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Post by tonycamphd on Nov 21, 2015 7:53:25 GMT -6
Those might be a nice call. Do you have the omni caps? Thats what I'd start with first. No just the cardioid. Wish I did have the omni caps. Can I buy those separate? Yes! Check eBay, they have omni, super cardioid, cardioid capsule their constantly www.ebay.com/itm/220400195022?
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Post by tonycamphd on Nov 21, 2015 7:42:29 GMT -6
Someone mentioned the LXP15. The first rendition was a little grainy but they came out with the LXP15 II and I still use it today on some stuff. It has that beautiful dark syrup tone of the old LEX 224 xl series that a lot of people love. You can find them for a few hundred now and then. The faceplate on them were kind of a plastic overlay and if they were in and out of the rack a lot they looked pretty ragged but the sound is delicious. the PCM stuff after the 70 was a lot brighter but if you EQ the returns they have a lot of horsepower in the box. I haven't tried the PCM 96 only the 91,81and 70. I have the lxp15ll, it went through Jim Williams who took it to another level, great reverb box, ssshhhhh.... 8) Welome noego
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Post by tonycamphd on Nov 20, 2015 10:40:51 GMT -6
That band was huge here in the USA! I musta been in 7th or 8th grade, "he just smiled and gave me a bite of my sandwich" or ? Loved those tunes! Isn't it "Vegemite" sandwich? lmao, i think the best part about some tunes are the "fill in the blank" lyrics
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Post by tonycamphd on Nov 20, 2015 9:25:46 GMT -6
I vote "other". Google "ribbon madness....some comparisons". It's a rare day I'll pull out condenser for piano anymore.....and I've got condensers that I like way more than your potential choices. (My opinion of course.) BTW, my pics for piano would be (probably in order, but depends on song and piano) 1. MJoly modded 205's (Killer desert island ribbons) 2. Coles 4038 - a classic, and great for ambient, open, and non-congested solo piano 3. I'd like to try the Samar VL37. They are probably good on pno.... If you were going to MAKE me use a condenser.....KM84 would be my only logical choice. All great recommendations but all way over budget. Except maybe the first one. is it the Apex 205? - how much is the mod for a pair? I believe i paid under a grand for my PAIR of Samar modded Alctron RM8b's(apex 205's) including the mics, Mark installed his torroid tranny's, 1.? ribbon(i believe 1.5 or 1.8, cant remember), his custom designed diffuser plates, the mics are just spectacular sounding, the high end extension is just unheard in other ribbon mics.
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Post by tonycamphd on Nov 20, 2015 9:13:04 GMT -6
The FET 47 was as just big a disappointment in 1972 as the 184 was when it came out. (That's why people tried it on the kick drum and left it there.) A 184 is still better than a great many. The main thing is that you want to only use it with a preamp having an input transformer. Meh, I like the 184 with the Millennia transformerless preamps. Stunning clarity. "Stunning" as in, "setting phasers to stun capn"
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Post by tonycamphd on Nov 20, 2015 8:46:59 GMT -6
I love Colin Haye...This is a masterpiece Fucking brilliant!
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Post by tonycamphd on Nov 20, 2015 8:39:59 GMT -6
Cricketers Arms Hotel in Hoddle St Richmond? cheers Wiz Nope. It was Daisy's Hotel in Ringwood. No stage. They played in the corner of the public bar through a vocal rig. It was pretty much an acoustic setup and from memory there wasn't any drums either. That band was huge here in the USA! I musta been in 7th or 8th grade, "he just smiled and gave me a bite of my sandwich" or ? Loved those tunes!
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Post by tonycamphd on Nov 20, 2015 8:33:17 GMT -6
Owning hardware is neither trendy or expensive, it's a solid investment, it works, it will continue to work, you cannot say that about any plugin, you are at the mercy of the modeler and OS upgrades, which means you have about a month of security in ur purchase. I would also contend that plugins cost much, much more $, In the past I have allowed myself to be comically nickled and dimed to death buying plugs, I probably own 10 reverbs plugs I don't use, my lex and Dp4 hardware kill all of them IMO.
A Bricasti M7M is on my short list, that will require a plugin 8)
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Post by tonycamphd on Nov 19, 2015 9:01:33 GMT -6
I'm using leftover Mogami and Redco 8 pair TGS stranded shield, and steel barreled neutrick knockoffs with a good rep, the stranding and steel is a big deal for shielding, it takes about an hour per 8 channel snake, don't forget to pre thread the wire through the jack barrel!!!! Doh!
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Post by tonycamphd on Nov 18, 2015 7:40:11 GMT -6
Here's a much better explanation than I offered. 12 mins in probably explains ur issue with the bottom?
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Post by tonycamphd on Nov 18, 2015 0:13:03 GMT -6
We have a Lexicon 480L which gets used on nearly everything. If we need more verbs than the 480's dual processors can provide I'll use the 480 to print any additional 'wet only' verbs to their own tracks in Reaper. However I'm still toying with the thought of a Bricasti. Over Christmas I'm going to commence an DIY EMT 140 style plate reverb build. I've located all the materials including the .55mm cold rolled steel plate. The only item that is posing some difficulty is the driver. I'm currently experimenting with some speakers which I may end up having to 'frankenstein' into an EMT style driver. NOTE: Of course, if you think about it, hardware Bricasti's and Lexicon 480L's are really software effects processors inside a standalone box with some analog I/O's. An actual acoustic space, chamber etc, could be considered a real 'hardware' reverb while a real EMT plate or other mechanical verb is a hardware reverb simulator. If u search the DIY section, u should find some info on plate drivers, I believe Jim Williams recommends something somewhere in there. A couple real plates are on my list, cold rolled and stainless as well.
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Post by tonycamphd on Nov 17, 2015 23:19:59 GMT -6
linear phase eq's are for eliminating amplitude shifts to freq's adjacent to your chosen center frequency, that are normally affected by boosting and cutting with traditional eq's, if you have 2 guitars that are panned any less than hard left and hard right, or are collapsed to mono, they will be susceptible to phase issues as always whether you use a linear phase eq or not. hope that makes sense 8)
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Post by tonycamphd on Nov 16, 2015 12:54:59 GMT -6
I straight wire right into my converters from a mic panel, no patchbay with 48v in it for any of my mics, long runs is when cable starts to matter more, the low output characteristics of ribbon mics could very well be served by a lower impedance higher Q mic cable? If Mark says it does, i believe him, his mics are the best ribbons on the planet afaic.
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Post by tonycamphd on Nov 14, 2015 11:55:58 GMT -6
I'm on 10 for a few more weeks, it seems whenever i've run into weird issues like that, a simple save, shut down PT, restart, repair disk permissions, restart AGAIN, reopen PT and session, it will stabilize. Because of that instability i set my back up for every minute, I look forward to upgrading to PT12 as i've heard it's eons more stable, and uses much less cpu resources than 10.
good luck P
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Post by tonycamphd on Nov 14, 2015 11:47:34 GMT -6
i haven't heard my samar modded ribbons with a special cable beyond my low impedance belden cables, but if Mark is saying it makes a difference? I believe him, he's been a long time trusted member over at GDIY, he's not going to make something up for the sake of a sale, doesn't fit his character as i know it over there(especially considering he doesn't sell that cable and stand to profit from it...) edit; i would also add that if a mic cable makes a diff at all, it would seem to apply to ribbon mic even more significantly based on their need for so much gain.
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Post by tonycamphd on Nov 13, 2015 22:46:14 GMT -6
show me a cheap mic with a great capsule in it, a cheap circuit, a cheap tube, a cheap tranny, a weak/just enough to get by PSU(every chinese mic i've ever touched), and i'll show you a strident lurchy cheap sounding mic that actually DOES sound better than the same cheap mic with the stock capsule, but only marginally better. As always, the circuit design and all the parts matter huge, the weird part is the cost diff between top of the line parts and junk ain't that much, but bean counters be counting dem beans....
Also, hearing a mic at AES for a couple minutes doesn't constitute a worthy evaluation IME, I've been there done that. I can take that even further as I've built and owned many mics, mood dependent...? sometimes they will initially strike me as "wow!" and then the wow factor goes away with some further use, sometimes they initially hit me as "mehhh", then with more testing i discover it's better than i initially thought, it takes time in your own environment to suss out DECENT gear, on the other hand i can usually hear a worthless piece of it in a sec or two in any environment 8)
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Post by tonycamphd on Nov 12, 2015 17:48:19 GMT -6
There are masters of mike technique and then there are the posers. I wonder if there are soon to be "masters of virtual mike technique"? haha did Steven "Slate" really change his name Slate? If he did...? I believe that deserves a decent level of ridicule from all of us 8)
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Post by tonycamphd on Nov 12, 2015 17:02:31 GMT -6
Whitney Houston used to do that in the studio, and her house engineer hated it! Looks cool on stage, is terrible in the studio.... He always said...
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Post by tonycamphd on Nov 12, 2015 15:04:50 GMT -6
Horses for courses, single tracks per sound are generally grouped up, parallel compression can be a recipe for phase smear madness, the more u use it the more phase smear you will get, it's all but useless to me but in very limited and measured ways, mid side micing can be the bomb if you're not dead certain what the desired end result should be, multi micing a single source is right as rain to me, side chains are unbelievably useful to me, and i'm a submix junky, i have 8 assignable stereo sub channels, and 5 banks of 8 channel balanced passive summing for a total of 13 stereo sub mixes, if you want to achieve pinpoint placement in a sound stage, there is no substitute for stereo sub mixes as this is the spot for buss compression to achieve that placement, I absolutely NEVER strap a compressor across the stereo buss, and i've rarely seen it done by some pretty big wig AE's, i've also never witnessed a single one of them mix into a stereo buss comp, they've added one after the fact to a very small degree though... Thanks Tony, I have been mixing into a compressor then taking it off for mastering are you saying this is not what the the big wig's do? Nothing on the master buss? Thanks in advance. Naked 2 bus, I'm saying thats what the bigwigs i know do, get the best mix you can with a naked 2 bus, with sub mixes it allows you to treat stereo pairs of like instruments, getting them to row in the same direction, i even hold off on that until close to the end, single channel compression is essential/useful, but not if you get everything doing its own thing, musicality is paramount to processing, and it's easiest to achieve with sub mixes, if you're all done and you've maximized your DR and S/N ratio's, and you want to give a client a loud master? then smash away, but don't mis lead yourself by mixing into something thats multiplying every instance of compression AND NOISE floor you have. Remember that every serial addition of compression is a multiplication of the one preceding it, not addition, mixing into a 2 buss compressor is putting the cart before the horse IMV, build a song from the foundation up, 2 buss compression is icing usually applied by a ME... at the very end. Just my 2 cents, hope that helps.
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Post by tonycamphd on Nov 12, 2015 9:17:32 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. hmmm, interesting.... thanx! do you have a link to some of these online groups? i'm interested as i have a BCF here all pulled apart and under heavy modification/adaptation...., not seeing any light sensing stuff yet, but maybe i'm not looking hard enough....
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Post by tonycamphd on Nov 12, 2015 9:12:42 GMT -6
Indeed, the preamp is very important, however, one should not underestimate the importance of... cables--they have inductance, reactance, capacitance, resistance, let alone microphonics. All of those have a great impact on the sound of a passive ribbon and are a very important part of the load. So far we found a cable of our choice--Grimm Audio TPR. It makes a big and definite sonic improvement with our mics in comparison to more common Mogame, or Canare... Best, Mark I took your advice on this last year Mark. I got one these 10 footers fwiw... www.ebay.com/itm/GRIMM-TPR-BLACK-XLR-CABLE-BALANCED-MICROPHONE-CABLE-w-NEUTRIK-GOLD-10-FEET-/370964878634?hash=item565f3ad52a:g:1nUAAMXQVT9SrXu3I do think it makes a somewhat appreciable difference. Especially when tracks adding up. I'm mostly running into tube pres (like some modded Magnacords) and also WSW which are very nice. I'd like to hear the high gain AEA ribbon pre, or similar, at some point as I admittedly have to deal with low level sources much of the time making gain staging a balancing act. But 0% complaints all in all. any info on the Magnecord mods?
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Post by tonycamphd on Nov 12, 2015 9:09:58 GMT -6
I use the original one, which looks like the more expensive version. I didn't even know they had a cheaper version.. The cheaper version looks to have the tuning functions, but lacks the saving and filtering options. ...and the filter is indispensable, as you stated above. It looks like the expensive Tunebot and the digital Drum Dial are the way to go then. i honestly wouldn't get rid of either, my drummer buddies all have both, at the very least, they are good documentation and security tools if someone has an odd request you need to work out.
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Post by tonycamphd on Nov 12, 2015 8:54:57 GMT -6
i have the expensive version, but like i said, it's finicky and temperamental, IME it doesn't matter what tuning device you use, in the end you are going to have to use ur ears to level the lugs on the drum, once you're close(which these will get you), it's no harder than turning the wobble out while tuning a guitar, it takes all of 15 seconds per drum for me at this point. Tone, it looks like there is a digital and analog version of the drum dial. I have to imagine that the digital is better? I never tried the digital, but my guess is it's easier to read? the analog meter on mine requires bending over to acquire proper perspective for accurate needle to indicator mark reading..... i hate bending over! haha
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Post by tonycamphd on Nov 12, 2015 8:48:42 GMT -6
Horses for courses, single tracks per sound are generally grouped up, parallel compression can be a recipe for phase smear madness, the more u use it the more phase smear you will get, it's all but useless to me but in very limited and measured ways, mid side micing can be the bomb if you're not dead certain what the desired end result should be, multi micing a single source is right as rain to me, side chains are unbelievably useful to me, and i'm a submix junky, i have 8 assignable stereo sub channels, and 5 banks of 8 channel balanced passive summing for a total of 13 stereo sub mixes, if you want to achieve pinpoint placement in a sound stage, there is no substitute for stereo sub mixes as this is the spot for buss compression to achieve that placement, I absolutely NEVER strap a compressor across the stereo buss, and i've rarely seen it done by some pretty big wig AE's, i've also never witnessed a single one of them mix into a stereo buss comp, they've added one after the fact to a very small degree though...
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Post by tonycamphd on Nov 12, 2015 8:40:48 GMT -6
I've bought the drum dial twice over the years, from two different manufacturers. Neither time worked out. Since it measures tension, and not all heads have perfect thickness all the way around, I was always "off" somewhere, and it was no where near repeatable as they say, even on the same head. If the head stretched and thinned unevenly, you could forget about trying to use tension as the tuning method. Nevermind that you can't tune to a note with a drum dial. You can wing it and find a note around a tension, but it's not the same. Tunebot works great, you just have to get used to using it. It has a "filter" function that is indispensable. I can get a drum with new heads, bedded in, and tuned in less than 3 minutes. It's made me superman in drum tracking sessions when folks come in with "tuned by ear drums" that sound horrendous. Drummers are notoriously tone deaf, and it shows. As a drummer, I'm just as anal about drum tuning as a guitarist is about their guitar, but 98% of the drummers I've tracked show zero interest in tuning, or even replacing heads, for that matter. Dudes show up with duct tape holding their heads together and give me the "but it sounds good at practice" line all the time.. So I have a stack of used, but good, heads from my personal set that I put on sets that drummers bring in. Then I tune them. Then all of a sudden drummers want to know how to tune drums when they hear what they could be sounding like.. I see that there is a Tunebot Gig and a Tunebot (<both are links if it's not obvious). Which one are you guys using? What's the advantage of the more expensive version? i have the expensive version, but like i said, it's finicky and temperamental, IME it doesn't matter what tuning device you use, in the end you are going to have to use ur ears to level the lugs on the drum, once you're close(which these will get you), it's no harder than turning the wobble out while tuning a guitar, it takes all of 15 seconds per drum for me at this point.
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