|
Post by Randge on Dec 31, 2016 16:22:09 GMT -6
Consider the Switchcraft 8 channel patchbay then and save a few bucks.
|
|
|
Post by Randge on Dec 31, 2016 16:14:44 GMT -6
I have zero problems recording vocals with an MA-200 or MA-300. An SM-7, I can't get it to sound good to save my life.
|
|
|
Post by Randge on Dec 2, 2016 18:10:01 GMT -6
Nah, they are safe. I've had bands break before and the mics never fell anywhere, just sagged.
|
|
|
Post by Randge on Dec 1, 2016 16:20:07 GMT -6
I leave almost all my mics on the stands and cover them with ziplock bags, as I am using them a lot and it's easier on the mics in the end.
|
|
|
Post by Randge on Nov 19, 2016 19:01:54 GMT -6
Cough cough..Cubase...cough cough... Do you know if they sorted out the negative/0 latency bug for delay compensation in Cubase with RME interfaces? I have two RME 9632 cards here and have never encountered any problems. I don't know anything about the interfaces not working either. First Id heard of it.
|
|
|
Post by Randge on Nov 19, 2016 10:44:11 GMT -6
Cough cough..Cubase...cough cough... Yeah, that's where I'm headed. I'm not on board with the PT subscription deal. I'm slow to make the move cause I know I've got to lay out the cash for cubase, and learn a new DAW. I'm pretty fast on PT just because I've been using it so long. I'm gonna have to relearn a bunch of new shortcuts and stuff. Start watching all the tutorials on Youtube and you'll have a strong idea how to use it once you own it. You'll catch on quick and many things will be a huge upgrade for speed.
|
|
|
Post by Randge on Nov 19, 2016 7:48:27 GMT -6
Cough cough..Cubase...cough cough...
|
|
|
Post by Randge on Nov 18, 2016 16:02:33 GMT -6
I clicked on the link... and it came up with a request access page.... so, I requested access... 8) cheers Wiz PS Looking forward to hearing it. Same here I have given everyone the access as soon as they hit my email. I wanted to see how many are actually downloading it.
|
|
|
Post by Randge on Nov 17, 2016 18:24:33 GMT -6
|
|
|
Post by Randge on Nov 12, 2016 16:35:35 GMT -6
I clicked on the link... and it came up with a request access page.... so, I requested access... 8) cheers Wiz PS Looking forward to hearing it. Sorry, Wiz, I was teaching a Reso class. You are approved now.
|
|
|
Post by Randge on Nov 11, 2016 18:31:57 GMT -6
|
|
|
Post by Randge on Nov 7, 2016 8:06:27 GMT -6
I just watched what I think is a pretty well done review/demonstration video and I have to say that the difference the VCC 2 makes sounds pretty significant to me. Even if it's not as good as the real thing(s) - I like it and I want it, and that's all that matters. Just a note with the VCC. I used it on my wiz mix the other day. I put it on the first insert slot for each track and made some adjustments. Then I proceeded to mix the tune as I normally would. At the end of mixing the tune, if I turn off VCC on all the channels, my mix sounds anemic and some of the levels are a bit off (from adjusting the input of VCC). So, my mix with VCC sounds WAY BETTER than when I turn it off, but my mix decisions were based on the imprint. Had I started from scratch without it on, I probably would have been less aggressive cutting in the low end and came out with something much more similar in the end. Roundabout way of saying that mixing with VCC on, then turning it off isn't a good way to test if it's good for your mix. Also, M57 , you're the prime candidate for Slate's subscription service. Someone with mostly stock plugs looking to fill out the collection with a nice suite of plugs. If I were starting fresh, I'd be looking hard at the subscription. If I were M57 , I'd look at Plugin Alliance and get the Elysia package as well as the Hofa package from Hofa's own site. It's about 90% of what I use plugin-wise these days. The Hofa site gives you 30 days use for trial of their plugs, so you can really get a feel for them.
|
|
|
Post by Randge on Nov 3, 2016 16:52:46 GMT -6
This was done live at Skulls Rainbow room. I cleaned up the audio a bit and Randy LeRoy mastered it. Just two cheaper condensers in stereo, at a distance from their voices and piano, recorded and filmed by Bob Harmon, Adam's go to, right hand man right now. I did Adam's acoustic record that will be out in the spring. It's with his band called "The Copperheads". Find them on Youtube and give them a like on their FB page if you would! www.facebook.com/thecopperheadsnashville/
|
|
|
Post by Randge on Nov 3, 2016 10:18:02 GMT -6
|
|
|
Post by Randge on Nov 3, 2016 10:13:41 GMT -6
The C5 is cleaner and faster than an 84, so with the right compression, you can take it right there. I love my stock pair and use them a lot. With 84's, I find myself brightening them to sit in the mix better on mandolin and percussion, which is where I use the C5's most and they excel at those tasks. For a cost effective SDC, the C5 is hard to beat. I'd rather have a tube SDC on acoustic guitars, so I wouldn't use an 84 there. I agree I found myself brightening with acoustic on 84s. In my opinion, many acoustic instruments need tubes and mics like the KM-54 and Akg C-28 are where the magic is. I use the Peluso P-28, (only one of their line I really like) as they get pretty close to the C-28's. I need to get fancy and talk jsteiger out of his C-28's...
|
|
|
Post by Randge on Nov 3, 2016 3:37:37 GMT -6
One of the closest Mic's I've heard to a KM84 is the Miktek C5. Gefell has good mics though. J Man, wasn't my take on the Miktek The C5 is cleaner and faster than an 84, so with the right compression, you can take it right there. I love my stock pair and use them a lot. With 84's, I find myself brightening them to sit in the mix better on mandolin and percussion, which is where I use the C5's most and they excel at those tasks. For a cost effective SDC, the C5 is hard to beat. I'd rather have a tube SDC on acoustic guitars, so I wouldn't use an 84 there.
|
|
|
Post by Randge on Oct 30, 2016 7:25:02 GMT -6
I have left my 86A stock with the exception to making a knob (inside, up front) to balance the 6sk7. Your not liking the attack and release of it may very well stem from the tubes being out of balance. This one drifts a lot and has to be balanced every time I use it so I know its working correctly. This one here is also a phenomenal sounding piece of gear. I rarely hit it hard as that's not what it was designed to do. I love it's warmth and color when it's doing it's thing with just a few DB's of compression.
|
|
|
Post by Randge on Oct 26, 2016 16:43:25 GMT -6
It wasn't about doing some kind of scientific method shootout. I had just gotten the Thiersch M7 capsule installed in my Blackspade, but still wasn't sure it was the right fit for my voice. I was interested in the Atlantis, and at its price point, I could have sold the Blackspade to buy the Atlantis without putting out any more money. Fab Dupont had a part in that mic's development, so he had one at his studios. It was great to get a chance to try them under such cool conditions. The Blackspade was better all around, so I stopped looking around. I've had very good luck with vintage U87's years ago, so it didn't matter to me, tube or FET, I was just looking for the best sound for my voice I could afford. What was the rest of the chain?
|
|
|
Post by Randge on Oct 25, 2016 21:13:40 GMT -6
The metering took me a while to correlate what I was wanting to hear to what I was actually doing when I twisted the knobs. A good 5 minutes with it and you'll get a handle on it. It's certainly a "feel" piece and IMO, it shines most on less transient sources, meaning I liked it better on bass, fiddle and vocals than fast picking banjo. Banjo is a tough instrument to compress as it's supposed to have loads of transients and that's what the instrument sounds like naturally, so reducing them sounds like tone reduction to me 98% of the time.
I love gear that makes you commit. It's also a handy tracking and mix tool since it isn't like the UA LA-610 in regards to having the pre and eq wired to different patch bay slots than the compressor if you want to. It doesn't trap you into the full channel strip like the LA-610 does. I love the color of the opto comp and the TG sound is a meaty one to begin with, so it's a fat sounding piece with great eq points to cover most ground you'll need to cover at tracking and they are the first eq points I tend to flatter (in either direction) at mix as well.
|
|
|
Post by Randge on Oct 25, 2016 20:25:52 GMT -6
I don't believe they are indicative or accurate of what our system is going through at the moment. They are pushing for a single payer system, it was designed to fail to force it that way. I never want a single payer here and that's that. Again, this isn't anything I choose to discuss here either, so let's take it back to audio, which I would like to discuss.
|
|
|
Post by Randge on Oct 25, 2016 19:07:18 GMT -6
TG Microphone Cassette: dumb name, great channelstrip! Randge did you read that article about health care costs and hospital greed yet? Prolly not... Yes, I read it. It was a very opinion based article. I didn't agree with a lot of it. Now back to Chandler gear...
|
|
|
Post by Randge on Oct 18, 2016 11:33:52 GMT -6
Zener guy here! Sorry, I have been really busy and haven't been on much lately. I am using it a lot on drums. I have been printing my drum buss twice. Once with the THD happening and then once with compression. Then, I can take both printed drum buss tracks and blend for final mix. It allows me to get the drums aggressive and not go too far for my tastes. About anything I run through it sounds bigger and more full even if I'm not hitting it but just a db or two.
|
|
|
Post by Randge on Oct 12, 2016 19:35:50 GMT -6
Merle Haggards Capital recordings are about as good as it gets. The tracks aren't my favorite, but his vocal sound sure is.
|
|
|
Post by Randge on Oct 10, 2016 8:19:46 GMT -6
Thanks, guys! Adam is a great entertainer, too and has a rowdy band of outlaws that suit him to a T on the stage. Lots of talent in that guy!
|
|
|
Post by Randge on Oct 5, 2016 17:42:40 GMT -6
I wanted to show off my cool new strap and let people on here know about Adam Fisher and his custom straps. He has built straps for several stars now including the RGO favorite, Chris Stapleton. I love it, especially the wave form running under the whole design of the strap! Adam is also a great 1970's style outlaw country singer/songwriter as well and we've had a blast making some music together recently. R Here is his FB page for those interested in having him make you one. www.facebook.com/adam.fisher.96995"This strap is for Grammy winner Randy Kohrs. It's a dobro strap done in a western style with a lime green wave form throughout the entire length of the strap (further explanation in the comment section). The boarders are done in antique domed studs, and is put together with two western silver buckles. His name is done in the same lime green on the back of the strap, and it's all finished in a natural, and burgundy dye color." Attachments:
|
|