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Post by schmalzy on Jul 17, 2022 9:14:39 GMT -6
Great mic. I'm upset I only have 1 and it's an older one (the guy I bought it from said 60s). I'd absolutely love to have 4 or 5 more that match. I think these would be killer on toms. I don't think I'd stick it in a kick simply because I can't risk it blowing up as they've been rumored to do. It's great on snare. Great on a vocal. Great on a guitar amp. Great on a bass amp. Great on aux percussion. I think it would be great on a fiddle but every time I've had a bowed instrument in here it's normally all happening in such a rush that I'm not about to spend time speculatively trying a mic. It's just so damn good. Yes. Just be aware that the old ones are more fragile than the current version. And do not allow it to fall face down. I appreciate the heads-up. I had heard the older ones were more fragile so decided after I got mine and heard how good it was on everything else that it will never be in a kick drum. I plan to try it as an outside kick when I have more than one. It's indispensable so I'll need an extra if I want to do any experimenting. It's GREAT as a snare shell mic or as that over-the-kick mic the cool kids are talking about these days. Great as a room mic...the list goes on!
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Post by schmalzy on Jul 15, 2022 9:02:07 GMT -6
Great mic.
I'm upset I only have 1 and it's an older one (the guy I bought it from said 60s). I'd absolutely love to have 4 or 5 more that match. I think these would be killer on toms. I don't think I'd stick it in a kick simply because I can't risk it blowing up as they've been rumored to do. It's great on snare. Great on a vocal. Great on a guitar amp. Great on a bass amp. Great on aux percussion. I think it would be great on a fiddle but every time I've had a bowed instrument in here it's normally all happening in such a rush that I'm not about to spend time speculatively trying a mic.
It's just so damn good.
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Post by schmalzy on Jul 15, 2022 8:52:06 GMT -6
I absolutely did not lose. This amp sounds killer and has a few different great sounds in it. Stoked!
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Post by schmalzy on Jul 12, 2022 0:12:01 GMT -6
For sale locally. If I can negotiate a decent price I'm definitely losing the battle. I lost. Attachments:
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Post by schmalzy on Jul 10, 2022 15:15:24 GMT -6
I use that overkick mic thing whenever I'm tracking someone playing a 1 up/1 down kit. It's a really great spot to get slap/clap/stick out of a drum kit. Some careful placement and intentional mic selection and you have yourself a super useful sound!
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Post by schmalzy on Jun 29, 2022 16:02:29 GMT -6
That's the way I'm interpreting the results as well: if you isolate only the signal-combining-step of summing only - combining voltages or combining bits is non-noteworthy.
Anything else you do along the way is what changes the result that people get via summing, etc..
I wasn't early as scientific as Dan or others here, but I tested a passive summing device for a while. Passive summing with clean makeup gain gave me nothing worthwhile. ITB summing going to clean line input gave me nothing worthwhile. Passive summing with gain from a Neve-style preamp's mic input gave me something. ITB summing going to line input gain from that Neve-style pre gave me something else. Passive summing with clean makeup gain then into the colored line input gain from that Neve-style pre gave me a very similar something else. The summing itself didn't seem to give me anything interesting or noteworthy.
I figured liked the passive summing into the mic pre because I liked hearing the makeup gain of the preamp's mic input over the preamp's line input. Looked up some specs on my preamp; yep, the mic input transformer is a much more colorful transformer than the line input transformer.
Moreover, I liked the result of using passive summing more when I: ran my drum bus to a hardware colored compressor and EQ then into the passive summing my bass bus to a hardware compressor then to passive summing and my guitar bus to a hardware line in/eq/compressor then to passive summing then the passive summing to my colored mic pre.
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Post by schmalzy on Jun 29, 2022 14:57:36 GMT -6
For sale locally. If I can negotiate a decent price I'm definitely losing the battle.
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Post by schmalzy on Jun 26, 2022 22:45:30 GMT -6
I hear a lot of really high-end mixers doing stuff I really love. Older. Newer. There are some really spectacular-sounding records happening every month of every year since the beginning of recorded sounds.
I hear the same really high-end mixers doing stuff I hate. Older. Newer. There are some really awful-sounding records happening every month of every year since the beginning of recorded sounds.
Some of them are crazy low end-y. Some of them are pushed around 1.5kHz. Some of them are pushed around 5kHz. Some are pushed in the 800hz area. Some are completely neutered in the lows. Some are really scooped and cleaned out around 300hz. Some are bright enough to rip your ears off. Others are brighter still and will rip your ears off, stitch 'em back on, and come around to rip 'em off again.
Sometimes the choices make a lot of emotional sense. A song that's especially aggressive with an emphasis on aggressive frequencies? Makes sense. A song about loneliness that is really "too" dark? Makes sense.
Sometimes the choices don't make sense. Do I think one of the best chaotic metalcore records in recent memory should sound like the whole thing was mastered to sound perfect then had a high shelf added to push an extra 3db of everything over 2.5kHz? Nope. Is it what the artist and/or producer wanted? Apparently! They signed off on it didn't they?
I think you're probably used to a specific sort of sound and that's the way your favorite records sound. The artist also has favorite records that have certain sounds. You said it yourself; the artist clicked a different EQ preset and it sounded different AND good (better?). These things can be imagined in a bunch of different ways and many of those notably different ways can be notably good.
Maybe integrating a steady stream of different-sounding music into your listening diet is a good idea. It'll expose you to all these expertly done mixes/masters that sound killer in all the different ways they can sound awesome. Just like when distorted guitars started to be a sonic tool: some people hated that sound and then the people that listened to it learned to accept and appreciate it as good over time. Hell, Germans typically are described as angry-sounding to English-only speakers until they're exposed enough to German-language speech that they can start to hear the differences and the details.
Trust yourself; you've done this a long time. Trust your artists; they are the experts in their art. Listen to their references and assume the references are good examples of things the artist loves. Collaborate and work to deliver a record the artist loves.
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Post by schmalzy on Jun 23, 2022 14:47:25 GMT -6
I see you're on Pro Tools so it might be different (can PT use VSTs?), but I know VST3 is able to shut off processing if there's no audio running through it. Do they all have that coded in or is that automatic? I have no idea. What does "no audio" mean? Maybe no region being read? Maybe nothing over -192dbfs? I really have no idea.
I know all of my reverbs and delays - of which I have many in my template because I mix a lot of different styles - are always chewing up CPU. Some are VST3s and some aren't. I'm sure when something's routed to it and my saturation/skuzz/mess-making plugins are idling and adding good noise to my world I'm sure they're seeing that and are "on" because they're seeing audio.
It's just forced me to narrow my options and keep only one or two special instances of processor-heavy plugs in my FX part of my template. I LOVE my Kush Goldplate reverb and that's a 2.6% hit in my world sooooo...that only leaves one spot for weird, processor heavy stuff. Of course, depending on the rest of the mix I have some wiggle room...but I go for a lot of stock plugins for delays and only reach into the fancy bag when I need fancy stuff. Valhalla Vintage Verb is a workhorse that happens to sound as good or better than most other people's horses.
Also, I'm running a 2015 iMac and regularly have 100+ track sessions.
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Post by schmalzy on Jun 20, 2022 11:51:53 GMT -6
I agree with Bob directly above. 48kHz is notably better than 44.1 to me.
I've toyed with going back to 48kHz but my bread-and-butter EQ/saturation/compression stuff just seems to sound a little better at 88.2khz. So I think that's where I'm staying. If I KNOW I'm going to be manipulating a recorded part a lot - time stretching, pitch shifting, other methods of audio mangling - then I definitely prefer 88.2kHz. It seems like the Reaper (my DAW) pitch/stretch algorithms sound significantly better with higher sample rate captures.
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Post by schmalzy on May 17, 2022 23:46:25 GMT -6
yeah schmalzy "sound design" is an art even with these kinds of instruments, it's 85% of what we do, I think. other than kind of knowing how stuff works. Right. But I don't think people often think of it in a mastering scenario. It's the guitar tone example played out in micro details (or larger) at the end of the whole production process with the same sort of guitar tone sound design procedure. Using the right tools to manipulate specific portions of the signal in order to satisfy the intended aesthetic and optimize it for the intended use. It's all endlessly fascinating, for sure! I think my mastering results have gotten a lot better since I started approaching it in those ways...but I definitely didn't draw those parallels early on in my mastering work!
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Post by schmalzy on May 16, 2022 21:31:41 GMT -6
One thing that might make a difference in mastering I’ve been thinking about, a 2 dB difference can sound pretty dramatic. So what if a certain EQ allows you boost the highs easier than another? If you can get an extra dB of high mids out of a certain EQ, might get you part of the way there. Same with compressors, if one is a little sweeter it might allow an extra dB. And then converters as well, maybe you can clip for another dB? Or maybe they are sweeter overall and allow you to EQ the highs hotter? This is at the heart of some of the better mastering guys I know. They'll basically use certain pieces of gear for certain sounds. As an example: Maag or Clariphonic for top end. Get the upper mids forward/backward from a Manley. Push the low end with a Curvebender. They'll often EQ a certain way to start, compress/limit to get a part of the frequency spectrum to be where they want, EQ again to bring back what they perceive they've lost/compromised with the compression and to hit their imagined ideal frequency response, and then compress/limit/clip to get final level. I work in the same way when getting driven/distorted guitar tones. I'll choose a guitar that sets up the input of my pedal chain to react the way I want (as an example: if I'm using a classic fuzz pedal, I probably want a midrange-heavy guitar tone into it because many of those classic fuzz tones are scooped as heck). I'll do that in order to feed the guitar amp with the character I want it to see. It'll distort/drive differently depending on that signal level (a bassy-er sound will give more sustain when gained up, midrange-y will be more insistent/percussive, and a brighter sound will give more bite). Then that hits speakers which react differently to those frequency responses and those distortion characteristics...and then mics and preamps and compressors. Oh my!
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Post by schmalzy on May 4, 2022 12:25:31 GMT -6
Merry Belated Hexennacht or Happy National Day of Reason Eve, everyone!
This isn't my video but I ran across it on the ol' internet and wanted to make sure everyone I know who would care to hear this gets to hear it!
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Post by schmalzy on May 2, 2022 0:31:20 GMT -6
This transmission comes to you post-purchase. I was TRYING not to grab this but it was just too good of a deal to pass up on a great drum kit. 2000-ish Pearl Master Custom Maple kick, toms, plus hardware. 4ply maple with 4ply maple reinforcement rings. I'm not a big fan of the rack aesthetic but the shells are all bonkers good, in great shape, and will be a fantastic kit for the studio that I can point to when people show up with semi-questionable (or worse) kits. Folks often come in with something that's not great or is a compromise in about 100 different ways. This kit will be a much better situation for most drummers who come in to my studio. Anyone whose kit sounds as good as this is someone I can probably trust to have a kit that works well with what they're trying to do. This will always have good heads, fresh heads, be in tune, and can be ready to go.
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Post by schmalzy on Apr 6, 2022 20:37:24 GMT -6
schmalzy , what didn't you like about Studio One? It just felt like nothing agreed with me. An artist asked me to sit in on a rehearsal to help them tweak their songs and get a good-sounding rehearsal room demo. They had S1 on their computer so I just went with it knowing that we'd be recording, punching, and slicing stuff up a bit but not doing anything too in depth. So I spent a bit of time with it over the course of a few days. Nothing went smoothly. ...and then one of the guys in the band I was with who had been using it for a couple years sat down and moved through the program about as clunkily (I'm sure that isn't actually a word) as I did. So then I took back over and we got through the process with few hiccups but without a lot of ease. I'm fairly able to sit down at a new piece of software and get moving relatively quickly. I've spent a lot of time in audio software (and even more time in various video and motion graphics softwares before I went full time in the studio) and I can generally get my bearings quickly. My experience in S1 just didn't go that way. I'm sure I could dedicate some time and learn to think about things in the way it wants me to think but my experience with it was super unnatural and strained.
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Post by schmalzy on Apr 5, 2022 23:09:53 GMT -6
OP would be better off getting specific about the "killer feature" that seems vague to me...web remote? I mean you can do that a LOT of ways in Cubase...so there must be some specific type of control or something? If you're asking my advice, and I get that you're not ...I'd advise you to look into how you could do something "like that" with Cubase. The money thing seems more emotional than logical bottom line. You don't NEED every version of Cubase. Unless you're on a Mac. Then, sure...it's $70/year or whatever MacTax if you need to keep updating OSX, you have to keep updating Cubase, but it's still not LOTS of money. I listed the features specifically: - web based remote. Only remote I ever saw for Cubase was a transport iOS app and since I dont have a Mac (hate them thanks to their proprietary bullshit and the fact that they cost so much more to get a comparable performing machine), I think I’m out in the cold. If they have a web based remote, I’m all ears, please share! - wet/dry blend on every plug-in. Literally how the hell is this not standard?! Not only is the web-based remote a thing...but I believe it's customizable. That's damn cool for people who want to record themselves and need to be away from the computer to record certain things. Wet/Dry on every plugin is bonkers. I'm BLOWN AWAY that everyone else doesn't have it. I'm constantly automating "special moment" effects on and off with the wet/dry. It seems to perform better than the mute/unmute automation...plus I can audition variations of it. Great example from earlier today: I was mixing a song (in Reaper like I do 60 or more hours per week) and needed to reduce the low end of a bass guitar part during a busy tom moment. I added ReaEQ and low shelved 4 db out...but then it was too sharp so I also EQd a little notch in the "klank" area of the bass. Automated the wet/dry on the plugin and it was perfect! Later, a similar fill (but on a higher tom) came up. Automated the EQ back in...it reduced the low end a little too much. So I automated to 50% wet rather than 100% wet and it was perfect. I do similar sorts of things with double-kick sections where the low end builds up a little too much. Console 1 is a huge part of my workflow and it's deeply integrated with Reaper. Cubase and Studio One have that same (-ish) level of integration but Studio One is terrible enough that I didn't even list it above when I mentioned other DAWS I've worked with. I could see switching to Cubase if I wanted something that looked nicer but was more limited. The post fader FX in Cubase is cool...but I do that with Reaper's folder tracks anyway. I think I'd honestly switch to whatever worked best with Console 1 as long as it wasn't a huge step backwards in capability and customizability. I could maybe see an "edit in one, mix in the other" sort of thing but after trying other stuff (on a few different occasions) Reaper just works best with my brain for both situations.
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Post by schmalzy on Apr 5, 2022 14:11:00 GMT -6
I'm a Reaper user as well. I'm baffled by some of the complaints about it.
ESPECIALLY the takes/comping system. Here's what I do:
Record to the track as many times as I need to. One over the next one. No setting up an extra lane or anything like that. It automatically creates separate layers of audio in the same spot. After I record the takes and need to comp the section, I listen, hit the T key, listen again, hit the T key, listen again, hit the T key, repeat as necessary. The T key steps through the takes and lets you pick whichever you want. Split with S if you need to work in smaller bits, shuffle through takes with T (shift+T goes backwards through the takes). If you prefer to just punch over the top of something there's a "tape mode" or something like that.
I'm perplexed by people saying it's harder to manage the takes/playlisting system than something else. I've used Logic. I've used PT. I've watched people use Cubase. I don't think any of them are especially difficult in use but they're definitely not significantly easier. Habits form rigid neural pathways, I guess.
Only thing that crashes Reaper for me are plugins with lots of graphic detail. I'm on a 2015 iMac and I think that has more to do with it than anything else.
I come from a video editing world where you do the same sort of command thousands of times on a project so you set up a shortcut that's situated near your keyboard hand's resting position and improve your life 2 seconds at a time. Reaper's ability to be so customizable is huge. For example: I have a shortcut set up to step back ten samples and split the item. Why? Because when I'm gating things by hand I can be a little further zoomed out so I can see more of the screen, waste less time scrolling, and make sure my cut includes rather than excludes any little bit of sound I might not be clicking accurately enough for.
I try not to be too annoying about it but, damn, Reaper has just always been so solid and stayed out of my way which is what I need in order for my creativity to take over.
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Post by schmalzy on Mar 28, 2022 9:48:16 GMT -6
Whilst this is true, what do you pair it with? It's kind of nice to have matching microphones when mic'ing tom-toms. Has anyone used 2-4 D112s on a complement of tom-toms? I've stuck with matched sets of 421s, CAD M179s or U89s (all I use these days) for Toms-toms, unless I'm using more than 3. Can't stand the Audix D6. Sounds like instant metal in a can. Ick. Whatever they did to bake that sound in... either works or it doesn't and when it doesn't seems like no amount of EQ can save things. No more M88's on kick for me. I've blown up at least 4. 100% agree on the D6. I've never liked it in a mix. It's a good way to get a sound really quickly live and then you'll always know what you're working with and working around...but I always use something else if I can. I don't mind doing a bunch of EQ to get a better sound. A bunch of EQ on a D6 sounds worse than a bunch of EQ on a PR40, or a PR48, or a Beta52 (that's not messed up), or a SM7B, or an EV 868...the list goes on. I've been wanting to try my M88 in a kick. It sounds to me like it would be perfect at capturing that sound in a way I want it to be captured. Mine's a vintage one I got from a guy who bought it a million years ago so there's no way in hell I'm doing anything that could blow it up. It just gave me a really great snare shell sound the other day and a perfect lightly driven single coil sound on a 4x12 yesterday (as well as hundreds of other really fantastic sounding sound captures) and I'm not willing to risk that. I've also heard of people blowing up their Beta52s. They're such an awkward mic that a lot of times people will put them right at the hole in the kick reso head. Well, if you happen to get it in the right spot, the air funneling and rushing past the hole puts a ton of pressure on the diaphragm and can blow it up. Half the Beta52s I've had to use live sounded absolutely terrible. It makes me curious if more people are blowing theirs up than realize it.
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Post by schmalzy on Mar 27, 2022 3:48:14 GMT -6
I've been sticking with the AT4040 on the outside. I really like the low end I get from it. It feels extended and pretty deep but also has the 100hz, 500hz, 700hz, and 1kHz stuff I kinda want in some amount on my kicks. I don't mind EQing the hell out of a kick drum mic and it always seems like that 4040 sounds good. I basically low pass it and cut the mids to the amounts that serve the song then blend with the inside mic.
Inside mic for me is an odd thing. I don't like most "kick" mics. If I need it to feel like a live metal kick drum during tracking then I'll do a D6 and use a sample in the mix instead because I really dislike how it sounds...but I just got rid of it so no more of that! I tend to like my Heil PR40 or an SM7B inside the kick. Both give me a good amount of all the frequencies I need and seem to take EQ well for the stuff I don't want. I think I'm going to try a Sennheiser e604 inside in the future. It SEEMS like it should be good - it's good on deep floor toms - but I'm not sure how the mids/highs are going to turn out.
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Post by schmalzy on Feb 17, 2022 0:26:08 GMT -6
To provide another anecdotal data point: I'm regularly around 80 tracks (which I break out to a lot of groups of stuff and lots of parallel stuff so I'm closer to 130 channels per song for my mix). Console1 on probably 40 channels. Soothe on a few channels. FabFilter MB, FabFilterDS, Fab Filter Pro L, and a bunch of Kush stuff (the highest processor usage plugins I use regularly - Soothe and the oversampling modes of FabFilter stuff are higher but less used) plus always a couple amp sims and some pitch manipulation stuff like Little Alter Boy and ReaPitch. Lately I've been running to an analog mixbus so I'm also sending out 3 channels (one's a side chain for the compressor) and input monitoring the two coming back in. 2015 iMac 2.8 GHz Intel i5 with 4 cores and 16 GB RAM. Buffer set to 1024 when I'm mixing. I'm around 80% CPU utilization total running 88.2kHz sessions. I've not looked into it deeper because I've not had to. Question for ya', @tomegatherion : what are you pulling your audio files off of? I'm using an SSD in a dock connected via USB3. If your software and your data are on the same hard drive you can get some REALLY weird behavior. Related, I had a hard drive that was acting up (fear not, the data's all safe). It completely beachballed Reaper and made it so nothing would work or play. Maybe investigate disconnecting anything extra you might have besides the interface and the one hard drive you need to work with (in addition to your computer's internal drive for software). I hope you can get this ironed out. Problems stemming from (nearly) invisible digitalia can be SUPER frustrating. Windows and reaper are on a regular SSD. Audio pulls off an 7000 mbps m2 ssd. Every vocal track on this mix is getting Nova GE on insane+ as a de-esser, Deedger (love this), slick eq ge with saturation and colored outp stage on, Molot ge on insane, and fuse tcs-68 and it’s bussed to groups (tcs-68 x2 on each. One for the eq the other into the saturation because the eq comes post circuit/tape sat in the plug-in signal flow) and the busses are all sent to Colour Copy instances with hq on Reading back these responses and exactly what you were saying ahead of time...I must have been combining two different threads in my broken little brain. I could have sworn you said you were having problems with your projects running smoothly. Which is not at all what you said. My brains must have been combining a few things. Sorry for any confusion on that... That said, I'm glad all your mix sessions run smooth!
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Post by schmalzy on Feb 16, 2022 12:31:06 GMT -6
Not sure which of us you're asking, but my OS drive is SSD. My data drive is WD Black spinny drive. Sorry. I was quoting you because my post was to further back up your claim of "it shouldn't be running that hard." I was asking the question of Dan. I'll go edit to tag him in that.
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Post by schmalzy on Feb 16, 2022 10:42:56 GMT -6
Preferences, Buffer. Reaper defaults to 200ms of anticipative processing. It lags plug-in VU meter ballistics somewhat but works really well with a ton of interfaces. If you crank it, plug-in controls get really laggy but it can turn even a few years old laptop into a mixing beast. I checked this out last night. I pulled up my most complex mix to test it out. 50+ tracks (not the most I've done, but these have a LOT of emulators and high DPC plugs) which have 5 amp/cab sims, 8 instances of Soothe/Soothe2, 4 reverbs and delays. Melodyne on 2 mono tracks and 2 stereo tracks. Crave EQ on dozens of tracks. Arouser on 6 or so. SSL native plugs on about 10 tracks. Reaper says I have 6 tracks with DPC >8000. When running it uses 65% CPU and 20GB of RAM. 8 Core/8 thread CPU, all cores fairly equal in utilization. I'm running 256 sample buffer which gets me around 5ms latency. I turned off Anticipative Effects and I noticed zero difference in performance. I figured that the CPU might shoot up but it was identical. No glitches or anything. To provide another anecdotal data point: I'm regularly around 80 tracks (which I break out to a lot of groups of stuff and lots of parallel stuff so I'm closer to 130 channels per song for my mix). Console1 on probably 40 channels. Soothe on a few channels. FabFilter MB, FabFilterDS, Fab Filter Pro L, and a bunch of Kush stuff (the highest processor usage plugins I use regularly - Soothe and the oversampling modes of FabFilter stuff are higher but less used) plus always a couple amp sims and some pitch manipulation stuff like Little Alter Boy and ReaPitch. Lately I've been running to an analog mixbus so I'm also sending out 3 channels (one's a side chain for the compressor) and input monitoring the two coming back in. 2015 iMac 2.8 GHz Intel i5 with 4 cores and 16 GB RAM. Buffer set to 1024 when I'm mixing. I'm around 80% CPU utilization total running 88.2kHz sessions. I've not looked into it deeper because I've not had to. Question for ya', @tomegatherion: what are you pulling your audio files off of? I'm using an SSD in a dock connected via USB3. If your software and your data are on the same hard drive you can get some REALLY weird behavior. Related, I had a hard drive that was acting up (fear not, the data's all safe). It completely beachballed Reaper and made it so nothing would work or play. Maybe investigate disconnecting anything extra you might have besides the interface and the one hard drive you need to work with (in addition to your computer's internal drive for software). I hope you can get this ironed out. Problems stemming from (nearly) invisible digitalia can be SUPER frustrating.
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Post by schmalzy on Feb 13, 2022 11:26:48 GMT -6
You cut super chunks by cutting 2x4 insulation in half, then cut each 2x2 piece diagonally, resulting in 4 triangular pieces all with the same dimensions and yes the long front face will be 24 inches. You should do at least 2/3rds of height available, from the ceiling down, which will also help control the two tri-corners behind your monitors and monitoring position. As you will have to support their weight , you might as well make them full height and for the sake of two extra triangular tops and bottoms, I ‘dcsuggest you make two per side and stack them. Bottom one make 48 inches tall, second remaining height to ceiling. Consider if you wants them on wheels: just bottom one and that if you stack them, you will be able to just slide top one in place resting in bottom one and this will make them more mobile if you ever have to relocate. In terms of fabric cover , I’d suggest you plan on using rigid insulation on front, fluffy behind . The rigid can be cut slightly oversized so you get a compression fit on inside of box and then you can use spray adhesive on back to keep fabric in place: easier than building a frame etc.. Adding the rigid on front also let’s you increase the depth in 1-3 inch dimensions and increase the absorption significantly, if you do this remember to add in the extra depth in the lengths of the two sides to the triangular frame you will need to build. One other idea is, I just found a really good diy video fir building a diaghramic curved corner bass trap that also acts as a diffuser and uses sheet metal as face, insulation behind. Let me know, if you’d like link to diy video. Hit me with that video! I'm intending on sorting out a better looking bunch of acoustic treatment this year. Thanks!
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Post by schmalzy on Feb 11, 2022 0:03:05 GMT -6
Cool. So then figure-8s with the nulls oriented toward the the flown PA might give you a pretty good situation! Let us know what ends up working best for ya'! curious what fig 8 SDCs are out there? I know Oktava have fig 8 caps for the 012s. I have several LDCs with fig8, but no matched pairs, really. Have plenty of ribbons, but I think noise will get me into trouble and don't love the idea of carting them around a bunch. Do they demand you use SDCs? I was assuming you'd probably have to grab some LDCs for that. On the other hand, I think there are a few out there that offer SDCs with figure-8. I'm looking at the Vanguard V1s and those offer a swappable capsule that can be set to figure-8.
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Post by schmalzy on Feb 10, 2022 15:19:17 GMT -6
yeah, I'm a little limited where I can place them. there are hosts that sit near the one side of the stage, audience members come up on the other side of the stage, near the other mic, and the PA is actually above the stage (L and R), so raising them up is really not much of an option. I've been doing okay with cardioid pointing at a nearby wall. They have their own people do editing, so no messing with the files (per their request/instruction). Cool. So then figure-8s with the nulls oriented toward the the flown PA might give you a pretty good situation! Let us know what ends up working best for ya'!
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