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Post by strangeways on Jan 26, 2018 12:31:53 GMT -6
Just nabbed a 24x8 Soundtracs MRX24 with power supply off CL in "basement storage condition". VERY dirty and neglected. After 2 cans of deoxit and a complete cleaning of all knobs, channels, and some extensive rewiring on the meter bridge, it's passing signal on 22 of the 24 channels, with the 2 remaining needing some new chips to get going. First order of business is recap the PS and lots of PB wiring. Best $500 i've ever spent.
If you grab a Soundtracs that needs some love, I highly recommend contacting Studio Systems with any questions. They have been very helpful.
D.
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Post by strangeways on Aug 12, 2017 10:33:00 GMT -6
I recently started using the Soundtoys Mini Microshift on my bass DI. I set the mix at about 11:00, focus to about 1:00, detune to minimum and delay to tight. It'll bump your volume a bit, so readjust your fader so you're getting the same output to your 2bus/aux, and then mess with the focus and mix a bit til you get what you're looking for. Def does something cool in the sub, and makes the bass sit a bit better without having to boost with eq.
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Post by strangeways on May 9, 2017 20:11:28 GMT -6
Distressor for snare, and 160x for kick here. I could see adding a 160 for kick and moving the 1176 over to snare. But i usually barely hit em on the way in.
D.
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Post by strangeways on May 6, 2017 22:16:47 GMT -6
Proof is in the pudding i guess. My mixes are sounding better. Faster.
And while all those techniques re:sweeping and using my ears are valuable for trouble shooting and sculpting, a little trick that works is just that. I've been on the same monitors for 15 years, and ive changed mixing environments at least 5 times, id say. All the rooms ive moved to have different nodes and sound anomalies, which i've attempted to understand and utilize. Ideally, i should invest $ in treatment for the 3 rooms i work in, but for now, that spectral crutch is teaching me some valuable ways to train my ears furthur. And i'm sure eventually ill develop a new trick to get me there even faster and prob see these analyzers as useless, much like you do.
As i said, its not anything i can use for any real critical decision making, but it offers a perspective that ive learned will speed up/steer my process.
Thanks for the tips, though. Appreciated and obviously sage advice.
D.
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Post by strangeways on May 6, 2017 14:36:15 GMT -6
I use the stock PT one on individual elements when I start setting up mics on bass/guitars. Not for any specific curve or anything, just so I can check to see where I have freq buildup i can already hear and figure out if i need to dial more highs or carve low/mids. I also will throw one on my master bus when i'm starting a mix just so I can get a perspective of where i can brighten guitars/cymbals and make sure bass isn't creating any lf peaks around 80-200hz.
I do find them useful, but it's essentially just another monitoring tool. It's a lot like that spot in the room with too much low end. It's not an absolute, but it's an added tool, once you figure out what to listen/look for.
d.
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Post by strangeways on Apr 9, 2017 16:15:44 GMT -6
Discontinued Kush Main Gain here. Love it, someday ill find a function junction when i have $ to burn and get that too.
D.
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Post by strangeways on Nov 29, 2016 14:55:32 GMT -6
1. Waves SSL EQ 2. Camel Crusher 3. Puigchild 4. Decapitator 5. Dorrough Meter
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Post by strangeways on Sept 11, 2016 10:03:36 GMT -6
Thanks for your detailed explanation. Not good since I was thinking of buying used, which would probably increase the likelihood that something could go wrong sooner. Since you clearly know a lot about amps, would you recommend an amp in the $1,000.00 range that can give that clean, chimey ย sound ย that the opening riff of "My Favorite Mistake" embedded above makes?ย I'm not John (obviously) but I'd say either the 65 or 68 Deluxe Reverb reissues. ย I love those things, especially the 68. ย Here's a really well done shootout between the two. ย I wish all amp comparisons were done this way. ย Anyone else find i comical that as the guy in the video claims "same mic position is used" that the mic gets bumped and the position moves as he's swapping amps out?
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Post by strangeways on Sept 4, 2016 5:44:54 GMT -6
Behringer V-verb. If you disregard the Behringer logo and get a good unit that doesn't crap out within a year, its an amazing and tweakable unit. Used they are sub $200. Got both of mine for $100.
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Post by strangeways on Aug 31, 2016 13:44:06 GMT -6
It's a Fred Fossell designed preamp. I think they sound great, really nice on acoustic instruments. I'd like to own one. I think because it says "Presonus" preamp think they aren't worth the price but I think you scored for that. I'd love to find one for that price Mine is now a limited edition non Presonus model. I did the "black electrical tape" mod. ๐
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Post by strangeways on Aug 29, 2016 18:32:19 GMT -6
Well. I finally tried it out. Def cool. Di sounded great on guitar, and i'm guessing it will shine on bass too. Not a dirty, colorful pre by any means. API/Royer still wins as far as distorted guitars go, but if i needed something less pointy and bigger, id go to the ADL first. Sounded cool on a quick room drum test i did. As compared and exhaustively noted online, it has heft for room kick and a little smoothness on cymbals, which makes me excited to use it for rooms and use my fatso elsewhere now.
Line inputs were ok. Kind of gives back what you put in. Maybe a little subtle compression and a slight bump in lower harmonics, but not anything ill bother with for stems.
At the end of the day, its clean, and quiet and honestly more exciting than my benchmark mps400, so rooms will benefit.
I'm most shocked at the mostly accurate descriptions i found online. Just a cool, clean, quiet but lots of gain on hand tube pre. It's got just enough subtle lower harmonic excitement and hf sheen to be noticeable when compared against something like an api. Not quite what i needed, but glad i've got it for so cheap.
D.
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Post by strangeways on Aug 27, 2016 11:15:34 GMT -6
Just got an ADL 600 dual tube mic pre. Distributed by Presonus, which apparently drove the resale WAY down, since i got it for $525. New they were $2k?!? Apparently very overbuilt and clean and quiet, with a certain hifi character. Tons of bells and whistles. I was going to grab an AEA TRP for around the same price, but this seems to do most of the same things as the trp, plus phantom power, impedance switching, 3 position HP, and line ins. (apparently Fred Forssell had a hand in designing both pres)
Haven't had a chance to use it yet. Internet says it sounds great, and gives the pacifica a run for its money. Must be true, right๐๐๐.
Started another thread looking for more info. If you've used it, chime in over there.
D.
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Post by strangeways on Aug 26, 2016 18:43:22 GMT -6
Ha!!!
Honestly, it seems like a good deal. He wanted $600, which seems a little low anyway. I always try to get a little off anyway.
I've found lots of info that indicates it's well made. Just curious if there are any "tricks" to dialing in different sounds. Doesn't seem to be based off of anything particular.
D.
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Post by strangeways on Aug 26, 2016 17:47:10 GMT -6
Hey all,
Just picked up an ADL 600 on CL for $525. Got it all set up but won't have a chance to try it out until after the weekend.
Anyone use this? Seems to be good on VOX and overheads. I'm curious how people are setting up the gain staging. Are you padding and cranking the output? Or gain to taste with the trim at noon and only pad on loud stuff?
I'm hoping its good with ribbons on loud rock guitars. That's where im going to start.
Thanks. D.
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Post by strangeways on Jul 3, 2016 19:37:23 GMT -6
The "albini" and "bonham" drum sound are a general request i have gotten many times from lots of bands i record. Usually, it means leaning more on room mics, about 10-15 ft out, with heavy 1176 style compression. It tends to be a less modern sound, and a more natural drum sound that represents the kit vs individual close mics.
Albini delays his room mics by 10-20ms i believe, and keys them to open on snare hits.
If you have a small room that doesn't sound great, just worry about tuning and close mics and reamp elsewhere. Find a hall or church in your area and see if you can come by after hrs with a couple powered speakers and a laptop, and reamp with some room mics up. Or even a parking garage stairwell. Anywhere with a cool reverb can get you useable results. Prob won't sound exactly like Electrical, but itll get you ballpark.
If all else fails, use a plugin verb with a predelay.
D.
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Post by strangeways on Jun 20, 2016 18:11:43 GMT -6
I also think most snares will give you what you want if you spend the time tuning and trying different heads until you find something that works. Any great snare can sound terrible if it's not tuned well or has the wrong heads on them. I generally go for an coated emperor with a few moon gels or a genera dry for top head. Usually Hazy 300 clear bottom. I use 5.5 deep snares and prefer to tune the bottom head higher (around a fifth) than the top head. Evans heads don't last with a hard hitter, so either buy a bunch and change every couple songs, or go Emperor.
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Post by strangeways on Jun 20, 2016 18:05:38 GMT -6
Acrolite. Never bummed when a drummer comes in with one. If I'm bummed with what they do come in with, I'll usually go acrolite or C&C. I owned a Pork Pie BB. Never could get it tuned so it would sound better than my Acro/C&C's. Supraphonic is def a nice snare too, but again, I've picked my Acro over one a few times.
d.
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Post by strangeways on May 31, 2016 20:03:24 GMT -6
Hey all,
So i've taken the plunge at this point and gotten myself out of the restaurant industry and have committed to doing strictly audio work (recording bands sporadically and freelance audio post production for web). Now i'm certainly not getting rich, but i'm staying afloat and finding more ways to finesse the art of soliciting bands to record with me.
Seems like building a network of musicians to recommend you only goes as far as a band finishing their records. I've got 3 projects in limbo and long gaps between start and finish of an ep or album. Mostly it's band finances keeping them away. Or they're doing vocals on their own. Or both. But there's that ever growing gap of current work to show off.
Anyone been in a similar situation? More specifically, are you hesitant to show off "works in progress" to potential clients? I feel like a fair amount of my biggest eureka moments in getting sounds is in the mix process. So that problem bass track that doesn't work in the roughs sits fine after fader tweaks and a little eq come mix time. I get well captured sounds during tracking with no eq/heavy compression and i reserve toneshaping and heavy trickery for when all the elements are there to listen to.
I guess i'm just wondering at what stage are you comfortable playing stuff back as a means to entice a band? Do you hold it close until you've dialed it in enough to show it off? What do you consider almost mixed, especially when it's missing elements? Any sage advice?
Anyway, thanks in advance to anyone chiming in. I've been doing this audio thing for about 15 years as a casual service, and i'm never really sure i'm doing everything right, especially business wise.
D.
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Post by strangeways on May 20, 2016 9:16:17 GMT -6
I do an AT4033 at 12th fret pointed at about 30 degrees towards the body. Maybe 2-4 inches away from fretboard. Here's a song i recorded at my tiny practice space for my ladyfriend. Not much of a drummer or singer, so my apologies for the slop. She cried when she heard it. Maybe my singing? ? m.soundcloud.com/daryl-g-rabidoux
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Post by strangeways on May 17, 2016 8:56:00 GMT -6
I've built 4. The pcb quality is great. I opted for the variable pots, and everything works for what i was trying to do. I ended up building API type pres based off some Eisen pres i bought some time ago. Mike is very helpful, and did a great job on packaging.
My only gripe with the Silver is the Eisen DIY kit this was based off allowed for more input transformer options/pin spacings. I found out the hard way the Hairball won't accept Cinemag 75101apc, and these boards sit higher on the frame than the Eisen DIY did. This height difference means the transformer sticks out past the front panel slightly. And you end up not being able to use the covers. Really not a huge deal. Just make sure the transformer you are buying isn't too tall to fit.
D.
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Post by strangeways on May 16, 2016 23:02:58 GMT -6
Lately i've settled on...
Kick- 2x Senn e602. One about an inch or 2 outside the port. The other same distance out dead center on reso head. Sage pres into dbx160 used as an attenuator so i can crank the sages up. BOOM!!!
Snare- 57 or I5 top into VP28/Hairball Silver API clone and sometimes a Distressor. Akg 452 bottom into Eisen Api clone.
Toms- Oktava 012's always and forever. Into Eisen Neveish pres.
Mono FOK/OH- TOMB Group buy ribbon. Usually into a benchmark pre.
Rooms- Oktava 012's about 15 ft out and pointed away from the kit. Spaced about 15 ft apart. Into a Benchmark pre and a Fatso with warmth on 2 and 0 LED blinking on transients.
Some wildcard mic. Stuck in a closet or over kit or heart mic. Just something to destroy if i need it. Usually through a studiomaster set to stun.
HH Mic if the drummer is doing cool accents. Through a Benchmark. Usually an AKG 452.
That's usually it. If there's channels left over, maybe another snare top for contrast. I usually lean on my rooms and FOK mics for overall and reinforce with close mics.
D.
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Post by strangeways on May 16, 2016 22:26:23 GMT -6
I feel like i went through a phase of buying tons of recording related things and have finally figured out where they are useful.
Here goes....
Hairball Elements Silver kits- Love my Eisen API pres that were from kits. Built 2 of these to same specs. Great on guitars and bass/di.
Fatso Jr.- LOVE on room mics and guitars. Rarely use any comp settings. Just the warmth/saturation is worth the price of admission.
Allen Accomplice head- this actually is on loan. I have a guitar player friend that i trade my guitar/amp tech work for his guitar setups. The Allens reverb tank needed replacing, so until the new one shows up, this thing is giving my #1 (66 blackface bassman) a serious run for its money. I may have to grab one of these for the studio.
Audix I5- much like the 57, i wasn't blown away by it when i first got it. But there's that moment when you throw a 57 on a cab/snare and think "eh"... So you move the mic 3 times, fiddle with amp knobs and maybe swap the pre. Then you try another mic, which seems to always be the i5. And that's where i usually settle. Audix should adopt the phrase "I5- when a 57 just isn't doing it".
I still have more stuff that hasn't found its purpose yet. I'll prob post back here when were on page 8.
D.
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Post by strangeways on Apr 29, 2016 12:33:57 GMT -6
That was me!!! After my brush with death. EC did an album with us in VT. And BR did some early stuff with us. And Sheel's other band Irepress did their second full length with us too. Miss that studio!!! And i'm still kicking myself for not grabbing that Neotek when Mike closed up shop. At the time of the benefit, the singer in my band was dating Dua from EC/BR. Where ya at now? I still live in Providence. Been recording most of my projects at a solar studio in Clinton, CT called Radar. Just did the new Doomsday Student (ex Arab on Radar) there a month ago. theradarstudio.comI'm actually building out the Jamstage room to allow for bands to do live tracking/demos right now. Hopefully get that going so i'll have a space up here. Where you at? D.
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Post by strangeways on Apr 29, 2016 12:19:58 GMT -6
I was 1/2 of it.ย Mike Poorman owned the place.ย I helped run it in VT and RI.ย It has since closed. Nice. I went to a benefit show for you probably close to 10 years ago I think. You guys did the Bad Rabbits / EC stuff right? Some KNK too? That was me!!! After my brush with death. EC did an album with us in VT. And BR did some early stuff with us. And Sheel's other band Irepress did their second full length with us too. Miss that studio!!! And i'm still kicking myself for not grabbing that Neotek when Mike closed up shop.
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Post by strangeways on Apr 29, 2016 11:02:15 GMT -6
The best decision i ever made was to turn down my overheads (i am currently not even using OH mics) and rely on a mono ribbon FOK mic about 5 ft in front of the kick. Just about level with the rack tom, pointed at the snare and centered between crash and ride. I use my room mics (10ft out and about 10ft apart) to take care of stereo image/cymbals and stopped gating/automating toms. The tom bleed works well for close imaging on ride/crash when I pan the toms at about 34L/55R. I don't usually do much eqing on toms aside from cuts in the lows, and I mic with Oktava 012's with card caps. If I do gate, never more than 3-6db. Hard gates make the cymbals jump out and make it obvious there is a gate. Hope that can help. d. Hey strangeways , are you the RI Strangeways? I was 1/2 of it. Mike Poorman owned the place. I helped run it in VT and RI. It has since closed.
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