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Post by wiz on Jan 25, 2024 5:18:51 GMT -6
Nice, I am using it similarly. Are you keeping one room for everything or working by element by presets? thx! Luv the mix, texture, layering and detail, lead vocal sounds perfect: well done !!! Thanks kcat Just one room for all Cheers Wiz
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Post by wiz on Jan 25, 2024 0:35:42 GMT -6
I am continuing to use this Plug In.
I am using it exclusively in REVERB mode... I can't find a use for REMIC mode.
Here is the latest effort with it...
I use it as the "room". Its on a send and tracks get a varying amount sent to them.... and it works great in that role. There are other reverbs in use on this track, Bricasti, AMX doing the reverbish thing.
Cheers
Wiz
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Post by wiz on Jan 25, 2024 0:31:10 GMT -6
You’re all no fun… 😂. Seriously, I’ve gone back and forth on this SO many times I’m starting to get sea sick. Ya, Atmos is a giant money grab. It doesn’t mean it can’t be great, and I’m willing to bet a lot of you haven’t sat in a proper Atmos room and heard what it’s capable of. I’ll eat crow if need be in a few years, but I don’t see it going away. I’ve got ideas, I’ve got plans… I’m not really interested in remixing everyone’s stems into Atmos, but I’m sure I’ll end up doing that to pay bills. Don’t be so grouchy that you can’t see the potential “wow” factor of Atmos when done right. It can be a lot of fun and really inspiring. I’ll never fault anyone for pointing out it being a way to sell more gear, but we’re on a freaking recording forum talking about the thousandth tube gear clone daily, so ya… Don’t sit on your high horse and preach about being against it because it’s a money grab. Welcome to the music industry… It's not about fun or creativity. It's about both business and the end user. People literally do not care one iota about any sort of surround music only situations. Quad in the '70s, 5.1 SACD in the '90s, Atmos in the '20s. Music consumers don't care. Sure there's the occasional 'audifile' who will buy the worst music in the world because "it sounds so clear," but typical music lovers and music makers have been and will continue to listen in stereo. My life was impacted enormously when I was 7/8 years old.. listening to Dark Side Of The Moon, in my brothers car on 8 track with quadraphonic sound...its a shame more people don't have that experience... cheers Wiz
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Post by wiz on Jan 22, 2024 19:21:06 GMT -6
Any chance of hearing the two Mixes? Cheers Wiz Yeah, if you wanna wait a month or two.. Everything is a mess at the moment... As shown below:
However it's dead obvious in playback testing anyway..
I am in no rush.. just curious... yeah would love to hear them cheers Wiz
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Post by wiz on Jan 22, 2024 18:31:38 GMT -6
Sorry but, after a lot of testing the SSL is just so much better sounding than the Carbon it's not even funny. They put $100K's worth of live tech in it? Yeah I believe, at this point I'm half tempted to return the Carbon and choose a new DAW.. Whatever works. For those who think it's a cheap chinese board, please continue to shoot yourself in the foot by thinking that.
Yeah, I also bet the SSL as a mixing desk screw's the signals in ways only SSL engineers comprehend but it sounds wide, clear and euphoric as heck so ahh well and I've heard many a boring desk or console in my time. This ain't one of them..
Sure, if I didn't have to repair or replace bits of the SSL every six months I'd be delighted but it's proving once again to be the thing to beat. Johnkenn , I'd be interested in your opinions on this as it's beaten out everything I have thus far.
If you think for a second I don't actually buy and test this stuff, well, sorry for the state of my studio but here's some proof.
Any chance of hearing the two Mixes? Cheers Wiz
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Post by wiz on Jan 20, 2024 0:17:55 GMT -6
If you’re going that route, I’d absolutely try the LDC in fig-8 on the guitar, angled slightly down so that the null is pointed at your mouth. If you’re close up on the SM7b, it can work quite well. It can also work well if the vocal mic is *also* a fig-8 with *its* null pointed at the guitar. If my memory serves, wiz records this way. he he he,... look at the 7th post in this thread.... 8) cheers Wiz
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Post by wiz on Jan 18, 2024 19:15:03 GMT -6
Agreed : a redesign of ua dsp cards is long overdue. A lot of people say this.... I really have no issues...I have an octo (had to edit that.. spell check said Octopus.....8)..... man, now I want an octopus...) and X8 so.. 14 sharp chips....the whole system works great for me... But, I don't run a shitload of tracks and plugs....so I can see if you did, it would be an issue... but, again with Freeze available in daws....?? cheers Wiz
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Post by wiz on Jan 18, 2024 19:13:37 GMT -6
Well, it hasn’t been released yet, but with these apparent requirements, UA seems more concerned with incentivizing new sales, ironically with its embedded clientele who have already spent much much more than initial subscribers, rather then just prorating Ultimate based on numbers of plugs owned and or just giving people licenses as they have spent so much more than those very lucky new subscribers. The prorating was discussed... impossible with existing software cheers Wiz
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Post by wiz on Jan 18, 2024 1:19:39 GMT -6
Hi Welcome... You probably won't like my answer....but it comes from experience and thousands of dollars spent on shit I didn't need. I would sort out the room and your monitoring first. Doesn't have to be expensive but you do need to sort it out. You could have a V72preamp an LA2A and a 176.. with a U47 for vocals and a KM84 for guitar... and in a bad room with shit monitoring get dusted by a cheap interface and way cheaper mics. Also, you don't know really, if you will keep doing this long term. Just recording vocals and acoustic at the same time...I would get two figure 8 Mics...and position them so the nulls are at the opposite of the source you are recording... eg vocal rejects guitar... even getting an interface with preamps first (like a Apollo Twin X, and some powered Adams A7 monitors, room correction software and acoustic treatment would be a good start, and you can get going and sort out acoustics, and then flip that stuff I you desire down the track) Here is two examples... Me at Sun Studios in Memphis... And me back in Australia recording a client...both videos feature ribbon mics (fig 8) cheers Wiz Was Matt Ross-Spang still at Sunn when you did this? Casey was the engineer… can’t remember his last name. He had just taken over I think . Cheers Wiz
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Post by wiz on Jan 17, 2024 22:42:16 GMT -6
Hi all, First poster here. I used to be an aspiring engineer. I gave up that aspiration several years ago. I was focused on trying to build a career/future. However, I’ve gotten back into playing acoustic and trying to write songs. Now, I want to start recording them. Here’s where I need your help. I have no clue where to start. I had the privilege of getting to observe some sessions in higher end studios and one thing I really liked was the sound of mics hitting tubes and transformer. I don’t have much interest in the digital emulating analog thing. It’s just gonna be me and an acoustic guitar. I know an sm7b is probably gonna be my vocal mic of choice as I’m familiar with it and I’ll be in an untreated space with some makeshift booth setup. Probably an 414 type, sdc, or ribbon for acoustic guitar. Im kind of lost in the interface/preamps department. Like I said hitting transformers/tubes on the way in is what I’m most interested in. Most audio interfaces at the consumer level don’t have preamps you can bypass with outboard gear. Tl;dr. But thank you for your consideration. Hi Welcome... You probably won't like my answer....but it comes from experience and thousands of dollars spent on shit I didn't need. I would sort out the room and your monitoring first. Doesn't have to be expensive but you do need to sort it out. You could have a V72preamp an LA2A and a 176.. with a U47 for vocals and a KM84 for guitar... and in a bad room with shit monitoring get dusted by a cheap interface and way cheaper mics. Also, you don't know really, if you will keep doing this long term. Just recording vocals and acoustic at the same time...I would get two figure 8 Mics...and position them so the nulls are at the opposite of the source you are recording... eg vocal rejects guitar... even getting an interface with preamps first (like a Apollo Twin X, and some powered Adams A7 monitors, room correction software and acoustic treatment would be a good start, and you can get going and sort out acoustics, and then flip that stuff I you desire down the track) Here is two examples... Me at Sun Studios in Memphis... And me back in Australia recording a client...both videos feature ribbon mics (fig 8) cheers Wiz
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Post by wiz on Jan 17, 2024 19:03:48 GMT -6
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Post by wiz on Jan 17, 2024 14:49:31 GMT -6
So Drew has mentioned it should be released soon, but only for clients with multiple hardware pieces and X # of plugs:) Seems to me UA is just continuing the inequity as it originally let new clients who had only paid a small amount of subscription fees (a few months), to buy ultimate for under $1,000. So, if you have spent say 3-5 X’s more than that or more, what offer is UA going to make heavily invested clients to redress that huge discrepancy? Where did Drew say this? cheers Wiz
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Post by wiz on Jan 13, 2024 16:41:27 GMT -6
Can we get a show of hands of who: A) Dithers always for any change in processing B) Sometimes dithers (and when?) C) Doesn’t dither I have to admit much of this conversation has gone over my head. But it has got me thinking about it. For example I had never dithered going out to hardware, but now I’m at least trying to figure out how to do so in Logic. I think I need a third party plug. Logic has a dither option when bouncing/exporting but I don’t think it is available outside that context. So I guess that puts me in category C most of the time. Cheers, Geoff To add to this - for anybody working on a console, are you putting a dither plugin on every single channel that you throw out to the console? Let’s say you’ve got a 48 channel console and are sending everything out to that console for mix. Who is putting a dither plugin on every single channel in their DAW? I’ve never seen this done before so I’m curious. I used to with soundcraft delta cheers Wiz
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Post by wiz on Jan 12, 2024 16:14:14 GMT -6
I get that……and when I re read my post it sounded a bit dickish……..not intended What I am getting at is…….if there is mid push…..using Apollo……and not…using another clock….which one translates? Thats the right one. cheers Wiz what? For a da converter? No way because if it’s mid pushed, you will scoop mids to make it normal and then when some guy plays back your mix on a normal converter, it will sound mid scooped. I do think the Apollos sound mid pushed though and feel that many of the UAD color effects are voiced around that in addition to whatever they are attempting to model. Hey Dan thats exactly my point…perhaps I didn’t phrase it well…about adjusting to what you hear. I also think you are right about Apollo sound and it’s plugins and also Luna. using the entire chain as I am…I find they all play really well together sonically…far more than when say I was using Logic,Apollo,UAD plugins. Ths system works sonically cohesively cheers Wiz
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Post by wiz on Jan 12, 2024 16:06:50 GMT -6
Sooooo….what happens when you run off two mixes….one clocked internally…the other clocked externally…..and then go listen to each on a consumer play back medium? Cheers Wiz You’re not hearing my whole chain because the trinnov isn’t printed. I get that……and when I re read my post it sounded a bit dickish……..not intended What I am getting at is…….if there is mid push…..less width…..etc…..using Apollo……and not…using another clock….which one translates? Thats the right one. cheers Wiz
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Post by wiz on Jan 12, 2024 0:56:14 GMT -6
Great video.. learned heaps
thanks cat
cheers
Wiz
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Post by wiz on Jan 11, 2024 15:03:29 GMT -6
Sooooo….what happens when you run off two mixes….one clocked internally…the other clocked externally…..and then go listen to each on a consumer play back medium?
Cheers
Wiz
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Post by wiz on Jan 11, 2024 1:28:35 GMT -6
Run two mixes off, one clocked internal.. one external....post em up...let's hear em...
cheers
Wiz
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Post by wiz on Jan 11, 2024 1:09:51 GMT -6
I like the cheeky insert they've built in, AVB would have been nice. Looks like another solid offering from MOTU, I've had my 1248 about a decade now and it's still as good as the first time I switched it on. I'm always going to keep it as a spare / backup.. please dear lord... let the routing matrix that was in my 16A be a thing of the past....that thing blew chunks. cheers Wiz
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Post by wiz on Jan 11, 2024 1:06:21 GMT -6
Geez Bob. No "Wonder" you passed the Motown IQ test portion, as a kid! Chris I was one of the dumber people at Motown but I wouldn't trade the experience and what I learned for anything. I've always preferred being the dumbest person in the room. I only understood maybe 10% of the conversations in JJ's newsgroup but I saw digital as on the verge of replacing analog. I have something in common with Bob, sort of...8) I have alway been the dumbest person in the room cheers Wiz PS here is my take (to prove my point above). 1. Dither when you are reducing bit depth and you are not sure if its being applied by something within the program you are using (I used to use Airwindows Dither) 2. If you are going in and out of your DAW to hardware, apply dither in the plug in slot prior to the IO plug in. (again I used Airwindwos Dither when I had an extensive outboard setup) Then test both of the above to see if you can hear any difference... Then either keep doing it, or not bother, except... bother... you know... or don't We should never have ever had to have this discussion. This should all be taken care of by the developers of everything we use. Also, in the grand scheme of things, it's really not that big of a sonic deal....really....millions of other things have a greater impact on the end result of a recorded song...but...you should know and understand this stuff (except you really shouldn't the f)(*#ing designers should have taken care of it...)
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Post by wiz on Jan 8, 2024 15:12:02 GMT -6
I probably should expand... My back is not coping with lifting my amp for live.. .which isn't a big amp by any means.. its a Princeton Re Issue. I was hoping something like the Katana, would be a replacement. I just didn't gel with it.... I am getting a Fender Princeton tonemaster sent out to try... it's the right weight, and ... well it's a Princeton....so we will see how it goes cheers Wiz Did my first gig with the tonemaster Saturday night. Went great. Didn’t tell the band till load out. No one noticed any difference. The line out to desk worked great. Very happy. Only difference to me is the vibrato doesn’t feel or sound the same. cheers Wiz
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Post by wiz on Jan 8, 2024 14:59:53 GMT -6
2024 Q Clone? Or different?
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Post by wiz on Jan 5, 2024 15:11:10 GMT -6
I had a compellor 320D which was modified by Revive Audio. I used it mainly for its widening effect on backing vocal bus….
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Post by wiz on Jan 5, 2024 15:09:21 GMT -6
Fab filter Pro Q3
Hitsville a couple of times
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Post by wiz on Jan 4, 2024 0:55:40 GMT -6
I had referenced this in the past here, just reposted as I finally found the link. was just bemused that UA is finally doing something about the elephant in the room of its deals more favouring the least invested client. Here’s the link, basically so far, Drew had a zoom call with 10 randomly chosen clients, but you had to own multiple devices and at least 80 plug ins to be considered. That would be own currently,not owned in the past, so peeps like me who have bought 5-10 devices and plugs in 3 times are sol ! Dear Wiz only has 70 plugs so he was out too, but how could he have contributed with his extensive IT knowledge , recording expertise and knowledge of analog and digital hardware and software: just sayin, the selection criteria could have been more knowledge not ownership based . Wonder what UA will come up with ? uadforum.com/community/index.php?threads/user-help-needed.68023/#post-494915I ended up being in
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