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Post by jayson on Nov 2, 2017 19:07:59 GMT -6
Is the kit isolated? Any chance of using a Glyn Johns approach? i.e. micing the kit at more of a distance; as a single instrument rather than a conglomeration of smaller instruments? Finding myself liking that approach more these days. But no denying it's definitely a bit more involved. There's fewer mics to manage but it requires a lot more time to move mics around hunting for the sweet spots. But once you get them nailed down it's worth it. You can avoid some of the phasing issues that happen when you mic individually.
I would absolutely agree that SM57 makes for a great mic on higher toms. You don't have to worry too much if they get smacked with a stick!
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Post by jayson on Nov 1, 2017 17:39:51 GMT -6
Maybe you could write something like "By Appointment Only" in the address line and just have the city, state and phone number. I can't imagine that facebook really cares much if you provide the actual address or not. To their thinking you wouldn't get business if people didn't know where to go. I'm sure there's gotta be people putting PO box addresses in there.
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Post by jayson on Oct 21, 2017 22:42:51 GMT -6
Nice afternoon-evenings work. My first impression was definitely a smile; there's some sonic fingerprints that ring an immediate bell the second you hear them, but I haven't really done much more than a line check so far. Looking forward to building another one already though- I have to keep my mind off the RND 535 compressor and this is giving me a great Neve fix. Seems like it's got a real large, out-front kind of vibe to it. So far I think it's a pretty great score for the $250 range; looking forward to getting some stuff through it tomorrow and see how well it gets along with the rest of the kids.
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Post by jayson on Oct 18, 2017 17:04:17 GMT -6
This thread inspired me to pull the trigger on one and check it out. (well, that and it was taunting me from the AML website.) Looks like a pretty straight ahead build, I'd say I'm certain to do a second if I like it. I ordered this morning and I was thinking it would be in sometime early next week... until I got the Fedex overnight delivery notice for tomorrow. No raking leaves for me this weekend!
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Post by jayson on Oct 14, 2017 7:49:35 GMT -6
Jeremy I agree but let's face facts 80% of Audio products are chasing the past! For years I tried to build my personal collection on the tools you wouldn't find in a normal studio, then I found myself walking into bedrooms called studios without the must haves, well they had the plugin version! As I rebuild from my last sell off I am focusing on the more esoteric. Personally I am more likely to Buy Sony, Gefell Sanken MBHO or the Chandler mic before a clone ! I have to agree here, but I think if you're going to talk about how recreations differ from the vintage originals it's also necessary to address the lack of the actual materials that created those mics. Namely armaments grade metals. The role the spent 40mm artillery shell casings that littered Germany after the war played in constructing mics never seems to get much mention - and maybe I'm mistaken and it's not that relevant. But having said that, take a look at this image - can you imagine the casings in the back-right of this image having a U47 head grill? I'd bet the brass bases of those shells could be machined into some pretty sweet back-plates and the steel from the armor that protected the gun that fired those shells would've made great transformer cores. Considering the state of affairs in post war Germany, they had to make the best of whatever materials they had access to and stuff like this would've topped the list. It seems kind of inevitable that the character of the mics would change as those materials became more historically distant and harder to come by and as a result replaced with more practical surrogates- even when they were/are produced by the original manufacturers.
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Post by jayson on Oct 12, 2017 17:25:20 GMT -6
There’s one here in town just waiting on me to commit. With money I don’t have...somebody talk me out of it. I feel your pain. If somebody actually dangled one of those in front of me right now I'd be feeling pretty weak myself! Time to flip a coin!
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Post by jayson on Oct 10, 2017 19:47:29 GMT -6
Yep, that's gonna leave a mark...on my wallet. That's not a comment on the price; just raw ambition!
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Post by jayson on Oct 3, 2017 18:49:21 GMT -6
I'm a bit late to this thread but I'll give the Analog Allstars a tip of the hat as well. I went on a bit of a tear and built four of 'em. They're pretty easy and fun to build; all those Wima caps make for a great filter section that puts a grin on my face each time I've put one together.
I don't know how it would stack up to a real Pultec; I don't have access to one, but they are real satisfying to use. Given the price point it's not an unreasonable proposition to fill a lunchbox with them. The fact that you get to build it is icing on the cake.
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Post by jayson on Sept 30, 2017 9:56:17 GMT -6
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Post by jayson on Sept 17, 2017 8:48:32 GMT -6
Are there any good gut-shots of this thing around? I'd be interested at taking a peek at the filter section inside.
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Post by jayson on Sept 15, 2017 17:47:41 GMT -6
I don't know if I could have the cojones to stay in that budget. I have the Drawmer 1968 and I'll vouch they're a good find. They have a personality that I think is pretty fun and musical when you push it around, but they're also pretty subtle when you dial it back. I left it strapped across the 2 bus for a while and handled it pretty well. The BIG switch (HPF) is extremely handy. I think I would also be considering kits just to get the best bang for the buck. I think the first on my list would be a JLM MAC Stereo Opto Compressor - but that's a little over a hundred bucks over-budget. I bet it's WORTH that $100 though. www.jlmaudio.com/shop/mac-rack-kit.htmlIf I'm shopping to a price point like that I think it's always good to be an opportunist and check eBay or demo model stuff and see what turns up
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Post by jayson on Jun 24, 2017 12:21:14 GMT -6
I can definitely report that I've NEVER experienced anything like this on the UMT800.
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Post by jayson on Jun 24, 2017 12:13:25 GMT -6
I'm sort of in the same boat. I do like checking my mixes on the car stereo. Seems like I always pick up on what I'd like to polish versus what I'd like to eliminate or change that way, but only in a general sense. I think that maybe the benefit there is that I listen a little more passively in the car because I'm focused more on driving rather than the music itself ; if something pops up that I don't like I notice it more. I have a VSP Labs power amp and some B&W CM5 speakers I've been toying with the idea of installing in the CR just to see if it inspires me at all, but I have to confess that I'm not sure if that's a can of worms I'd be happier keeping closed; it's too easy for me to over-analyze and second guess myself to death as it is. For the moment it's not at the top of my list of things to do anyway- I'm finally installing a patch-bay and I'm betting that's gonna have me chasing my tail for the entire summer.
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Post by jayson on May 28, 2017 11:46:30 GMT -6
For me it pretty much always depends on context; I'll go with whatever seems to serve the music best. I pretty much always record a DI track, but what I might find myself DI-ing into is probably going to play a big part in the decision to use it or not. I definitely dig the sound of my fretless through an 18" W-cabinet but gotta say; I have a hard time disliking the sound of a good sounding bass DI'd into a Great River NV too.
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Post by jayson on May 27, 2017 10:57:10 GMT -6
I've got a Regal resonator that I picked up in the 90's for like $250 that's sorta like that. At first it required a little creative engineering to even make it playable - but man, that has been one one surprisingly useful instrument. It's got this really nasal tone that seems to sound BETTER as the strings age on it so I almost never change them. To be honest if I play it by itself I'm not real crazy about it, but it pops out in the nicest way when you mix it with other acoustic instruments.
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Post by jayson on May 12, 2017 22:00:37 GMT -6
Gotta say, this one has been on my radar for a while. They do seem pretty intriguing. The build looks like it would be pretty easy, I'm sure that transformer adds some really nice iron to the sound and you gotta dig the look. But it's not an actual opto though, is it? I don't see one in that nice pic of the board. Is it a really small opto unit you just can't see in the pic? How is the compression actually working? Anybody tried experimenting with other OpAmps? The EQ looks real interesting too.
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Post by jayson on Apr 28, 2017 20:26:03 GMT -6
I've fallen into kind of a groove with a bunch of the Gefell stuff; I have a UM57 with a variable polar pattern on the power supply, a pair of M582s with sequential serial #s and a UMT800; a solid state M7 transformerless mic with 5 polar patterns. Never been disappointed with any of 'em. Strangely enough the UM70 hasn't crossed my path - yet. Not too long ago it was fairly easy to find good bargains on mics from that side of the Neumann family, but they seem to be getting more scarce - don't seem to see as many of the old CMV563s anymore; I have to imagine that most have been scooped up at this point. I'd love to check out one of the new CMV563s, it's not an EC92 amplifier anymore be interesting to AB it with an old one.
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Post by jayson on Mar 18, 2017 15:18:01 GMT -6
Very Cool! How about the knobs; any contenders yet?
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Post by jayson on Feb 18, 2017 19:27:01 GMT -6
Such sad news; he was such an iconic, yet underappreciated master of the kit. As I understand it a lot more famous people than just James Brown stood on his shoulders - he was by far the most sampled drummer in the music world and rarely credited. How many famous recordings did his playing show up on uncredited? I seem to remember hearing his playing everywhere during the 90s.
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Post by jayson on Feb 12, 2017 8:45:43 GMT -6
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Post by jayson on Feb 11, 2017 20:56:08 GMT -6
Anyone using any of the Radial stuff? I picked up a Workhorse 5000 right after they came out. I had been chomping at the bit, waiting for months for them to actually start shipping them; the one I wound up with wound up with is serial # 0000008. I think that was in 2011 even though they had announced the product in early 2009. So far it's been an absolute pleasure to use. Very solid & well built. The mixer section of it has lot of utilitarian flexibility and has a great sound of it's own. If you're using gear with D-sub i/o you'll find it's well implemented. I did have one QC incident early on where one of the buses went down- but it was well covered by the warranty and the turnaround on the service was so fast it didn't leave any scar as far as I was concerned. For a serial number that low I'm not surprised it might actually need a warranty tweak - that's what I get for having no self control! Sometimes I do scratch my head a little about the power supply it uses though; a line-wart... really? But then I'll start using it and it becomes academic pretty quick.
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Post by jayson on Feb 4, 2017 22:42:43 GMT -6
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Post by jayson on Jan 18, 2017 16:37:14 GMT -6
Can anybody comment on the turnaround time it typically takes for an AML order to arrive in the US? I've been contemplating an EZ1073, but I have to confess to a little bit of vertigo when it comes to international shipping.
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Post by jayson on Jan 16, 2017 15:44:05 GMT -6
Interesting thread, this certainly bumps into questions we've all had to deal with at one time or another. Going back to the original post: How do you compete with the 10:00 an hour guy? You don't. He wants to be like YOU not the other way around. Anybody charging a rate like that already knows his actual capabilities and what they're worth- hence the low price tag...and the lousy recording. To me it sounds like he's a neophyte hobbyist who's only charging a token amount for the sole purpose of justifying burning the physical calories involved while he learns about it. It's not likely to take any food off of your table to be supportive. Conversely, I'd keep my distance from his clients- if they're OK with a crappy recording they probably understand they're not ready for a REAL studio yet anyway. Besides, it's not going to make your life any better with clients who aren't really sure about what they're doing and feel they're paying too much while figuring it out. BUT a little diplomacy can have surprising dividends over the long term when dealing with "minnows" like the guy who visited you. It can be worth being friendly because HE may bring his clients to YOU when he realizes the difference between what you CAN do versus what he CAN'T.
When you're discussing the difference between the $10.00 an hour guy and yourself I think it's two pretty different ends of the food chain; it certainly is from HIS perspective...and that can be useful for you.
I doubt he would've sought you out in the first place if he didn't already consider you an ACTUAL expert. Boost his confidence up a bit -yet diplomatically and honestly critique the flaws of his recording- and he could wind up being the guy who convinces the band it's worth coming to you instead of doing DIY. I'm sure he'd be just as thrilled to get his clients into a REAL studio - LIKE YOURS- as to produce the crap you heard from his basement...as long as he can somehow be a part of it.
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Post by jayson on Dec 27, 2016 22:27:45 GMT -6
Truly a one of a kind Lady in so many ways. RIP
What a absolutely merciless year it's been. It's really been a freakish amount of noteworthy people who've checked out this year. They seem to be coming every few days now.
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