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Post by jeremygillespie on Mar 24, 2024 21:34:23 GMT -6
M269
Pretty much the perfect microphone.
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Post by jeremygillespie on Mar 24, 2024 21:26:50 GMT -6
If you’ve ever taken your thumb and softly “thumped” a string close to the bridge on a bass guitar while gently muting, and compared it to using your finger In a more standard position near the pickups, you’ll immediately hear the low end difference. Same thing with gently popping a bass drum and pulling the beater off the head vs hitting it hard and burrying the beater. The low end information is not only substantially different, but the entire tone changes in an incredible way.
I think you need to just have the ability to read between the lines with T-bone. Dude has probably been a part of more of my favorite records than anybody else in the industry. I enjoy the cryptic speak, he’s got a great interview on the Marc Maron podcast. Check it out for sure.
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Post by jeremygillespie on Mar 22, 2024 11:43:08 GMT -6
So you're saying that the much more expensive speakers sound a lot like your much less expensive speakers and that the extra cost really wasn't worth it? Fascinating.. Sounds like something I would say. (I'm messing with you, don't get mad) In the old days there were 2 basic justifications for $20K monitors. 1. If you could work faster 2. They impressed clients and got you bookings. Ironically when it came to clients all you had to do was mount a PA speaker with 2 15’s a big horn and a pretty cabinet. And then turn it up while they stand in the back of the room!
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Post by jeremygillespie on Mar 6, 2024 22:33:16 GMT -6
Rough day. Had a few pours of Eagle Rare 10 year. That stuff is crazy smooth.
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Post by jeremygillespie on Mar 6, 2024 22:22:56 GMT -6
eBay has an avid I/o 16x16 for like $600 Found an HDX card on Reverb for $1700 Pt ultimate for a year is $600 Just need to figure out a chassis for the HDX card but that’s just below $3k for all of that. I mean… not that bad for a system that will do everything you want and keep you in PT land. Frustrations gone. I’m not saying 3k is nothing, because it’s not. But I’d totally take that system over the flavor of the month/year compressor, personally. Couple of questions on this, Jeremy (and/or seawell or others): 1. Jeremy, you said PT Ultimate for a year is $600. What about these so-called "perpetual licenses," or whatever they're called? Is that what $600 gets you? Or is that $600 a yearly amount you have to ante up? Or is it an "updates included for a year" kind of situation? 2. The Avid I/O 16x16 you mentioned: is that an HD192? Or something else? Does it also work with CoreAudio on a Mac (as in, other applications like other DAWs, editors, NLEs, etc.)? I'm guessing there are AES digital connections if you want to use other converters? 3. And the big question for me with all of the above: how long are these Avid hardware devices and DSP cards supported with new drivers and such? How often is PT actually updated? I usually run my studio machine at about one year / one OS behind whatever OS Apple is currently pushing. My understanding is that a lot of PT guys don't update their systems that often, which I understand - if that's all you're doing with your system, no need to keep updating it if it works. But I update at that pace because of other software I need to use, especially video editing software, where major updates are coming fast and furious with increasing AI tools for masking and stuff. I'm sure I have other questions, but those are 3 big ones that have hung me up on PT for several years now. I know they probably sound like really basic questions, but I don't think most PT guys I've talked to appreciate how foreign the PT world is to literally everyone else using a different DAW. Literally all of those other DAWs are more similar to each other than any of them are to PT (with the possible exception of Luna now). And seriously, thanks to all you PT guys in this thread helping clear up some of the confusion! The $600 is the yearly fee to use the license. You’ve gotta anti up that amount every year to use the software and to get updates. The perpetual license costs more but it’s yours forever. I think you get a year of support but after that you’re on your own. Use it until your computer doesn’t support it anymore. The HD I/O is the one newer generation of the 192 box. You can configure them with analog or digital cards 8 channels at a time for inputs and outputs. All the boxes have AES and word clock in and out. They sound good. They’ve also been discontinued so the only way to get them is picking them up used. You can get them for a crazy good price. Can I hear a difference between the avid box and a Lavry Gold? Yeah of course. Would it stop anybody from making killer records? No. Can’t speak to the core audio driver thing. I straight up don’t even know what any of that stuff means if you can believe it. Hope that clears up a few things for you!
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Post by jeremygillespie on Mar 6, 2024 22:13:58 GMT -6
I’m pretty sure a Carbon would work fine for me. Here’s a question, though…I think someone said yes earlier, but just wanted to confirm. Does anything with digilink like the Aurora or Burl B16 et al - would they all work with pro tools ultimate and do the correct delay comp for hardware? Or is that only with Carbon or an hdx card? I thought the Digilink protocol was how you hooked up your converters to the HDX card? So with Aurora or Burl with Digilink you wouldn't need an Avid box, you'd just go from Aurora/Burl straight to the HDX card? But maybe I'm totally mixed up... That’s correct
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Post by jeremygillespie on Mar 6, 2024 22:13:11 GMT -6
I originally had the 192's, they weren't great. Personally I'd start with Omni and work up chronologically from there on.. I’m pretty sure a Carbon would work fine for me. Here’s a question, though…I think someone said yes earlier, but just wanted to confirm. Does anything with digilink like the Aurora or Burl B16 et al - would they all work with pro tools ultimate and do the correct delay comp for hardware? Or is that only with Carbon or an hdx card? I personally know the Burl and the Apogee work just like an avid box. Plug it in and the PT I/o things it’s an avid box. Can’t speak to the other companies as I’ve not used them.
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Post by jeremygillespie on Mar 6, 2024 22:11:38 GMT -6
eBay has an avid I/o 16x16 for like $600 Found an HDX card on Reverb for $1700 Pt ultimate for a year is $600 Just need to figure out a chassis for the HDX card but that’s just below $3k for all of that. I mean… not that bad for a system that will do everything you want and keep you in PT land. Frustrations gone. I’m not saying 3k is nothing, because it’s not. But I’d totally take that system over the flavor of the month/year compressor, personally. But aren’t those avid converters supposed to be bad? I don’t honestly get into the cork sniffing converter thing. There isn’t anything wrong with the newest Hd I/o 16 x 16 box. You’d have no problem making things sound great with it.
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Post by jeremygillespie on Mar 6, 2024 20:08:15 GMT -6
eBay has an avid I/o 16x16 for like $600
Found an HDX card on Reverb for $1700
Pt ultimate for a year is $600
Just need to figure out a chassis for the HDX card but that’s just below $3k for all of that.
I mean… not that bad for a system that will do everything you want and keep you in PT land. Frustrations gone.
I’m not saying 3k is nothing, because it’s not. But I’d totally take that system over the flavor of the month/year compressor, personally.
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Post by jeremygillespie on Mar 5, 2024 17:00:57 GMT -6
First three or four albums are just them as a duo.
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Post by jeremygillespie on Mar 4, 2024 18:27:49 GMT -6
Snag a used HD I/o 16x16 analog box, hdx card, and the software and you’re good to go. No problems with hardware inserts anymore, it just works. No “console” routing etc. That’s what I would do, and am going to do.
Go in or out AES if you want a better A/D or D/A for monitor or printing.
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Post by jeremygillespie on Mar 3, 2024 16:05:57 GMT -6
Picked up an Ampeg 2x12 cab to use on some upcoming road gigs. Sounds great with my SVT-7 pro amp, just had our first rehearsal getting amped up!
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Post by jeremygillespie on Feb 29, 2024 6:26:46 GMT -6
For what it’s worth, to the folks saying they are made for hip hop and dance music or whatever… meh not really. Ryan Freeland uses them and makes some of the most beautiful acoustic records I’ve ever heard.
Also, I got my footprint 01’s when they came out and I have yet to blow up one of their plate amps (whatever that is) or blow my ear drums out with the beaming junk tweeters 😁
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Post by jeremygillespie on Feb 16, 2024 13:04:40 GMT -6
I’ve been using Martin or D Addario Nickel Bronze strings. My acoustic was sounding overly bright and Nickel Bronze strings really changed the sound in a positive direction Same! I used to love the Martin acoustic strings with the gold colored plain b and e strings . . . but they've changed them now. Same! I used those strings for over 10 years and was super annoyed when they changed the b and e. I don’t like the new ones nearly as much.
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Post by jeremygillespie on Feb 13, 2024 11:33:22 GMT -6
I’m going on the road in the spring and need a bass cab. I’ve somehow made it this far in life as a professional musician only owning a pair of 8x10 ampeg cabs. Why do I have two of them? I got the pair of them free with a drum kit I purchased. A sort of “get these things out of here and they are yours” sort of deal. Nobody wants them for any reasonable Money so I’m just holding onto them. I might just build a 2x10 cab and pull a pair of speakers from one of them to use… Your back must be in way better shape than mine! I can't even imagine moving around an all tube SVT and the 8x10 cabinet. Man, those were heavy. Makes carrying a Leslie seem almost doable... I turned them on once to see what it would be like playing through a pair of them. That was cool. Haven’t touched em since and I certainly wouldn’t lug one around for gigs unless I was paying a guy with a 20 year old back to do it.
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Post by jeremygillespie on Feb 13, 2024 8:40:48 GMT -6
I’m going on the road in the spring and need a bass cab. I’ve somehow made it this far in life as a professional musician only owning a pair of 8x10 ampeg cabs. Why do I have two of them? I got the pair of them free with a drum kit I purchased. A sort of “get these things out of here and they are yours” sort of deal.
Nobody wants them for any reasonable Money so I’m just holding onto them. I might just build a 2x10 cab and pull a pair of speakers from one of them to use…
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Post by jeremygillespie on Feb 11, 2024 13:35:51 GMT -6
Welcome to 1979 does it a lot with 1/4, 1/2, 1 and 2 inch tapes. I sold Chris Mara my old 1980's Otari MX5050 8SD 1/2" 8 track machine about 3 years ago after I transferred all my old tapes to digital with it. It needed some maintenance but it still all worked other than one of the record enable lights didn't work. It had a brand new pinch roller and the heads had been re-lapped and only had about 30 hours on it before I sold it to him. I also gave him about 15 or 20 empty metal reels with it. After I transferred all of the tracks I spooled all the tapes into the trash so I wouldn't have to store them anymore. I had boxes and boxes of tapes. I also baked and transferred all of my old 4 track and stereo 1/4" tapes. I still have my old TEAC A3440 machine. It needs some work before I sell it and I haven't been inspired to do it. One of these days I'll get fed up with it being in the way in the closet and I'll deal with it. I baked all of the tapes in a food dehydrator before I played them. Most were playable. Some had some drop-outs, and a couple were trashed. I baked 3 1/2" tapes at a time. I did them at 120 degrees for 12 hours. I would turn the tapes over and change their locations in the dehydrator about halfway through. I don't know if that was good or bad but I had pretty good results. After I baked them I put them into a sealed Tupperware cake container, that had about 1/2" of sillica desiccant in the bottom, to cool. As long as I played them within a few days it was fine. I had to re-bake some that I had let sit longer than that, even in the desiccant container. I’ve had good luck baking 2” reels with the food dehydrator as well. The Ampex tape can be tricky. Scotch was never a problem.
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Post by jeremygillespie on Feb 11, 2024 8:59:41 GMT -6
If you have a smart phone and use google the powers that be already have every piece of information they want about you. Seriously not something to worry about.
Unless you want to live in the woods cut off from society there is absolutely no way around this.
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Post by jeremygillespie on Feb 9, 2024 7:32:13 GMT -6
It’s worth whatever the market will allow it to be worth, even if it doesn’t make sense. Somebody might just not care. Who knows 🤷🏻♂️
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Post by jeremygillespie on Feb 6, 2024 13:07:36 GMT -6
Not only does it not exist, it wouldn’t “work”. Languages don’t just switch out words from one to the other. The way phrases are put together is entirely different, so the lyrics wouldn’t make sense.
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Post by jeremygillespie on Feb 5, 2024 10:29:16 GMT -6
I don't think it's the gear companies pushing it anymore than they ever did. Sure they would benefit from it, but I think it all boils down to the major labels in the industry. Unless they have skin in the manufacturing game, that part won't be of interest to them. If they're not making any money from gear sales then why would they care? I don't think the speaker companies are the major players, they just sell x3 more speakers with it, so it's good for profits. I think Apple has a lot to do with it though. Apple loves to control the direction of things, and imo it's their way of trying to pry everyone off of spotify and back onto their platform, a market they dominated during the early 2000's iTunes era. I’d happily go to Apple Music if their interface didn’t suck so hard compared to Spotify’s. And everything I own with a computer chip in it is made by Apple. Spotify is king imo.
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Post by jeremygillespie on Feb 2, 2024 13:30:34 GMT -6
[...] I know it isn’t a fun thing to say but if a product isn’t making you money… you don’t need it. Ahhh, but what about the product that potentially might possibly someday make you money if the stars are aligned just right? Now now my therapist worked that out of me years ago hahaha
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Post by jeremygillespie on Feb 2, 2024 12:57:54 GMT -6
So I should keep buying more?
I know armchair psychiatrists do way more worse than good in the world, but it honestly sounds like you just need an inspiring session with some good musicians. They're still out there. It's easy to think as pessimistically about musicians as a whole, but I think it's because so many more people can pursue their musical aspirations now that it feels like the overall quality of players as a whole has dipped. I hope you can find something that makes you happy.
------------ Back to UA topic for a second. Since this is all about how UA is not doing well to the pre-existing userbase and catering to newer clientele -- Are there still crazy deals available or to look out for as someone who is interested in a few UAD plugins? Or is the roughly $30-50 USD sale range as good as it gets?
They constantly have sales , so it pays to be patient, but generally speaking $30-50 per plug is a good range, unless you get a bundle. So just to save folks headaches in the future about how much they spend on UA plugs. USE THE DEMO OPTION. Don’t get sucked into the coupons and the bundles until you demo the plugs at least for as long as they give you. You can reset the demo time by reinstalling their plugin installer. There are always going to be sales. I promise you don’t need to get that deal right this second. They do a bang up job of marketing to us and making us think we will never see a deal like the current deal ever again. The only thing you get is a bunch of plugs that you are never going to use, or a bunch that you thought were going to be great but are just “meh”. Demo this stuff and only purchase the ones that will make your life easier or will help you make money. I know it isn’t a fun thing to say but if a product isn’t making you money… you don’t need it.
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Post by jeremygillespie on Feb 2, 2024 12:31:52 GMT -6
Old school trick is to have harmony singers not even sing the "t", "s", "sh", and "ch" sounds. This is my approach. In LA at least, the pro session singers do this as standard fare. If you are recording say...4 at a time, maybe only one of them is singing those consonants. And then, lightly. Amen!!!! This is huge for singing bgvs live as well.
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Post by jeremygillespie on Feb 2, 2024 12:30:18 GMT -6
Welp… that’s too bad. I disagree with Dan 99% of the time but did value what he had to say.
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