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Post by schmalzy on Oct 22, 2016 1:31:53 GMT -6
Oh shit!
I'm jumpin' in and you can't stop me!
I can't wait to butcher a solo. Are we thinking $15 mandolin or kazoo? I could also maybe try to use a vocoder on a sample cat meow...
We'll see what I can come up with...
Thanks for puttin' this out there, Wiz!
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Post by schmalzy on Oct 21, 2016 10:21:40 GMT -6
Unlike the atmosphere of some other debates and forums, the tone at RGO, even for this known to be sensitive subject, has been remarkably, refreshingly civil. But let me tell YOU what I think of YOU... Just jokes... ***Warning: Long-ass post. I'm long-winded and these intellectual/psychological questions about things we sense REALLY interest me. I spend a lot of time with my brain awake when it should be sleeping so I get spend a lot of time philosophizing with myself about these sorts of things.*** For stuff like this - really squint-mode stuff (I forget who I co-opted that phrase from but it's 100% perfect) - I typically have a number of thoughts: 1) Smarter, more experienced people who I respect and have grade-A gear hear something. Perhaps there's something there. 2) Smarter, more experienced people who I respect and have grade-A gear hear nothing. Perhaps there's nothing there. 3) I'm ok and can still respect people from both groups even though I might find my observations don't match theirs. 4) Small differences in the opinions of those two groups make no difference to me when I'm not fully happy with what I'm capable of doing at this second. I don't need centimeters of improvement, I need miles of improvement. 5) If I'm truly interested in the result, it's way faster and more productive for me to just try the thing than it is for me to speculate. "Should we add this part to the song?" I don't know. Let's try it. "Does angling this acoustic panel change the sound of the room?" I don't know. Let's devise a good way to test it and find out. Maybe that good way is to put an omni mic up and maybe it's just standing in the back of the room while someone else moves the panel. Maybe it's both? My ears change minute to minute so I don't consider them to be especially reliable testing equipment. 6) What I might think is the best testing method might not be someone else's best testing method. Sometimes a measurement is good. Sometimes my ears are good. Sometimes a null test is good. I find myself very intrigued by people who DON'T want to test/try something. Whatever method of testing you come up with, there's a definite benefit to doing the test. You either confirm you're able to hear a difference at that time (and make a judgement call on that difference's effect vs. cost) or you confirm you can't hear a difference at that time. Either way don't have to spend even another half-second thinking about it any more. I don't need to be right or wrong - I just need to satisfy my curiosity and be done with it. If it's something that's distracting me from making music, high-fiving the wife, or playing with my high-energy cat then it's something I need to handle and get out of the way. Regarding these power cables specifically: I don't need to test it. I can't afford it. But I WOULD be super interested in comparing the results of Svart's scientific tests with the results of some listening tests and any other tests we can come up with. Does anyone have any crazy-accurate omni SDCs? A third test could, perhaps, be setting that omni SDC up in an as acoustically neutral environment as possible and recording the difference between the two classes of power cables on speakers. If a high-end measurement-quality SDC can't observe a difference (found out by null-testing and frequency analyzing the Control vs. the high end cable), I know I don't care enough. That test isolates the difference (the power cables) as the only variation but also tests the downstream effect of the cable rather than the cable itself. If a great speaker doesn't see any difference between the two cables (even if the cables offer an observable difference in the electricity coming from them) does it matter? If I'm looking for the very best audio listening situation, sure, it might matter. If having optimal gear plays a part of my enjoyment, sure, it matters. I'd much rather nod my head on the snare hits as I'm enjoying music - that definitely compromises the listening environment more than having a high-end power cable does. I'm not looking for those best-case-scenario situations anyway. I'm trying to make someone's kick drum simultaneously be "round," "punchy," "fat," "tight," "huge," "bloomy," and "purple-er" because that's the mix feedback I just got. Did the artists even consider how the song sounds as a whole!? Do some tests - whatever tests you feel are the most legitimate - and report back! No one needs to be "right." The collective pool of observations (provided that what's reported is truthful observations from your as-best-as-you-can testing method) from the sample size of well-respected and accomplished people we have in this thread is worth way more than any one single person's observations. Maybe we should establish a few testing procedures: A couple different ways to execute the listening test, a couple different ways to execute any practical (measurement-related) tests, and a couple different ways to execute any other testing method that's defined. That way, what we're all observing is as relevant to the other observations as possible. What we'll probably find out in the end is that different speakers react to power variations differently and we've been looking at the finger pointing at the moon rather than just looking at the moon the whole time!
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Post by schmalzy on Oct 20, 2016 9:07:58 GMT -6
Actually most firewire cables are incredibly poorly made and intermittent. The format has a massive level of error correction so it took me months to realize a cable was causing my signal dropping problems. After trying and returning a number at office depot, I bit the bullet and ordered an expensive cable that completely solved my problems. On top of that, watch out for the connections themselves. Sometimes the sockets just stop liking certain cables for whatever reason. I had a laptop that didn't like to hold in a certain FW800 cable. It held it tightly at first but, over time, it was less sure of a connection. Eventually I was loading pressure in the cable to hold it into the laptop's socket (by putting a little extra cable between a cable tie and the computer so it was lightly curved upward away from the surface it was sitting on - basically gravity and the cable's tendency to want to stay straight pushed it up against the laptop). I switched the cable out and the connection was tight again. Sooooo...Martin, try a different cable if you haven't already.
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Post by schmalzy on Oct 17, 2016 14:51:23 GMT -6
I want to add if your starting out don't just invest in a bay for what you Think you need , bring every jack to the bay ! And Invest in a nice rack! If I were to start over I would buy 2 sets of rail, a hardwood top, Get some steel strips cut to length for side braces and lacing cable ties and figure out an easy way of removing wood sides ! A well organized rack that is easy to change up is a god send ! All this stuff. I'm only a few inches deep in my career and my hardware usage but, man, patchbays are A MUST. When I had to wander around behind the interface and patch things in directly, I was hesitant to use the hardware I had. When I got the patchbay, it was easy and more easily-recallable so I was less hesitant to use any/all of it. ...and the easier the patchbays are to work with and change up in the rack, the better. ...and don't be a dummy: get/build a rack that's angled and is easy to work with so you don't have to bend down to see/use it.
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Post by schmalzy on Oct 17, 2016 10:16:43 GMT -6
Oh, man. I truly wish I could be a part of these conversations. I'm SO far outside this world.
Some of you cats are buying Retro 176s or C12 clones to try out because you think you might like 'em or use them on one source. Those are probably more expensive than my entire recording setup (save the computer).
I hear "$175 power cord" and it makes me feel a bit sick. I just scrapped together the $84 to get a mic stand and I wasn't sure if I wanted to spend the extra $18 for a Telescoping Posi-lock.
What a weird world audio is...
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Post by schmalzy on Oct 17, 2016 9:40:33 GMT -6
A couple quick thoughts:
1) Two passes through on the same piece of gear (like a compressor)? I dig it. I don't have to commit so much to REALLY shaping the tone and painting myself into a corner if it all turns out to be a little too much. I know when I can start to hear a thing but also still be safe - that's where I want to be most of the time during tracking.
2) If you're bouncing an entire track out to outboard from beginning to end of the song and printing it back in, I like to place a metronome click or a tone pop a few seconds before the first note. That way, I can be 100% sure the bounced track lines up with the original.
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Post by schmalzy on Oct 17, 2016 8:06:25 GMT -6
Honestly if you have 2 channels of really nice mic pres, I would think that the DIY Recording Equipment SB2 Passive Summing Mixer kit would do the job for $49, even though it's not sexy and "high end." It is essentially identical to the Roll Music Folcrom if that makes it sound any better. The only reason I don't use my summing mixer on every mix is that the routing and workflow is slightly annoying to set up. That's exactly what I'm doing. I've got two Chameleon Labs Neve-style preamps with Carnhill transformers in (mic input; line input is a "custom wound transformer) and out plus EQ. Eight outputs are going to my patchbay, to my DIYRE SB2, to my preamps, then my analog mix buss compression. Sometimes one pair of those stems will get a compressor before it hits the summing. If I had more available outputs I'd be running 16 into the summing but, for right now, it's just eight outputs that can be devoted to it. I've got 8 more but I like the option to bring analog into a few other portions of the signal path when it works for those sources (speaking of which: I'm looking for a low budget stereo compression setup for electric guitar buss - I do a lot of metal/punk/hardcore and the stacks of guitars that eventually build up could use some squeezing sometimes I think and since I'm already breaking my guitar buss out into a stereo pair of analog stems ...). Now, I'm not nearly as good at all of this as many of you guys are, but it feels like it's made an improvement to my mixes. Placebo? Possibly. But I'm pushing the preamps pretty good to try to get some transformer love - it definitely feels like I'm getting SOMETHING I wasn't getting before. Could I get it just by going into the line inputs on the preamp? I haven't tested. I found the thing I like and now I'm trying to keep up with the stuff I'm working on. After I get some work done with the new setup, I'll investigate more thoroughly. I've also integrated a parallel mix buss (ITB) into many of my mixes (and a little of my mastering). After coming back in from the summing and mix buss compression, it's splitting ITB to a couple layers of saturation and slow, heavy compression. I think that's also made a huge difference in some of the mixes (and been inappropriate for some others). It's not an all-the-time thing and you have to be careful with it - I had one saturation plugin that was weirdly interacting with the non-saturated stuff and I was getting some comb-filtering at 14kHz-ish (It wasn't latency related because, as I changed the settings, the filtering moved. I eventually bypassed the plug and all was well) - but it can do some cool stuff to add some weight and movement to the whole shebang. I'm doing a mix for an electropop thing with a four-on-the-floor kick for a friend and I think that parallel chain is really giving me some juice. Automate that shit and you've got an instant-pelvic-thrust fader.
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Post by schmalzy on Oct 11, 2016 11:18:44 GMT -6
I don't doubt that it's a fantastic piece of gear worth every penny (and more!) of it's price.
Maybe I should restate what I said: "Now, all I have to do is find a way to get my studio gear fund built up enough to get one!"
The way I got my two Neve-style preamps/line amps with Carnhills was pretty drawn-out, annoying, and also lucky: a couple years of ebay hunting for these super-functional but non-sexy pieces, getting them and using them for a short time,some problems coming up in the pieces, sending 'em to the factory for repair, the factory waiting 3 months to tell me they hadn't worked on 'em yet and they were starting that day, the factory waiting another month to tell me they hadn't started on them but would soon, the factory saying they weren't going to fix them so they were just going to send me replacements, the factory telling me they didn't have direct replacements so they were going to send me the upgraded versions.
Soooo, all-told, I got two "modded" versions of a Neve-style preamp by buying two of the stock preamps on ebay at around 50% off each. Less that full price on one unmodded, I got two modded versions. All I had to do was hunt for a long while, buy 'em, deal with problems, send them away for nearly six months and pay for shipping a couple times!
...if that gives you any indication of my gear budget.
Either way, I can't wait to get one (it WILL happen) but it'll be a bit!
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Post by schmalzy on Oct 11, 2016 7:49:13 GMT -6
I'm looking at this thing and I'm angry.
I'm angry I'm such a cheapskate. This looks bonkers!
Almost everything I work on gets a touch of a Neve-style preamp/line amp. It could be a preamp when tracking, a line amp (and eq) during mixing, makeup gain when passive summing, or all three.
Having the API-style in addition seems like a great option.
Now, all I have to do is find a way to get it into my budget...
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Post by schmalzy on Oct 11, 2016 7:40:36 GMT -6
My ears liked the Mesanovic and the R84.
I've never heard a guitar amp that I couldn't get bright enough but still have "the sound." If I need less low end, It'll get it from the amp or move the mic back a little bit.
Plus, they sound like they'd be great as overheads or room mics. I'd rather filter lows than not have 'em in that application.
I'm glad I didn't pull the trigger on a 121! I was looking for a while then I just closed my eyes and looked away from microphones for a long time. I could work with it, though...
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Post by schmalzy on Sept 14, 2016 8:40:47 GMT -6
Four Year Strong - Stolen Credit Card (Kurt Ballou/Kick and Snare balances) Reliant K - Forget and Not Slow Down (Andy Wallace/this whole record is really midrangey and sometimes if you make your decisions against it you can avoid scooping the mix too much) Broadway Calls - Be All You Can't Be (Bill Stevenson/Jason Livermore) Green Day - American Idiot (CLA/brightness check) Boys Like Girls - Love Drunk (TLA/Bottom end check) Natalie Imbruglia - Torn (don't know the engineer but the sibilance is awful, I make sure I'm nowhere near this one) Awesome ... call (?) ... on the Broadway Calls stuff. I reference their "Comfort/Distraction" record a lot. Ellie Goulding's "Lights" album also pops up in my references, less that specific song but there's some really cool stuff on that record. Here's a few more: Selections from Interpol's discography. If the artist is looking for less hi-fi, I'll reference stuff from "Turn on the Bright Lights." If I'm looking at a touch more polish, Rich Costey did some great stuff on their "Our Love To Admire." Next up is more Rich Costey work: the album "Antenna" by Cave In. Some really massive tones. Some really interesting songs. Some great arrangements. The payoff in "Rubber and Glue" is awesome but the entirety of "Youth Overrided" and "Woodwork" just do it for me. Plus...damn..."Sea Frost" is just awesome. I was about to say Jimmy Eat World's "Futures" but apparently that's also something Rich Costey did (I didn't realize it)...I guess I dig Costey's productions. Hot Water Music's "Exister" is a pretty good example of a punk rock record. Stevenson and Livermore really nailed their end of it, I think. Their / They're / There have a record called "Their / They're / There" that I dig the sound of as well. More raw than the others it seems but it just feels good.
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Post by schmalzy on Sept 9, 2016 13:22:42 GMT -6
Also gonna echo the disappointment with the wait time, mine was ordered back in December and I've still not received it. Email contact was very good until about a month ago and I've since stopped hearing from them. Very disappointed in all the new products they keep rolling out while leaving users waiting for the better part of a year for their purchase. I was just looking at the entirety of this project the other day. I imagined and priced out the realities of getting these things produced. It was staggering to me (a person who has done exactly 0 manufacturing). A large part of the wait, I'm sure, was basically waiting to have enough preorders to actually have some of the capital necessary to put the initial parts orders in. I'd bet Stam, a single normal person without a gigantic corporate checkbook, went significantly into debt to get all the parts ordered and delivered to him on the promise of other people's "we'll pay up later." It was probably much more scary for him to go through with that parts order than it was for me to pull the trigger on my initial order. Then, of course, his parts order is small compared to many other companies out there. Soooo, the parts manufacturers put him as a low-priority client. Again, a necessary and out-of-his-control wait time. I had a three-month wait for a contractor to come do a single-day job at my house. How much wait is Stam seeing to get 800-ish faceplates and rack chassis made when most other companies contacting metal shops are asking for many, many more much-higher-profit parts? Parts come back, some are inevitably wrong (*cough knobs cough*), then they're assembled as much as possible before they can be sent out. Another month goes by waiting for the delayed parts. Parts come back. Assemble, assemble, assemble. Ship. I'm not trying to sway your opinion too much - I had a similar one myself for a little while - but after I thought through it all I can understand why everything shook out like this. I'd echo my response to winetree and send an easy-to-gather-necessary-info-from email with as concise and explicit an email headline as you can muster ("December 2015 SA4000 Preorder not Invoiced" or whatever). They act quickly when they see there's been some sort of oversight. I think the next batch of products Stam releases will also see stepped up customer service. I'd bet he sees the need for that sort of thing since he's now doing a lot more business than he was maybe thinking he would. I hope you get everything sorted out as quickly as possible! Good luck!
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Post by schmalzy on Sept 9, 2016 11:55:10 GMT -6
I sent a $100.00 deposit to Stam Audio for the Buss Compressor on December 9th, 2015. I haven't heard a word. I should have been in the first tier. Contact those guys. Send an email to both stamaudio@gmail.com and stamaudio@gmail.com with something like "Deposit Date 09/Dec/2015 for SA4000 Follow Up" that way they can see the date in the subject field and get working on it as soon as they see it. It's 100% possible that it just got missed. Shoot them an email with a reminder. Those guys will definitely make it happen for you!
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Post by schmalzy on Sept 6, 2016 11:55:44 GMT -6
If I was you, I would be seriously thinking how an analog console is a dreaded nightmare for running an actual business. Even running a summing device with a few bits of outboard became a nightmare when you're doing drums for a client one day, vocals for a different client and bass for yet another client all in a week. All this going on while I'm mixing and mastering during the day. If however running a business is not the primary concern I would fill it with with comps from IGS (all stepped, easy to recall, sounds great) and I would probably load it with some of the SSL EQs as well. This is worth a few thoughts. I got a cheaper console to use as an opportunity for injecting analog into my very digital setup. It's turned into, basically, preamps and EQ during tracking, special channels to print things back into the session, and some channels that stay locked at line level and +0 on the faders for summing. I also have a passive summer that I run back into the box through my CL 7602s with little or no EQ adjustment. I've learned recall is both annoying and somewhat touchy - especially if you're the kind of person who has to jump back and forth between projects. Now I understand why all those big-name guys have so much analog gear and they never touch it: recalls are annoying if every parameter is changing every time. I think I'd be in better shape if I had a better method for managing recall "sheets" (or their digital equivalents) but so far it's been a rough go.
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Post by schmalzy on Sept 6, 2016 10:27:07 GMT -6
That doesn't look like one of Stam's photos... Awesome! Remember to check the voltage switch on the back to make sure it's set to the correct voltage! Let us know what you think after you get to push some sound through it!
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Post by schmalzy on Sept 5, 2016 13:04:48 GMT -6
I just picked up something cool the other day from a former karaoke and country singer. It's an Ibanez AD 150 analog delay and it's pretty cool. Dark, kind of gritty, and capable of sounding really bad. But it can also sound REALLY cool. Some great slap delays are pretty easy and cool out of it. I think my favorite thing I've heard from it so far is putting a snare drum through it and lighting up the front end really hard. It distorted in such a cool damn way, I just might start printing a parallel track of my snares clipped with it. http://instagram.com/p/BJ5lIESAHAB There's a link to my Instagram because I'm on mobile right now and I'm not seeing a good way to upload a photo.
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Post by schmalzy on Aug 31, 2016 8:46:04 GMT -6
I also haven't heard anything about the one I won. I had pre-ordered one then I won the RGO giveaway (and took the necessary steps to confirm, etc.). Joshua and I talked it over and decided to drop the purchased one and go with the prize one (I don't need two identical stereo compressors), and confirmed with Miguel my shipping address. Since then, no direct contact (I think a mass email or two went out with updates about the situation but I've not received a tracking number or any of the refund we discussed after my initial deposit was going to just go to cover the shipping on the prize - not a problem but a notable detail). I preordered my original purchase (that was later just decided to be the giveaway prize compressor) before a number of people who I'm seeing have gotten invoices (and disclosed their order date) on the other site and the facebook page. I've been annoyingly positive and hopeful - sticking up for Stam and trying to stomp out any online flames. I'm starting to wonder if I'm just getting burned. I remain optimistic, but much more cautiously so. I'll report back with any developments. Hello! John just emailed me, can you please send me an email so I can take of your prize? I am sorry but we only started shipping these a few days ago and I have been busy getting units ready. Send me an email and I will take care of it Thanks! Hey, Stam! Sorry to be pest, man. It's one of those "hmmmmm...I wonder if that confirmation email got lost" sort of things. I know it's easy to temporarily lose things in the craziness - which is why I hadn't directly reached out to you to say "where's my stuff?" Thanks for takin' care of us! Sorry it's been such a hectic situation this time around!
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Post by schmalzy on Aug 30, 2016 21:14:41 GMT -6
I also haven't heard anything about the one I won.
I had pre-ordered one then I won the RGO giveaway (and took the necessary steps to confirm, etc.). Joshua and I talked it over and decided to drop the purchased one and go with the prize one (I don't need two identical stereo compressors), and confirmed with Miguel my shipping address.
Since then, no direct contact (I think a mass email or two went out with updates about the situation but I've not received a tracking number or any of the refund we discussed after my initial deposit was going to just go to cover the shipping on the prize - not a problem but a notable detail).
I preordered my original purchase (that was later just decided to be the giveaway prize compressor) before a number of people who I'm seeing have gotten invoices (and disclosed their order date) on the other site and the facebook page.
I've been annoyingly positive and hopeful - sticking up for Stam and trying to stomp out any online flames. I'm starting to wonder if I'm just getting burned.
I remain optimistic, but much more cautiously so. I'll report back with any developments.
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Post by schmalzy on Aug 30, 2016 10:14:17 GMT -6
*kicking myself for not ever getting a 500-series chassis*
I love the 160As (that I've borrowed and never owned) so I'd love to have some of these guys at this bonkers price.
...plus Warren at Zen is such a nice, helpful guy. I feel like I owe him money just for existing.
Alas, my gear lust rages on...
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Post by schmalzy on Aug 30, 2016 8:03:59 GMT -6
I use this for mobile recording and it works pretty well. You'd probably want to get the updated version unless you're on a machine that's a few years old. www.sweetwater.com/store/detail/Scarlett18i6You'll probably have to get it used now since it's been replaced by two generations of 18i8 (two headphone outputs instead of one). ADAT in and SPDIF in/out. Sounds like it's in the ballpark you're looking for.
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Post by schmalzy on Aug 29, 2016 9:47:43 GMT -6
I really dig my SM7B.
Vocals. Guitar amps. Bass Amps Kick Drum inside (much more natural-sounding than something like a D112 or Audix D6). Snare Top. Close Drum Room.
I've liked it in all those places. It's a shame I only have one. It often ends up going through my Chameleon Labs 7602 MkII X-Mod (Neve-style preamp with 1073-style EQ) when it's available because I like the top end EQ on it.
I've also heard of some guys using it as a mono/middle drum overhead to add some meat on those drum bones.
I'll often use it opposite something tracked with the Heil PR40. Dual lead rock vocals? Yep. Two guitar tracks? Yep. Kick vs. Snare? Yep (except I'll use a 57 instead of the PR40 on the snare more often).
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Post by schmalzy on Aug 24, 2016 16:11:33 GMT -6
What's the next ubiquitous or similar-to-what-they've-already-done piece of gear that they haven't done yet?
1073-style EQ? Vari-Mu comp? SSL-style Channel Strip (with EQ and Comp - probably no Preamp)? Distortion/Saturation box with switchable signal paths (a la DIYRE Colour)?
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Post by schmalzy on Aug 23, 2016 13:02:09 GMT -6
<abbr class="time" data-timestamp="1471977246000" title="Aug 23, 2016 13:34:06 GMT -5">Aug 23, 2016 13:34:06 GMT -5</abbr> bradd said: I have used parallel compression in mixing, but never in tracking. What do you use for splitting the signal? Thanks for helping out us mere mortals. I don't know how he's doing it but I do it a couple different ways and those might give you some ideas: I can get a parallel signal by multing off a half-normalled connection on a patchbay. A patchbay has helped my workflow SIGNIFICANTLY. I can also get a parallel signal by sending the signal to my console and routing the signal out through an aux or a group that nothing else is using. I like using parallel compression on vocals and bass during tracking - I like getting a clean signal but I like the player to monitor the possibly-over-compressed version. I record that over-compressed version anyway just because I can use it to get myself closer to a finished sound earlier (I end up using a lot of parallel compression in the mix on those sources).
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Post by schmalzy on Aug 16, 2016 0:11:21 GMT -6
Quick update from the other site:
From Joshua - "Hi Guys,
I will have the first 100 units ready to dispatch on the 15th, however, I still dont get the knobs from Sifam, they are saying end August. So, should I just send them with regular knobs or should we wait?
Getting the knobs later to each of you will be VERY expensive to ship from Chile, there is a minimumg international charge, so we are looking at thousands of dollars unless I send them all to one client in the US and he can then send them individually and the same in Europe. If somebody wants to help me with this task I am happy to offer him the unit for free.
Almost there now
Thanks!!"
Some people are saying "wait" and some people want them shipped now with the other knobs.
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Post by schmalzy on Aug 15, 2016 23:47:09 GMT -6
You should have gotten an email early last month basically saying "the supplier for our knobs sent us the wrong ones. The correct ones are three weeks out so we expect to be shipping in the middle of August."
The email went to my spam folder so I almost missed it.
The other day someone (named "Ron Miller") asked about it. They said they'd start shipping [this current week]:
Ron Miller August 12 at 5:25pm "The knobs will arrive the first week of August so we can guarantee 100% that we are going to start shipping in August and you will be notified as soon as your gear is ready" So how much longer for the sa4000?
Stam Audio We star shipping next week, I will email you when your order is ready =) Unlike · Reply · 3 · August 12 at 11:47pm
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