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Post by jeremygillespie on May 7, 2019 12:51:03 GMT -6
This is why Volume Trim is the best. That's what I'm talking about if you're talking about changing the channel to "Volume" and then moving the line... HDX has a separate “trim” option in the drop down menu that is very similar to the ssl automation. You can pick the trim option and pull down an entire section of automation. So it’s like a separate second layer to automation. It’s super handy. Wish they would put it in the normal version.
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Post by jeremygillespie on May 7, 2019 12:49:02 GMT -6
I need my own space at this point, and I’m trying to figure out if it’s going to be in the house my wife and I buy in the next few years, or in a 3 car garage on the property, or at a separate location altogether. I was a framer and carpenter in a former life so I could build something relatively on the cheap. Other than that, I’ve got too many guitars, I’ve got the Rhodes, drum kits, B3, basses, etc etc instrument wise. I would LOVE a piano... So, The dream list is -my own room -new computer / HDX rig -piano -vintage Gibson Hummingbird And then I’m all set! So you think! HAH! I’m smart enough to realize that even though I would REALLY like an atr102, it’s just not gonna happen. That money would go to retirement fund. Same goes with an analog console at this point. Unless something drastic changes and I could pick up an AWS on the cheap, it’s just not going to happen.
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Post by jeremygillespie on May 7, 2019 12:24:21 GMT -6
I need my own space at this point, and I’m trying to figure out if it’s going to be in the house my wife and I buy in the next few years, or in a 3 car garage on the property, or at a separate location altogether.
I was a framer and carpenter in a former life so I could build something relatively on the cheap.
Other than that, I’ve got too many guitars, I’ve got the Rhodes, drum kits, B3, basses, etc etc instrument wise. I would LOVE a piano...
So, The dream list is
-my own room -new computer / HDX rig -piano -vintage Gibson Hummingbird
And then I’m all set!
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Post by jeremygillespie on May 7, 2019 12:14:51 GMT -6
depending on what you're doing and how much you're changing it, I will separate the clip (right click drop down) into its own region and use the individual clip volume to accomplish this, because then it doesn't interfere with overall track level changes, or the now lack of being able to, once the envelope has been placed. The problem with doing it this way is that you’re changing the level going into your plugins. And that could either be beneficial or just make more trouble down the road. I use clip gain to change the level of what I feed inserts, and then volume automation to change things post processing.
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Post by jeremygillespie on May 7, 2019 12:07:39 GMT -6
If between 2 points the volume is the same on each side, you can just pull it up or down. If from one side to the other is not the same level, you need to make 2 break points outside of what you want to raise overall, then select between them.
I agree it’s kind of a pain in the ass but I’m so used to it at this point that it doesn’t really bother me much.
If there is another solution I’m all ears!
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Post by jeremygillespie on May 7, 2019 12:05:10 GMT -6
This is why Volume Trim is the best. Trim's great, but not available on my PT version (non HD). The individual clip trim though has been an acceptable replacement for me You could make a VCA for the one channel you want to “trim”
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Post by jeremygillespie on May 6, 2019 17:38:48 GMT -6
I’ve done quite a bit of back and forth with dedicated vs built in DI’s. I’ve bounced between countryman, active and passive Radial units, tube based Demeters, and I always wind up plugging right into the front of a Hairball Lola and it’s the best thing ever for me on bass.
I bet he DI on those platinums sound mighty good John!
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Post by jeremygillespie on May 4, 2019 6:55:51 GMT -6
Patiently been waiting on USPS for mine . . . and the tracking number isn't working. NOT Chris's fault. View AttachmentOh man can you hook us up with some sound samples that aren’t super heavy rock??? I’m dying to hear this unit but the samples on their website don’t exactly do it for me haha
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Post by jeremygillespie on May 1, 2019 9:16:33 GMT -6
Oh yeah, I forgot. Not in Logic though (thanks, Apple!) You should be able to mitigate this easily. Not a logic user but I setup a matrix sort of in my PT session, however, I don't "bounce" tracks, I print them. Basically you have to route everything differently The easiest way is to do this. Add 2 Aux tracks and 1 Audio track, all stereo. Aux 1 - Sub Master Audio - Print(I name this usually the title of the track or a generic name of the project) Aux 2 - Monitor Route ALL your audio tracks to the Sub master. Route the Sub Master to the Print track Route the Print track to the Monitor track and should have the outputs to your monitors ect. from this track ONLY. I do this as you can now put your plugins/hardware inserts of choice on the Sub Master. Which then WILL get printed to the audio track. You simply record the Print track when your done with the song/track. You have to have input monitoring enabled to hear anything(or record enable) By monitoring through the monitor plugin you can mute it or add your Sonar works plugin or whatever and it won't affect the print. I do this a bit more complex to print 5.1 and stereo at the same time which allows me to go back and forth between the two to check things during the print process but I don't screw up the printing. Once the track is printed, I export the clip as file and Im done. Rename it appropriately and place it appropriately too. I imagine you can do this with any DAW as its just internal bus routing. Not too tricky. Why not just monitor off your print track? There really isn’t any reason to add the second aux is there? I do the same as you, except I use a Master track to rout everything into when I’m ITB or while I’m tracking. When I’m mixing, instrument bus outputs go to my external summing / outboard, then into my bus comp/eq, then back into an Aux channel that I label “Through”. That aux gets any additional plugs or fake mastering for a client to hear, then gets bussed to an Audio track as my print.
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Post by jeremygillespie on May 1, 2019 8:38:07 GMT -6
Correct me if I’m wrong but an 1176 has the fastest attack of any hardware compressor ever made: 20 MICROseconds. No way it lets through an uncompressed part of the signal. I’d agree with this. Even on a slow attack an 1176 is REAL fast. I get the crush or the holding things in place more by messing with the release settings and how much input I dial in when I use them 🤷♂️
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Warmoth
Apr 30, 2019 7:06:22 GMT -6
via mobile
Post by jeremygillespie on Apr 30, 2019 7:06:22 GMT -6
Does Warnoth do set neck or are they bolt ons?
Man... those new Gibson’s look really great. No idea how much they are but they did a good job getting back to basics.
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Post by jeremygillespie on Apr 14, 2019 21:00:05 GMT -6
Sure - download a delay sheet, then take your tempo and figure out what an 1/8 note or 1/4 note would be and use that as your start. Bring up the feedback a touch and mix to taste. I generally use two of them and use an 1/8th note on one and a 1/4 note on the other. Im slightly concerned about maintenance. With it being such an old unit. How often have you had to get yours serviced? And if so who serviced it? I want to make sure I'm covered if this thing is faulty lol Never had any problems. There is a sticky button on one of them but if you hit it just right it works fine haha. Honestly, if you tweak an H-Delay enough it gets damn close to the lexicon.
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Post by jeremygillespie on Apr 14, 2019 17:33:07 GMT -6
Sure - download a delay sheet, then take your tempo and figure out what an 1/8 note or 1/4 note would be and use that as your start. Bring up the feedback a touch and mix to taste.
I generally use two of them and use an 1/8th note on one and a 1/4 note on the other.
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Post by jeremygillespie on Apr 14, 2019 9:31:51 GMT -6
...and?
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Post by jeremygillespie on Apr 13, 2019 21:55:38 GMT -6
I bought a spool of Canare Star Quad ages ago, and a bunch of Switchcraft 1/4" TRS and Neutrik XLR f's and m's and made up about 20 of each 1/4 - XLRf and 1/4 - XLRm They have really served me well. Same, except I ditched the switchcraft 1/4” for Neutriks. The switchcraft strain relief is such a pain in the ass to deal with when trying to take it off. I prefer the screw on neutrik.
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Post by jeremygillespie on Apr 12, 2019 11:44:40 GMT -6
I’ve got an A100 that I inherited from my grandfather. Grew up playing it with the built in speaker never knowing it was “that” organ. Probably took until I was 13 or 14 to realize it was the combo of the organ and Leslie that did “it”.
I’ve had it since and will never part with it. Toughest part is a good tech. The one I used for years passed away 3 years ago so I just hope something doesn’t go on the fritz with it. First time I pulled the back panel off it I was in awe haha.
My mindset changes when I’m playing a controller vs an instrument. Not sure why, maybe it’s my personal hang ups I should get over or something, but I’m WAY more inspired to play when I’m sitting at a Hammond, Rhodes, Wurlitzer, etc than I am when hitting a Nord or a midi controller and screwing around with a mouse.
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Post by jeremygillespie on Apr 11, 2019 5:21:04 GMT -6
Honestly, NONE of it makes any sense. That’s the one constant.
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Post by jeremygillespie on Apr 10, 2019 10:36:04 GMT -6
So I’m fairly certain we all agree and think it either sucks or is a joke and that it’s nothing to be offended over because the music they are making fun of is either a joke or it sucks and that neither are REAL country music. I mean I dig on Gillian Welch and all but apparently that isn’t real country music either. So I’m generally confused.
Right??
Glad we can all get along again.
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Post by jeremygillespie on Apr 8, 2019 6:40:26 GMT -6
I think I waited 8 months for my SA4000. Then it showed up and I had a bit of a Wtf moment when things were different on it than what it was supposed to be when I ordered. At that point I was too frustrated to deal with sending it back.
After that I decided I’d not order anything again. It’s painful to read how long some of you have been waiting for your gear.
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Post by jeremygillespie on Apr 5, 2019 7:16:29 GMT -6
Man that’s so different than my experience.
I’ve gotta say, I’ve heard 3 different pairs of these monitors in 3 vastly different rooms and the experience was very different every time. The only real constant was the mid forward thing that they have. Which I dig.
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Post by jeremygillespie on Apr 5, 2019 6:13:30 GMT -6
Looking forward to hearing what you think of the Footprints. Sometimes I get the itch to switch from my One15's and these are on my list, alongside the MM45's and ATC SCM20's. Also, the LYD48's seem interesting to me. I hear good things about them. So we shot out the Barefoot footprints last night in the studio. Impressions: Pros: Detailed Full sounding MEME is cool and the NS10 setting does get a similar sound to real NS10's Midrange has a very pronounced area of frequencies that could be very useful to figure out midrange problems (similar to how NS10's accentuate midrange issues) Cons: Sweet spot is about a 6"x6" area at about 4ft away. Missing a bit of definition in the low end. The side subwoofers give a good punchy low end, but there is something (articulation?) missing between them and the midrange. The midrange accentuation fatigues the ear within minutes. MEME NS10 setting does not quite get the shouty attitude of real NS10's. Frequency response and detail were not drastically different to my old JBL LSR4328P setup, just slightly different in the mids. The biggest issue I had was that the sweet spot was extremely small. Even moving your head a small amount collapses the mix by a very, very drastic amount. If you move more than a foot, the sound starts getting very phasey and strange. If you're like me and you have racks of gear to bend over to tweak knobs on, you'll never be able to judge what you're doing and you'll need to move back and forth to the sweet spot to hear anything you do. This makes me really afraid of going to bigger barefoots that use the same ring-radiator type tweeters, which have a notorious penchant for beaming. This was extremely eye opening that I'm so used to using monitors that have waveguides and extremely wide sweet spots that I don't think I can go with something that doesn't have waveguides. Now I'm even more hesitant to "upgrade" because I truly expected something drastically different, even from Barefoot's lowest (but still $$$$) model. I'm afraid of spending 5K and not really getting anything for it. Just wondering - did you try the Footprints a bit further away? When I got mine I had the same situation, wound up pulling my desk out further from the front wall to get a bit more distance away from them and it helped out with the tight sweet spot. When I’m at the studio I can’t put them on the meter bridge, they have to be a bit further back. I think it’s funny when I see “studio” pics of these monitors 1.5 feet away from people’s faces 🧐 The Meme thing was cool at first, but I ultimately found it pretty useless in practice, unplugged it and put it back in the box and put my NS-10’s back up for when I need to switch to them. I’m at about 50/50 at this point and get what I need from each speaker. Spacial, dimention, placement, bottom, and reverb/delay tails from the Barefoots. Vocal level, drum punch, mid eq’s all on the 10’s. I’m just so used to them, I can’t quit them! But the Barefoots are a welcome addition and keep me from having to guess.
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Post by jeremygillespie on Apr 2, 2019 9:09:50 GMT -6
Not really my place to say that.
I’m saying Jason was the engineer on that record. He had gotten drum sounds like that before the Superunknown record and was able to reproduce them with ease in any situation.
I know Jason and Michael had a falling out before that record was even finished, so they weren’t exactly friends. It’s just annoying to see this type of thing with one person taking the majority of the credit for the way things sound.
I got pissed about this in another situation when there was a gearsutz thread about this record. I went into work all pissed off about it and when I started asking Jason about it his response was “eh who cares kid. Lets see him make another record that sounds like that”.
He was very much so a move forward person and not really dwell on Bs. He also was the type of guy that could tell you pretty much the exact pieces of gear he used on any song of any record he did. Amazing memory in that way.
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Post by jeremygillespie on Apr 2, 2019 8:10:40 GMT -6
I got about 5 mins in and him talking about the drums sounds... I just had to laugh about the no compression thing.
I was Jason Corsaro’s assistant for 10 years and he was a very good friend of mine up until he passed away. Jason could get that drum sound in literally 10 mins with great ease. I’ve never personally witnessed anybody position mics and throw it into gear willy nilly, turn some knobs without even looking at them and all of a sudden BOOM - there it is, sounds like a record.
That was Jason’s Kepp snare drum, I tracked it many times, unfortunately it was stolen about 7 or 8 years ago and Greg was nice enough to make him another one. I believe Dony Wynn now has that drum.
I’ll check that vid out some more when I get a chance but I just had to shed some light on the person I believe to be responsible for those drum sounds on that record (of course other than the man hitting them haha).
Also, I’ve read before people have said that the vocals were on an 87, Jason always told me they were done on a FET47, the studio had two of them and this one specific 47 was amazing on Chris’ voice.
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Post by jeremygillespie on Apr 2, 2019 6:46:10 GMT -6
If I was just recording myself at home, I’d pick this thing up in a heartbeat. The features are pretty deep (like any ssl) and you really have to read through the manual to get everything you can do (just like any of the big boy ssl’s).
I don’t see the likes of the big “B” trying to copy any serious SSL gear other than maybe the bus comp etc. If you’ve ever pulled a channel strip out of one of the consoles you’d know how serious they are.
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Post by jeremygillespie on Apr 2, 2019 6:20:06 GMT -6
Hey Josh, what’s the deal with only being able to ship 20 units a day? Is that a customs deal within Chile? That must totally stifle things and must be frustrating.
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