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Post by dandeurloo on Jun 6, 2017 16:55:43 GMT -6
Here's another pair of what looks like modern LDC mic. My dad was a HUGE Fleetwood Mac fan. It is cool to hear new music. I could deal with less of the crazy fx in the chorus but cool either way.
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Post by dandeurloo on Jun 5, 2017 18:15:59 GMT -6
Ooh, I do like that! I think I would nab that KT before a Warm. Sadly, I am still 1176 poor, but tis only a matter of time. I have a pair of Warms too. Psyched to check out the KT. Price is right, no wall wart, and nicer feeling pots than the Warm. Hopefully the sound is there. I would bet with a recap job that would sound pretty good. I wish I could see the pots they are using.
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Post by dandeurloo on Jun 5, 2017 18:10:32 GMT -6
You or the record label has to send in physical disc with the info. That is the only way they do it. They don't do digital only releases? They do, but it has to have a barcode and then all the info needs to be sent in by the band, label or producer in order to get it approved. Most all of my credits have showed up without issue. I think that the labels send it in or something? I have seen a few guys with multiple listings. I know Classical is always different listings. So if you recorded a Classical record as DrBill it would show up separate DrBill from your Pop recordings. No way to combine them for some reason. Well, at least that is what a guy at Allmusic told me a few years back.
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Post by dandeurloo on Jun 5, 2017 17:56:15 GMT -6
Do you guys know about Allmusic.com? That is a good place to check folks out. Or IMDB for guys who do film stuff. I do that all the time. I can't get Allmusic to list a single thing I've been involved with. I've sent multiple emails - all with no response or changes. You or the record label has to send in physical disc with the info. That is the only way they do it.
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Post by dandeurloo on Jun 5, 2017 11:14:34 GMT -6
I didm't say anything about "authority". If I mention something, its my personal opinion. Please feel free to disregard if it doesn't line up with your esthetic. There's a good reason I don't generally post audio on forums. Unauthoritatively yours, I wasn't referring to any statement from you. I was referring to this post with this statement: "I would love to hear some mixes of these ppl who claim they don't need one rather than ppl like DrBill and Jim Williams having to prove themselves to you. Especially since Jim and Bill are the two biggest titans on this forum. Along with Bob of course." Sound like an argument from authority to me. Do you guys know about Allmusic.com? That is a good place to check folks out. Or IMDB for guys who do film stuff. I do that all the time.
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Post by dandeurloo on Jun 5, 2017 7:46:05 GMT -6
I don't think I have recorded a bass amp in almost a decade. The bass amp seemed to always have it's own set of issues. I have leaned more and more into DI's for bass specific duties.
If I am not using one or two of my ZOD ID DI's for bass tracking, I use the DI on the Great River preamp. That is one of the best solid state di's I have heard. I use to use Bo Hanson di's or Radial JDI or the active Radial di. Those always left me wanting something different but did the job.
I have a hard time thinking that in the future I will be dreaming of a bass amp for any session . For me, it is just not needed.
Guitars amps are a totally different story.
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Post by dandeurloo on Jun 3, 2017 19:57:06 GMT -6
There are 4-5 in Canada that I know of but not sure if they are in Toronto.
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Post by dandeurloo on May 22, 2017 20:20:28 GMT -6
Makes me want an Upton even more 😀 The Upton is the real deal. Dallas has done it right.
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Post by dandeurloo on May 21, 2017 21:02:28 GMT -6
One wont do it, everything has to be pairs for me. My current problem is I have 1 Upton 251. That is a problem. Get both if DrBill lets them go.
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Post by dandeurloo on May 21, 2017 9:07:26 GMT -6
After a little testing the Upton is a fantastic mic. I am gonna really like having it in my locker.
BTW, very low noise as well. Which is a huge plus.
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Post by dandeurloo on May 20, 2017 9:50:37 GMT -6
I just got my Upton 251. Man, these look killer, I need to plug it in. I will try and test it after I finish testing and tuning a few more ID DI's and send them out. But dang I am pumped to try it out.
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Post by dandeurloo on May 20, 2017 9:49:11 GMT -6
John I'm torn as to if I should fully restore it or leave it as is. Except for the capsule it's all original and sounds beautiful. IMO leave it alone, history is cool.
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Post by dandeurloo on May 19, 2017 7:49:02 GMT -6
ok, some quick testing: If you look at this schematic: I have added my measurements from my mic in case anyone is interested. One thing is that I used 27R instead of 29R. The 1500 is a metal wound resistor with heatsink I screwed to the body of the mic. EDIT: one more thing. Instead of 10nF, I used 13nF (old russian film cap). EDIT 2: Those that have issues, try turning down the B+ some. It's not especially necessary it be exactly 105V. A few percent high or low should be OK. See if going up or down makes it more stable. I have been running my B+ down a few volts as well to see if that would help. I feel like it has helped a touch, not a lot but every little thing I can do to keep these happy I have been doing. I also, have had to replace a few resistors that came with the kits. Scott and I both swapped out the 1500 with a metal wound that we heat sinked to the body. That did help forsure. I have also had a few other resistors go bad inside the kits with time. It seems a few things can act up over time with these. Still my biggest issue has been in the tubes. BTW, I have tried a number of different PSU designs. Regulated, unregulated, Chokes, no chokes. Seems like the PSU design doesn't have much effect on noise as long as it is built well to begin with. My 2 cents
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Post by dandeurloo on May 13, 2017 15:05:57 GMT -6
I had one of those Mic Mod 67's over here a couple months ago.the converted tlm 67 one. not even close to my real 67..for one thing is was waay darker[lifeless] by comparison. I've been saying the same thing. They are way off IMO.
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Post by dandeurloo on May 9, 2017 20:19:05 GMT -6
The tube data sheet even says that. But no one seems to read those. Haha Data sheet explicitly says that it is suitable if (filament) microphonics is not a concern. www.westernelectric.com/spec_sheets/408A.pdfFirst page, last sentence in the Description section. Guess nobody reads those, indeed. That is a different data sheet. I'll look to see if I can find the one I was looking at. I do have a number of the WE branded tubes here. They are a little lower noise but a more boring tone. So, maybe they did something in their version of the tube to lower the noise a little. I also have as stash WE's that pop and crackle and sound like breakfast cooking randomly. I do like breakfast however!
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Post by dandeurloo on May 9, 2017 19:58:48 GMT -6
The two in my mic beg to differ! Now I'm also sure a fair number who have built it are more tolerable to noise than Dan Scott and Bill! I wonder about this as well. Compared to any vintage tube mic I've used or my other clones, the noise floor is still much higher even with the lower noise tubes I've found. If I was recording drums or a rock band it wouldn't really matter. But on a vocal in a acoustic track the noise floor of the tubes is to high to use. Since the last few records I've done have been mostly acoustic music these mics haven't been used at all.
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Post by dandeurloo on May 9, 2017 19:35:09 GMT -6
I'm an engineer.. I don't believe in coincidence in electronics! There's no coincidence. The tubes are not suitable for microphones. The tube data sheet even says that. But no one seems to read those. Haha
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Post by dandeurloo on May 8, 2017 22:13:22 GMT -6
No, Bowie is the Gold Standard for Nos tubes! Great customer service, great prices and he has ears to hear good from bad. I only buy from him, and recommend him highly!
At the time I asked Bowie to source the tubes he had no way to test them. Maybe he's since found a away to test them, but unless some one found a stash of these tubes that are made to a different standard then the rest, I find it hard to believe the tubes will stay quite. BTW, the data sheet has some interesting comment about that tube and mics.
I'm not at all trying to bash this product. If anything, I'm trying to save other people (Stam) the headache I had, specially at that price. The price is extremly cheap IMO for the headache. I would recommend finding another tube and have Dany build a pcb around that.
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Post by dandeurloo on May 8, 2017 21:56:05 GMT -6
Those are just like my Germ Comps. I have seen earlier versions that I think had a black meter otherwise the same.
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Post by dandeurloo on May 8, 2017 21:46:06 GMT -6
Isn't that why we have Bowie around😎 But seriously that's the biggest problem with most modern non- original circuit clones, Tubes that can do the job vs designed to do the job and finding those that are up to the task! Dan built mine, and he went thru dozens of tubes to find ones that were even mediocre. It complicates testing and verifying that you need two good ones. The good news is, they are in no short supply. I bought some spares from the british distributor, but I've not put them in yet because the two that Dan finally ended up with are good. I have well over 100 tubes here that I had to test in order to find a few pairs of tubes worth putting in mics for the few guys I built them for. I had to build a tube tester specifically for this purpose. Then you have to burn them in for 24 - 50 hrs then test again. I rated the noise floor and the random bacon and eggs frying sound for each tube! Finding pairs that would work well was not a simple task. I stopped building them after that. I have a pair that work great now and I have a few spares tubes for when these go bad. I would design around another tube for any future builds. BTW, I got about 10 or 20 tubes from Bowie for these and I couldn't use any of them. It wasn't Bowies issue at all. He told me in advance that he didn't have a way to test them. I pressed him to find me some and I took the risk even when he wasn't excited about it. I only say this to say, it can be problematic for a tube guru like Bowie to find some of these that are worthy of putting in a mic. My 2 cents
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Post by dandeurloo on May 8, 2017 21:31:36 GMT -6
I have a Tele M80. I have used it a lot. I take it to sessions that have very limited eq in the studio for work with one specific producer who likes stuff bright. The M80 is a bright mic. Good rejection but bright.
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Post by dandeurloo on May 1, 2017 16:42:44 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. More then likely just crappy meters. You don't get a great meter for the cost of 3 bucks. The better Sifam meters cost 90 bucks or more. They are also really small in size so it is a lot harder to get accurate resolution. For instance, like the meters that Hairball Audio sells. The larger VU's are much more accurate then the smaller sized ones. The price difference is only a few bucks and the manufacture is the same. The difference is the size. Most of the clones I have seen use smaller meters to fit in 1U enclosures. My 2 cents.
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Post by dandeurloo on Apr 29, 2017 20:55:31 GMT -6
I've never seen one of those, but my guess would be that they are very similar.
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Post by dandeurloo on Apr 20, 2017 14:06:52 GMT -6
Honestly anything higher quality will help. I replaced the Tants with Kemets, Nichicon's for elects and I had a stash of films on hand and used those.
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Post by dandeurloo on Apr 20, 2017 9:21:26 GMT -6
I did swap out the caps in the Comp54's. I replaced all film, tants and electrolytic caps. It helped almost as much as the transformer swaps. It really made the comp sound bigger overall. The Chinese caps must have really been choking the tone out of them. I also beefed up the PSU a little.
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