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Post by cowboycoalminer on Feb 24, 2020 18:07:44 GMT -6
Correct. Or just use the World Clock output. Word typically needs to be upconverted to a higher frequency to be useful for Delta-sigma converter ICs. This multiplication also multiplies the jitter. Digital like spdif has encoded clock in the MHz range and typically is divided down, also dividing jitter. I'd always use the digital stream as clock source if necessary to have an external clock of any type. I've found this to be true by my ears. I've always thought SPIDF or ADAT sounded better clocking through. SPIDF namely.
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Post by cowboycoalminer on Feb 24, 2020 12:42:12 GMT -6
Grace m905 Black here. It was between that and the Crane Song Avocet II for me, and the grace won out. Really made a big difference mixing. I can hear much better now.... I see the Grace has digital out as well as in. I'm assuming with the in, one could clock an interface off the Grace as well?
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Post by cowboycoalminer on Feb 20, 2020 13:26:55 GMT -6
I miss my B2. I heard a noticeable difference clocking off that box, too.
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Post by cowboycoalminer on Feb 20, 2020 13:14:27 GMT -6
I have a huge piece of stained plywood on carpet...is it better? No idea. Your guitars and vocals always sound pretty darn good.
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Post by cowboycoalminer on Feb 13, 2020 12:29:23 GMT -6
Currently a couple countryman DI boxes. If I ever finish my dual DI stomp box I'll move to that. There's also the option to use another output, say #2, and pick off the input after the first block -or maybe after the second if you added a comp for example- and send the signal directly to the secondary output. You could even send both the processed and DI signal out via USB and stay digital. I'm going to try this compared with a Radial JDI. I bet the results will be: virtually no difference. Haven't thought of this yet but I'll bet it will work great.
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Post by cowboycoalminer on Feb 13, 2020 12:27:00 GMT -6
Are you guys committing to the sound at the time of recording? I am Me too
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Post by cowboycoalminer on Feb 4, 2020 11:46:46 GMT -6
Yeah I'm liking mine pretty good. The Kemper was no slouch but I found I only used a few models in the end, mostly a few MB models and the effects were lacking somewhat (ended up using amps without effects and adding later in the mix. But this thing sounds good no matter which preset is used. Never sounds fake. Sounds like amps and unlimited pedal choices. It's impressive.
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Post by cowboycoalminer on Jan 10, 2020 5:52:57 GMT -6
Bringing this thread back to life as I am giving these a hard look. Those of you who use them, how often do you use the different models via the switcher?
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Post by cowboycoalminer on Jan 8, 2020 7:42:42 GMT -6
I've got nice monitors (2 pairs of Amphion, PMC, Adam S1A, event 3 ways, and some big JBLS's) and mix on headphones the majority of the time. The big are NECESSARY for me while tracking though. I'm referencing headphones more and more lately. Which headphones are you using? I'm using the Seinheiser HD 280's.
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Post by cowboycoalminer on Jan 8, 2020 7:38:04 GMT -6
I'm going to come out and say it, sometimes people just don't get along with certain monitors. There's no amount of work that can be done to fix it, you just gotta find something else that works for you. I always found my old JBL LSR monitors to be very relaxed and non-fatiguing. I don't know how the newer ones stack up though. I'm also loving my Neumann KH310 monitors, but they need to be further away from my ears to work best, but maybe Neumann's smaller 2ways might be a better choice for you. One related thing, sometimes monitors don't sound good outside of their sweetspots. Try sitting much further back from your monitors and seeing if you're hearing the same issues. If not, it might simply be a diffraction issue or related to being too close to your ears. Also, you mentioned replacing the tweeter.. Is it possible that when it got swapped, the leads were installed backwards? I would think it would give an obviously wrong-sounding output, but you never know. Also also, could it simply be that you're hearing real problems with the mix? I ask because I swear I can listen to NS10's all day long with pro mixes, but sometimes I put my mixes up and it's fatiguing as hell even though I can't really hear the differences on other speakers.. I also say this because I've been through a lot of monitors and sometimes it does take forever to kinda "hear" them for what they are. I took a few weeks off of the studio recently and when I came back I heard all kinds of things I never heard before in a mix I had been working on. I agree. I hear nothing but raves over Amphions. They are good speakers and I've tried and tried to love them but I just can't. They simply don't work for my ears. Like you, I'm a fan of the old JBL LSR's. Monitors is such a mixed bag that it's hard to predict what will work for some and not others. I think we must all hear just a little bit differently. Like eyesight is different between people.
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Post by cowboycoalminer on Jan 2, 2020 20:00:34 GMT -6
Hey, Martin. My console is taking a shit. Something weird going on with the crosstalk. Phasing issues bad so I've pretty much ditched it lately. Likely sell it on Craigslist as a live board for pennies. Served its purpose for me but I'm moving on. That said, I'm a FIRM believer in analog printing. Even found myself snooping around summing mixer threads these last few days (God forbid)lol. Consoles are great when they're right but there's so many moving parts, they are a maintenance nightmare.
I'll tell you this, knowing your workflow as I do, you being slow and methodical on mixes, a summing solution would be perfect for you and really help your sonic footprint. I work fast and often, and once had my templates and console jiving for that workflow, but after these recent problems, I'm pretty much starting over. But like you, I'm looking for an analog solution to a digital problem lol.
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Post by cowboycoalminer on Jan 2, 2020 12:53:24 GMT -6
I've recorded some pretty decent stuff with Warm gear over the years. Never really been one to hang up on where somethings made. And known quite a few guys who play and record music who've used Warm. If it's a useful tool, I'll use it.
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Post by cowboycoalminer on Dec 23, 2019 7:46:05 GMT -6
Hmmmm...had one the first Stams, which I hated, and since a lot of people raved about it I figured I was not an "SSL" guy (whatever that is). Still might be the case, but has anyone compared the two? Swafford, you still got my Sta Level? Might be needing that back lol. Merry Christmas brother.
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Post by cowboycoalminer on Dec 22, 2019 17:53:07 GMT -6
I bought this one a couple years ago I think. Never ever letting her go. Still my favorite hardware and I've owned a bunch of high end stuff. Either he knows what he's doing or he's the quintessential story of the "a blind squirrel finds a nut once and awhile".
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Post by cowboycoalminer on Dec 22, 2019 15:40:27 GMT -6
Guys I swear I'm not a shill. This comp (or at least the one I've got ) is a difference maker, big time. Build a mix, the best you can, then A/B with or without after all is done (and feel free to use plug ins). You'll print with this. I don't know what voodoo magic he did with this and I've never owned a 4 k console, but I'm a believer.
I bought mine. And yes, I'm a fan of the 4k 80's sound but it works on anything. Tight, accurate an pointed. Brings everything wanted to the front and squeezes the sides. Cudos on this affordable piece.
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Post by cowboycoalminer on Dec 22, 2019 15:29:11 GMT -6
Took delivery on a Successor! BUT out of cable to build the connects. So waiting by the door for the Redco delivery so I can getbthis sucker patched in. Will report! Quite excited to get it up and running. Two words. Soldering iron.
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Post by cowboycoalminer on Dec 19, 2019 17:33:30 GMT -6
Drum heaven.
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Post by cowboycoalminer on Jun 24, 2019 10:43:24 GMT -6
Both sound great. That 251 is really smooth in all the right spots. Literally no grittyness. Butter
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Post by cowboycoalminer on May 15, 2019 15:22:16 GMT -6
Disagree with Blackdawg. The difference is not subtle at all. Sonarworks mix had way better clarity and punch. Interesting. In my room, the original is much more lush and interesting to me the more I compare them. I am on Genelec 8351a monitors, which are brighter. The low end is noticeably tighter on the sonicW mix in my room. Pretty impressive.
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Post by cowboycoalminer on May 6, 2019 6:47:14 GMT -6
You know, I'm a diehard hardware guy, but I've been finding that stacking a couple plug-in reverbs in a bus has been almost as good as hardware for me. I generally run Valhalla room of some sort stacked with IRs from a Bricasti. Then again, when I mix, I tend to mix the 'verb in thick and then thin out areas with EQ so that I get that nice and lush enveloping verb but it doesn't overtake the mix. I think a lot of folks tend to "go light" on the verb because it gets too cloudy and forget they can also EQ it to fit just like any other track. I'm also finding that it doesn't seem to matter what brand/model verb I use as long as the attributes fit the mix. Same here. I eq and compress a reverb buss all the time. I’ve had hardware units but it just doesn’t seem worth the trouble these days. Software gets me there actually quicker. But I’ll admit reverb is the only thing where this is the case.
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Post by cowboycoalminer on Jan 31, 2019 16:04:27 GMT -6
Anyone still rockin' any channels of it? I want more hardware channels and was thinking of grabbing another one. I liked it when I had it and still like the sound of the demos I hear. I always found it really flexible with solid sonics. I always liked mine. It's in the attic but just because I get more lazy in my old age. It is better than any software comp I've used IMO. Easy to use. But at the same time, well recorded tracks don't need a whole lot of processing. I shoot for that more and more these days. Don't take that the wrong way, I'm a firm believer in compression but dynamics is the end of that for me. I don't look for "Character" pieces much anymore. I want the recording to sound how it sounds.
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Post by cowboycoalminer on Jan 31, 2019 16:00:59 GMT -6
There's a thread on the purple site called Amphions Beautiful that's been running for quite some time. I liken Amphions to NS-10's. They're not particularly fun to listen to, but they give you what you've got. And that relates to a better overall mix. Which is no doubt why folks like them. I own Amphions. I'd say that NS 10's are the same concept. If you want to work, buy ugly speakers. If you want to enjoy, buy something that is easy to listen to. I think any NS-10 will give you a good result. Same as Amphions. A lot of it depends on the amp which changes everything for any passive speaker. I have a pair of NS10M's. They are great for their raised mid range, good reproduction of transients and the high end roll off. I can never just work on the NS10's due to it being difficult to hear the low end. Are the Amphions any better for hearing the low end than the NS10's. I wouldn't want to spend that kind of money and still have to have another set of speakers for the low end. Not good at low end at all. I have to use a sub and it took me ages to dial it in to the right volume and cutoff. But once I did, it's magic.
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Post by cowboycoalminer on Jan 18, 2019 15:20:31 GMT -6
Ears first, meters only to double check, if something sound wrong. And always check in context not solo. I agree with this.
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Post by cowboycoalminer on Jan 18, 2019 15:16:36 GMT -6
There's a thread on the purple site called Amphions Beautiful that's been running for quite some time. I liken Amphions to NS-10's. They're not particularly fun to listen to, but they give you what you've got. And that relates to a better overall mix. Which is no doubt why folks like them. I own Amphions.
I'd say that NS 10's are the same concept. If you want to work, buy ugly speakers. If you want to enjoy, buy something that is easy to listen to.
I think any NS-10 will give you a good result. Same as Amphions. A lot of it depends on the amp which changes everything for any passive speaker.
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Post by cowboycoalminer on Jan 8, 2019 15:06:56 GMT -6
Not saying there's a right or wrong in either. There's just so much in this thing that's left to interpretation.
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