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Post by cademan7 on Aug 28, 2021 12:58:51 GMT -6
Great fun just talking about the possibilities. You certainly have a list worth drooling over. I've not used the hardware of all of these, so grain of salt. My impression of the 2500 is that it's got more of a learning curve than other bus comps, which can lead to a lot of guys getting too much gain. As others have said Audioscape hits a quality level and you'll likely be able to have a greater variety of compressors. I'd be happier seeing a bus comp in the style of SSL, Vertigo VSC, 33609, or one of those clones. You may have a preference for the API and I'd understand why. Also Audioscape dual Pultecs would be nice on a stereo bus. Or something similar vibey like a Curve Bender. I love the idea of Pultecs for the stereo bus and that will probably be one of my first upgrades later on after the initial install. I really like the API 2500 for drums but also for dual mono purposes, but the SSL style comps are more useful for actual mixbus compression, I agree. Ideally I'd like to have both at some point, but can only afford one or the other for the time being. I'll spend some more time considering which one would be better to start with.
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Post by cademan7 on Aug 28, 2021 12:55:21 GMT -6
I'd make sure there's a Neumann U87 always available for use in those sessions. Also, you may want to look at the Dangerous Music 2 Bus +. Excellent point! We have a couple of U87's in our mic locker, but having one that's available at all times in that room would be really nice.
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Post by cademan7 on Aug 28, 2021 12:54:08 GMT -6
If you’re running PT, I’d definitely have an HDX setup and Avid interface instead of an Apollo. If I paid to use a studio and had to deal with having issues with Hardware Inserts screwing with timing of sessions because of the interface I’d be pretty bummed out. And if it’s going to be a hybrid mix room, or if you’re going to be overdubbing on sessions with lots of plugs then HDX is the only way to go. That's a great point, as much as I hate to believe. I was thinking the Apollo would be great because it will also let us use UAD plugins, and if I go the HDX/Avid route, I'll have to get a UAD satellite too, which really adds quite a lot to the budget overall. But it's a great point that I'll definitely consider carefully.
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Post by cademan7 on Aug 27, 2021 19:48:06 GMT -6
Thanks for the advice! The Redco patchbay is the way to go for sure. Regarding the Neves, I'm a bit skeptical of the 500 series format specifically when it comes to Neve style preamps. But I did consider that. I also really like the idea of having a very transparent pre like the Millenia somewhere in the mix. That's a good call. Regarding the monitoring, ABSOLUTELY! That's the one area I will not consider scaling back on. Haha The compression if probably a bit much and that will be the first area where I'll have to start scaling back if the budget becomes too much. I was mainly looking to get some other people's thoughts on the types of compression they'd like to see in that type of studio, which you touched on. You definitely can't go wrong with 1176's or LA2A's however we have so much of that in Studio A that I was thinking it would be nice for this room to be sort of a more modern compliment to that? But maybe not.
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Post by cademan7 on Aug 27, 2021 19:15:06 GMT -6
Hey everybody! I need some advice. I’ve been tasked with outfitting a Studio B/Editing Room for a major recording studio. The Church Studio in Tulsa, Oklahoma. The main studio is a large live room with multiple iso booths and a control room outfitted with a Neve 8068 console, vintage outboard gear (Urei 1176’s, DBX 160’s, Lexicon 480L, (2) EMT 140 plate reverbs, two subterranean echo chambers, etc.) and a serous mic locker stocked with all the classic microphones from Neumann, AKG, Telefunken, etc. But we would like to have a second smaller studio to function as a lower cost of entry space for some simple tracking, overdubs, voiceover work, vocal tracking, pre-production, songwriting sessions, but also a secondary space for larger sessions to have an assistant prepping Pro Tools sessions, editing, etc. on another machine in Studio B to maximize their time in Studio A. But I’m also thinking it could function has a smaller, more affordable hybrid mix room because it’s a perfect size and shape for that.
So, what are some pieces of equipment, accessories, etc. that you all would like to see in such a space? I have a budget of about 40K and my list of equipment thus far is tipping that scale. Here is my list:
Dangerfox Genesis 16U workstation desk Apple iMac 27” Universal Audio Apollo x8p interface ATC SCM25A studio monitors Switchcraft Studio Patch 6425 patchbay (2) AMS Neve 1073 CH in 3U horizontal rack case Chanler Limited REDD.47 preamp BAE 312A 2-channel mic preamp Tube-Tech CL1B compressor Purple Audio MC77 limiter API 2500 stereo bus compressor API 5500 Dual equalizer
Anyway, I would love anyone’s thoughts or suggestions about what’s lacking or what could be better. I’m sure there’s things I’m probably overlooking so I’d love to hear some of your thoughts about the kind of work you could envision doing in such a space and what would make that work easier for you.
Thanks, Cade
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Post by cademan7 on Mar 5, 2019 13:51:52 GMT -6
Joshua where are we at on the 76adf's shipping?
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Post by cademan7 on Nov 8, 2017 2:30:26 GMT -6
used a 25 watt aluminum wire wound and just mounted it to the case. Works like a champ! Could probably be fine with 10 or 15 watt.
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Post by cademan7 on Jan 13, 2017 1:26:05 GMT -6
No worries. Do what makes you feel safe, but the reality is, unless you have to go to court and PROVE when you wrote it and attained your copyright, you'll never normally think of it again. If any library or other website puts your music online, that anniversary date in and of itself will be proof if someone tries to rip you off "after the fact" and you have solid evidence that the music was published before that. Good luck with your submissions. Awesome. Thanks again for the insight! It can be confusing navigating this business as a complete newb. But certainly a challenge I am up for! ha
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Post by cademan7 on Jan 12, 2017 21:43:34 GMT -6
Cade - presuming you are in the US, your music is copy-written the minute you write it. Even before you record it. It's not REGISTERED though until you fill out the form, send in the money and attach a copy to the Library Of Congress. Personally, when sending music to libraries, etc., I don't ever bother to copyright it. The library will do that if they pick it up. Ok, cool. That's what I was mainly wondering about, was whether or not it was even worth bothering with. Just wanted to make sure I wasn't doing anything really foolish. Thanks for clearing that up!
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Post by cademan7 on Jan 12, 2017 20:36:13 GMT -6
Hey, I'm just curious what the process is that people use for copyrighting material when working with a music house, music library, etc. I've been writing and sending cues to a few different companies that I am now working with, but most of the material isn't copyrighted at the time that I send it since I usually just do compilation copyrights every few months or so. I can't imagine having to pay to copyright every cue before sending since I am writing several every week, so I'm just curious how other composers in the industry handle this? What's the standard practice? Some insight on this would be greatly appreciated!
Thanks, Cade
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Post by cademan7 on Mar 29, 2016 18:25:42 GMT -6
Are these bodies and head baskets gonna be available to anyone willing to purchase or are there just a few being done? Because i would like in on this if that is possible when these are complete. Cade
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Post by cademan7 on Mar 7, 2016 14:06:58 GMT -6
its osx 10.8.5 pro tools 12.4. looks like anywhere between -14 and -20 in maesto 2 input/output. probably just go with -16.
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Post by cademan7 on Mar 6, 2016 23:09:29 GMT -6
Hey, I was wondering if anybody who has experience with an Apogee Symphony I/O could offer some advice/insight on what the settings in Maestro should be on the input and output.
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Post by cademan7 on Feb 18, 2016 17:01:31 GMT -6
good luck and keep us posted. I am interested in your thoughts after completing the build and putting it into service.
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Post by cademan7 on Feb 16, 2016 21:08:46 GMT -6
Wow, ok, cool. Lots of great insight. I think a Dimension D as well as an H3000 would both be great for achieving this type of effect.
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Post by cademan7 on Feb 16, 2016 16:26:04 GMT -6
I'm thinking it may be a short delay. Like shorter than a slap delay.
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Post by cademan7 on Feb 16, 2016 16:23:57 GMT -6
Hey, I was curious if anybody had any info/ideas on what the vocal effect is on the song "Rockin' Into The Night" and also a lot of Billy Squire's material. It sounds almost like a chorus or maybe just a double tracked vocal. It's more subtle in 38 special's material, but I think it sounds really good. Any info I'd love to hear.
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Post by cademan7 on Feb 16, 2016 14:09:35 GMT -6
Where are you seeing the sale? It's on sale at Sweetwater right now for $135. It's the last day of their President's Day Sale.
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Post by cademan7 on Feb 16, 2016 12:14:23 GMT -6
Hey, I'm asking this question because I'm wondering if the ProQ is really that much more transparent and useful than some of the other eqs I already have like the UAD Cambridge and Brainworx bx_digital v2? It looks like a great plugin with a great layout and everything, I'm just wondering if it's something I can't live without. I've seen so many great engineers using it. Any advice from anybody who has experience with these eq's?
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Post by cademan7 on Feb 12, 2016 16:34:26 GMT -6
anybody ever get one of these built?
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Post by cademan7 on Feb 9, 2016 22:15:54 GMT -6
I've got three pop songs that I need a talented young male demo singer to sing. I'd prefer somebody with no discernible accent and under 30 years old. If anybody has somebody they can recommend, I'd appreciate it. They'd either have to have their own demo studio, or access to one. Turnaround between my files being sent and needing to be received back to me will be in February. Thanks to anybody who can help me and the singer! Hey, I might be able to help you out. I work with a few different session vocalist, but there is one in particular who might fit your description well. His name is Jesse Joice. You can check him out at this link: www.caderobertsmusic.com/#!session-vocals/p9ccd You'll have to visit the "Session Vocals" page. The demos on there are his original material, they don't show off his range quite as well as they should. He's a really great singer, if you're interested in trying him out, let me know and I'll shoot him your demo to see what he thinks about singing on it.
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Post by cademan7 on Jan 17, 2016 17:46:39 GMT -6
pm sent
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EZ1084
Jan 12, 2016 20:05:46 GMT -6
Post by cademan7 on Jan 12, 2016 20:05:46 GMT -6
I have a pair. They are great! and Jim (Bluzzi) is a great help no doubt. I love mine
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Post by cademan7 on Nov 25, 2015 18:34:16 GMT -6
I do have some 560A for sale, PM me if interested. I don't have them listed in the forum for sale yet but I probably should. I'm just working from memory here, no direct comparison, but I hear the 560A as being slightly more transparent sounding than the X or XT. Everything I've heard about them is great. Just having trouble finding any sound demos. But seems like a good buy, especially for the money. I'd interested in purchasing a couple from you, except I don't have the cash right now. I'll probably opt for Sweetwater's three payments option. They have a set of two for $300.
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Post by cademan7 on Nov 25, 2015 17:12:19 GMT -6
Hi, I was thinking about purchasing a couple of dvx 560a 500 series compressors, but I'm wondering how they compare to the 160's. Anybody have experience with both?
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