15:12:24 GMT -6
...all that, and Sinsay can re-skin a $20 Chinese capsule to sound better...just sayin'... Who is this Sinsay you speak of? Thanks Dr Shankenstein, aka Shannon Rhoades, "Mic Rehab" micrehab.com/the greatest Mic/Capsule tuner on the planet, is how most see him... and for good reason 8) cool vid btw
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Post by tonycamphd on Nov 26, 2015 1:16:26 GMT -6
my 1972 jazz bass, my 1993 taylor, and my self designed and built drum kit, i know that's 3
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Post by tonycamphd on Nov 25, 2015 19:00:36 GMT -6
the older 160's have better electronics
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Post by tonycamphd on Nov 25, 2015 10:18:10 GMT -6
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Post by tonycamphd on Nov 24, 2015 23:52:26 GMT -6
I guess our definitions of cheap vary. care to explain? It seems the price is at $850 for a vintage stereo 160, isn't that ridiculously low? or am i missing something?
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Post by tonycamphd on Nov 24, 2015 21:42:57 GMT -6
So just gives the input knob a wider "throw" huh...? Couldn't you just turn the signal going into the unit down a little? It actually gives the input pot a more narrow working range. Some may find that padding down the signal driving the FC526 will also help get them in a better position on the input pot. It only takes changing 2 R's and 2 C's if you want to permanently pad the input down a little more before the 2520 receiver. a "more narrow range" represented by wider throw on the input knob.... right?
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Post by tonycamphd on Nov 24, 2015 21:35:12 GMT -6
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Post by tonycamphd on Nov 24, 2015 21:19:56 GMT -6
Hey - jsteiger , you mentioned a mod to the input of the unit? Indeed I did. It essentially limits the range of the input pot to appx 40dB so it cannot be turned "off" or all of the way down. This will make it a little less "touchy". FYI, the same mod can be done to the output pot, if someone is so inclined. Also, increasing the R value a little will decrease the range of the pot even more (for all you constant tweakers out there like dandeurloo ) Pics are worth 1000 words: Cool Jeff, man that looks really simple! I will definitely be doing this, generally if i use compression at all while tracking I like to just barely tickle with a very light ratio, and a low threshold that keeps the track in compression the whole time..., just to dense things up a bit heading into mix down round of compression, the 526 sounds bananas great, the 2;1 setting was a genius move imo, and now with this mod it should give me all the control that i need, I expect turning it into what could be the ultimate tracking comp? If it does what i think it will, I'll be picking up quite a few more of these. I will try my damndest to get some samples up with the AD4898's and Scotts 1731's over the holiday weekend, they are both quite impressive, i'm sorry to all for lagging so bad on that...
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Post by tonycamphd on Nov 24, 2015 9:13:28 GMT -6
Wow very cool somthing real I meet a very successful songwriter in Nashville had dinner at his house and after we were talking around a outdoor fire about the business side and he got very quit and very somber and said someday I'll be able to write somthing real and what I feel. This struck me days later wondering how many great songs there are. To be written but the writers for. Now are Makin a living If someone's not writing great songs because their busy turning out crap?... Fuckem, You should have said "I'd rather shovel shit for $ than whore my real talents, truth is it's a cleaner and a more respectable way of earning a living"... at at least that's what I think...
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Post by tonycamphd on Nov 23, 2015 15:25:25 GMT -6
I liked the LA3a so much better than our Fairchildern and LA2as that I bought one to take into Motown around 1970. That said, the modern UA version was quite a disappointment sound-wise. someone should get a Serpent Audio SA3A into your hands Bob, i'd love to read your impressions on it...
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Post by tonycamphd on Nov 23, 2015 15:18:53 GMT -6
jsteiger , I cant find the original 526 thread? i found other big threads, but i figured it'd be good to keep the workings info on the main thread.... where ever it is? Johnkenn
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Post by tonycamphd on Nov 23, 2015 15:07:01 GMT -6
There is no doubt, it's actually called New York compression, dubbed in the 70's I think, btw Jeff, I've been noodling with the 526, sonically ur compressor is a serious badass! I've been too busy to get up some samples, but I will..., it's sound is no joke! Thanks Tony. BTW, I have derived a small mod to limit the range of the input pot to appx 40dB so it can't get turned "off". Makes it a little less touchy. The same can be done to the output pot. Bump up the FC526 thread if you want to discuss. this i heard about from Dan, i'm very excited about it as i'm a light touch fella.... well..... at least with compression haha I will bump the 526 thread to hear more details...
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Post by tonycamphd on Nov 23, 2015 15:00:58 GMT -6
hello from the outside is right! when the band kicked in, someone compressed her right outside the friggin room! I hope thats the transcoding on this link, and not the SNL mix, if it is the SNL mix? it's a godam shame.... The hall reverb on the intro sounds huge though....
i should also add that she is a badass!
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Post by tonycamphd on Nov 23, 2015 12:35:06 GMT -6
All the pro's have been doing it for ages. In fact, I'm sureĀ Bob Olhsson has some stories about parallel compression in the motown era. There is no doubt, it's actually called New York compression, dubbed in the 70's I think, btw Jeff, I've been noodling with the 526, sonically ur compressor is a serious badass! I've been too busy to get up some samples, but I will..., it's sound is no joke!
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Post by tonycamphd on Nov 23, 2015 10:45:38 GMT -6
I have a 2nd SA3A ready to go, just need to pay off some bills first! DO NOT! let this one get by you, Daneurloo has taken over for a not so reliable Chap 8), so the project is now "Nails"... collectivecases.com/?product=dbx-160-vu-stereo
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Post by tonycamphd on Nov 23, 2015 9:02:45 GMT -6
Hey Chuck, my bro and I are going to video hang and build up some balanced power supplies with all the RF, EMF and every other MF filtering we can think of 8) We should group it up and all do it at the same time. I can send you a BOM if you want? Of the 3 of us, you probably need it the most living in a NYC apartment building, my brother is the first house off a pole transformer on his street haha, probably just a motion for him, but if it makes no diff he'll send it to me mooowhahahahahahah!
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Post by tonycamphd on Nov 23, 2015 8:52:24 GMT -6
Is that "Brauerizing"? people have been doing it for years without knowing it was "Brauerizing", including a self secluded geek like me, ITB/OTB i assign individual tracks to stereo sub mixes and that's the only place i'll use stereo stem/sub bus compression, i use nothing on the stereo 2 bus at all. I usually group drums and bass together, guitars, back vox, keys, and whatever else falls into a similar sonic and rhythmic category will get their own stereo sub pair. For me, right or wrong terminology... i usually call them stereo stems. Also OTB on a console, after assigned buses run out, using post fader Direct outs to external summing units, then returning to a pair of channels on your console leading to the 2 buss is gold for maintaining awesome headroom, precise imaging and beef, kinda gives you what the focusrite console was doing with only 8 channels per bus.
as far as parallel compression... I'm not a big fan of parallel compression, I hear too much phase clouding for my taste(anytime you change the ADSR... aka the sounds "envelope", it introduces phase shifts when paired with the original, otherwise it would just be simply louder, and that certainly isn't the case with parallel compression), IME that smear can actually rob a mix of definition and power, i will once in awhile duplicate a track and linear band pass some desirable freq's, squash and bring them up underneath to thicken some good stuff, but alas not very often....
of course JMO, YMMV
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Post by tonycamphd on Nov 21, 2015 23:04:23 GMT -6
first, i think you playing is great, i also listened to one of your original tunes a while back, it was a bit of an epic song about a storm? cant remember exactly, what i do remember is that it pulled me in, and was GREAT! so no matter what mic you use, your good, that said, i'm not sure I like the nt5's, they sound a bit hard, strident and out of control to me, if i were you i'd get those samars, it's a small investment for someone with your level of talent, and you deserve them, the high end extension on them is killer, and any eq you put on them will work well as ribbons take eq great, then and only then, i will let you play on all my songs! no need to thank me 8) haha
I kidd 8)
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Post by tonycamphd on Nov 21, 2015 22:50:32 GMT -6
there is Mr. Jamerson, then there is everyone else, the combo of monster rhythm and crazy good melodic sense was just unreal, his basslines were the hooks in so many of those icon tunes, it was hard to hear that he was shunned like that! Sir Bob Olhsson, do you have any insight to what went on with that? no pressure if you don't want to talk about it, but if so...? i'm totally interested to hear about it.
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Post by tonycamphd on Nov 21, 2015 18:03:08 GMT -6
I know he's gonna gonna go a crikey on me for this..., but woop woop! Bob's yer Uncle!!! Everyone sing along......, Happy Birthday to Wiz....
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Post by tonycamphd on Nov 21, 2015 12:20:05 GMT -6
Haha thanks gents . I love talking gear. Tony..(I hope I got the name right) Jim Williams mods are pretty great stuff I have heard. How did it change things on your LXP15II? Was it worth the price? I am curious. I forgot to mention too, the LXP15 or the later 15II, was not a cheap unit when it came out. I seem to recall it was about $1500 to $2000.00 new. In the early 90s. It was the first high end unit that met in the middle price wise for Lexicon. The 300L was in small facilities. But for the project studio the hefty single space LXP. . It weighs a lot compared to the more chip based PCM series and is all analogue IO......With 5 foot switch jacks for live selection. While their flagship 224XL come 480L was around 6k and a far reach for small guys like me back then, the LXP15II was a sampling of the big boys. like everything he does, cleaner blacker blacks, and smoother opened up everywhere, i lifted the lid to look as i can't not haha, he did a bunch of stuff i can't begin to understand....
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