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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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Post by jeremygillespie on Feb 2, 2024 10:01:16 GMT -6
I find the differences are in what we call mixing. Some here are Mixing, and some are Fixing. If you are Fixing, then yeah you are going to need the plugins, straight hardware isn’t going to fix bad playing, dynamics, timing, feel etc from a musician. If that is what you’re used to doing, then sure - a hardware box designed before a double kick pedal hitting triggers going to clickity clack samples isn’t going to be your bag. why do you need compression then? If you do, Why not use a compressor that can hug the performance or be set to do it. A feedback, voltage linear peak compressor cannot really that well if it’s complex or all over the place. Something like the various altec style comps are incredibly brutal guitar, bass, vocal, and overhead fixers ime. I don’t use sample replacement really or clicky mics. I hate the Audix stuff and it needs a lot of work to sound normal. Same with clicky condenser mics on drums like earthworks and those flexi tom mics. Slate type samples need the top end taken off and transient shaping, limiting, or saturation to just distort it more than whatever Slate thinks sounds good. The superior drummer stuff often needs way more eq than raw or aggressively processed tracks on the way in too. The problems aren’t solved and the processing they think their users want or need makes them problems worse. Same with the Alesis samples you still sometimes hear. Yet we can hear countless productions with them uneqed, unprocessed, and sounding like shit because the developers won’t serve it up raw because they correctly assume their users cannot mix at all and if they didn’t premix them, they would be even worse. You pick a compressor that fits the performance and the instrument if you need one. You use them for movement, for holding things in place, for tone, etc. I mean, amazing sounding records were made before plugins…. End of the day - use what works for you to get the results you need.
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Post by jeremygillespie on Feb 2, 2024 8:24:20 GMT -6
I find the differences are in what we call mixing.
Some here are Mixing, and some are Fixing. If you are Fixing, then yeah you are going to need the plugins, straight hardware isn’t going to fix bad playing, dynamics, timing, feel etc from a musician.
If that is what you’re used to doing, then sure - a hardware box designed before a double kick pedal hitting triggers going to clickity clack samples isn’t going to be your bag.
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Post by jeremygillespie on Feb 1, 2024 20:41:54 GMT -6
Well it all depends on if they can sing or not…
If they can, throw them around a single mic like the pics of the Beatles, beach boys, queen etc and make them do it three times and pick the best one.
If they can’t sing, have them each do it once and melodyne the shit out of it or pay people to come in and sing.
I’ve personally got no patience for non singers that want to do bgvs. You get one warm up take and a real take then you can gtfo so I can tune your crap and on to the next. Used to be I’d sit there for hours if it was an hourly rate and do take after take after take but honestly…. I’d rather just do one take, tune it, spare myself the aggravation and go spend time with my wife.
Harsh but true.
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Post by jeremygillespie on Jan 28, 2024 9:14:56 GMT -6
I feel like the Soyuz hit really well. They came out originally and had a top notch design and great sound and packaging. You buy one of their mics, open the box, pick up the mic, it just FEELS fantastic. Then they also sound fantastic. They didn’t have a problem keeping stock, the price is right. Their designs are significantly different than any other mic being sold aside from their sdc but that’s a design where form follows function.
Seems like a company that will stick around for a long time and continue to make great gear.
Now, my honest thought about current vintage mics isn’t great. These things are selling for inflated prices (imo)and there are few people that can upkeep them that know what they are supposed to sound like. I don’t know many 25-30 year old mic techs.
Buying recording or musical gear for investment purposes is a really big gamble imo. It’s a piece of equipment meant to make you money through its use. Just thinking about the loss you’d have taken on a console or tape machine back in the day if you weren’t making money with it makes me shudder.
I’m rambling at this point, but yeah nobody is going to want to use or know how to use a large format console in 25 years nor will they care. Shit 10 years ago I wasn’t able to find anybody that cared to learn how to use a 72ch ssl. Maybe it’s just my location who knows.
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Post by jeremygillespie on Jan 28, 2024 9:00:05 GMT -6
I’ve got an Epiphone Jack Cassidy hollow bass that plays and records nicely. Sounds great and has a fair amount of tonal variation with the pickup “impedance switch” BUT 99% of the time I use my P Bass. It sounds right and it feels right. unfortunately i don‘t have the chance to try the instruments. the epi cassidy was on my list but now i ordered this veeery cheap bass from thomann: www.thomann.de/de/harley_benton_hb_60_wb.htmcould be hit and miss at this price but online video tests sounds good and the short scale should fit my tiny guitarist fingers. i‘d only use it for recording. That looks like a fun Guild style. Let us know how it works out
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Post by jeremygillespie on Jan 27, 2024 21:20:29 GMT -6
I’ve got an Epiphone Jack Cassidy hollow bass that plays and records nicely. Sounds great and has a fair amount of tonal variation with the pickup “impedance switch” BUT 99% of the time I use my P Bass. It sounds right and it feels right. The argument is: A P-bass only has one sound. The counter argument is: A P-bass is the right sound 99% of the time. Flats Wounds Foam mute Palm mute Pick Fingers Play behind pickup Play up by the neck joint P bass does it all baby!!!
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Post by jeremygillespie on Jan 27, 2024 16:42:05 GMT -6
I’ve got an Epiphone Jack Cassidy hollow bass that plays and records nicely. Sounds great and has a fair amount of tonal variation with the pickup “impedance switch”
BUT
99% of the time I use my P Bass. It sounds right and it feels right.
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Post by jeremygillespie on Jan 26, 2024 11:22:32 GMT -6
You can remove one on the screws on each hinge and replace it with a 3 1/2” deck screw in order to secure the actual hinge to the rough opening framing to secure it better if you add mass to the door. If you do this make sure to replace the screw that is closest to the middle of the door frame to make sure you’re getting the 2x4 or 2x6 instead of just screwing it into your sheetrock edge.
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Post by jeremygillespie on Jan 25, 2024 23:08:18 GMT -6
Oh good another Joe Henry fan! What’s your favorite record of his? I try the Dead once every 2 years or so. Just can’t seem to find a way to find it interesting. Bringing this up as I just got Fuse. Loving it! What are your faves? Cheers, Geoff Scar Tiny Voices Civilians Blood From Stars Reverie That run of albums for me is absolutely incredible. I can’t pick a favorite amongst those records as it depends only on my mood on any particular day. But WOW. Everything about them is perfectly imperfect in the most beautiful way.
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Post by jeremygillespie on Jan 25, 2024 22:58:33 GMT -6
You could get a steel door and have the problem be the same if not worse. Most general steel doors you’d get come with a metal buck jam, and they don’t seal very well.
The problem generally isn’t the door, it’s sealing the door to the stops/jamb. On top of that, you’re battling the threshold and the space between the door jam and the frame.
Let’s say you’re going to keep the door you have. First thing I’d do is run a knife along the door jamb and your interior trim. Do the same from the trim to the wall to cut any caulking that may have been applied, and then pop that trim off. Be gentle and use flat bars so as to not ruin the trim. Pull out the fiberglass insulation that’s in there, get a can of non expanding foam insulation from your home center and fill that cavity. Now replace that trim after the foam dries.
Next I’d see how tightly the door closes. On most doors, If you open the door and look down where the bottom of the door seals against the threshold, you’ll see some screws. Probably 4 or 5 screws on a 32” door. If your door opens and closes without rubbing against that threshold, take a screwdriver and back out those screws a half turn at a time. Then close the door and open the door until you feel a sturdy rub on that seal. That will tighten up the bottom of that door.
Now move on to the top and sides. When you open your door, there are vinyl covered foam seals that are wedged into rabbited slots in the door jamb. These need to be tight against both the door and the jambs when the door is closed. The easiest way to do this is to look into the metal plate that your door knob goes into. It’s called the strike plate. If you look inside that plate there is a small tab and a slot that you can place a flat head screwdriver tip. Bend that little tab so that when your door knob actuates into the strike plate, it will pull the door further into the seals.
You’re going to have to push your door harder to get it to close, but this is all for getting a better seal. If your strike place doesn’t have that tab on it (it most likely does) you can unscrew it , fill the screw holes, drill new holes and move the strike plate closer to door stop to make the seal tighter.
You can also have a buddy stand outside with a leaf blower blowing air against all areas of the door. If you feel air getting in, sound is getting in there too.
Hopefully a portion of that made some sort of sense.
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Post by jeremygillespie on Jan 16, 2024 21:30:30 GMT -6
As an owner of an original Falcon, I can’t figure out why the heck they called this new amp a Falcon.
Sounds cool - but couldn’t be further from its namesake
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Post by jeremygillespie on Jan 14, 2024 14:33:09 GMT -6
The "Misery Business" snare drum alone basically started its own genre haha. David and Dan were both VERY generous to share with me during that time through email about their process and I'll never forget that. Great dudes and I have a ton of respect for them both so I'll definitely continue to keep an eye on what Korneff Audio does. The Underoath and Paramore records are the reason I own a Compex and a Transient Designer! One of my pals from college was Dan's assistant for years and I nagged the poor guy for just about anything he could tell me about how they got some of those drum sounds. Brian?
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Post by jeremygillespie on Jan 13, 2024 13:09:54 GMT -6
Can we get a show of hands of who: A) Dithers always for any change in processing B) Sometimes dithers (and when?) C) Doesn’t dither I have to admit much of this conversation has gone over my head. But it has got me thinking about it. For example I had never dithered going out to hardware, but now I’m at least trying to figure out how to do so in Logic. I think I need a third party plug. Logic has a dither option when bouncing/exporting but I don’t think it is available outside that context. So I guess that puts me in category C most of the time. Cheers, Geoff To add to this - for anybody working on a console, are you putting a dither plugin on every single channel that you throw out to the console? Let’s say you’ve got a 48 channel console and are sending everything out to that console for mix. Who is putting a dither plugin on every single channel in their DAW? I’ve never seen this done before so I’m curious.
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Post by jeremygillespie on Jan 12, 2024 23:37:24 GMT -6
This is all well and good. And also I’m not trying to be a smartass here. But, dither isn’t the reason I don’t have any gold records, or Grammys, or songs with a billion streams.
I know it’s a game of inches, especially when we nerd out about things. I love to nerd out about audio. But holy shit does anybody here actually think they could hear the difference between dither or no dither without putting it into some analizer, scope, or plugin that tells you what you are hearing? I certainly don’t sit around blasting the volume on the fade outs of songs trying to figure out if there is truncation distortion that isn’t masked by TPDF or whatever. I’ve honestly never had a conversation about dither in person with any of the people I’ve worked with over the years. Now I’m aware that I’m a nobody, but I’ve worked with lots of somebodys and it’s never come up a single time.
/is40middleaged?rant
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Post by jeremygillespie on Jan 10, 2024 11:06:35 GMT -6
I don’t think I’ve ever opened a session at 32float. What am I missing?
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Post by jeremygillespie on Jan 10, 2024 9:37:00 GMT -6
I’m just happy I can take this new knowledge and blame my old shit mixes on not dithering. Thanks guys!
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