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Post by mitchkricun on Nov 16, 2019 8:52:19 GMT -6
Would love to find a discount on SD3. I’m ready to make the jump from Slate Drums. Also Neural DSP Nolly and Goodhertz Canopener. Do you guys think SD3 will go on sale? Have you messed with SSD5? Used them on a song I just finished mixing and it was the first time I forgot they were not live drums. I’ve messed with SSD5 quite a bit. I’ve had it since SSD3. Solo the Overheads. Do the sound like any Overheads you’ve EVER tracked? I’m guessing, no. Not saying it’s a bad product at all. I’m saying I’m ready for something that sound and react like real drums.
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Post by mitchkricun on Nov 11, 2019 4:37:22 GMT -6
Would love to find a discount on SD3. I’m ready to make the jump from Slate Drums. Also Neural DSP Nolly and Goodhertz Canopener. Do you guys think SD3 will go on sale?
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Post by mitchkricun on Aug 13, 2019 12:00:04 GMT -6
[quote author=" mrholmes"
Do you use some hardware on the 2 bus?
[/quote] Yes, I usually use a pair of Capi’s-A Designs Hammer-Allan Smart Compressor. Why do you ask?
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Post by mitchkricun on Aug 9, 2019 13:11:36 GMT -6
The new Raconteurs album Help Me Stranger, is sooo good.
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Post by mitchkricun on Aug 9, 2019 13:06:37 GMT -6
I’m actually selling a Toft ATB24 (ver1) for $2200 if anyone is interested. Believe it or not, I’ve done hundreds of projects on it and honestly never had a problem that a little Deoxit didn’t fix. The only reason I’m selling it is because I’m not really recording enough large bands these days to justify it. I decided about two yrs ago to get my ITB chops up to par with my OTB chops, for the obvious reasons, and I’m still not there. Biggest difference for me is parallel compression on a console is so much bigger and punchier. I don’t know why, but using the same exact Compressor on an insert in my DAW just lacks the impact I get with a console. Same with using a hardware Transient Designer with a console versus insert on DAW. Still trying to figure it out. Maybe I just like the way consoles sound when pushed. Anyway, if you’re near Philly, NYC or DC hit me up if interested.
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Post by mitchkricun on Aug 4, 2019 7:48:02 GMT -6
Wow, so many, so many....
I had 2 UAD Ultra cards PCIx $1400. Nuff said SSL Duende DSP allowing a whopping 24 instances for a mere $1100
In strictly Plugin world...
Exponential Nimbus-Don’t get the love Slate FGX, VCC, VBC, VMR, Eiosis Air EQ Kazrog Amp Suite Softube Pultecs, TSAR 1 Reverb DUY Plugin bundle - Worst company ever Wave Arts Bundle Boz Imperial Delay
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Post by mitchkricun on Jun 21, 2019 17:36:35 GMT -6
Some really nice tools at VERY reasonable prices. I believe the guy behind Fuse worked for or co founded Black Rooster Audio.
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Post by mitchkricun on Jun 21, 2019 17:31:01 GMT -6
Logic’s built in Compressor does De essing very well too.
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Post by mitchkricun on Jun 21, 2019 17:25:59 GMT -6
I have both, but couldn’t tell you if one is better than the other. They are being used together. The Real Traps are aesthetically more finished looking and have better stands.
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Post by mitchkricun on Jun 14, 2019 6:14:22 GMT -6
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Post by mitchkricun on Jun 14, 2019 3:35:45 GMT -6
I tried to check it out. Was never sent the download links. On their website, there is a download page that doesn’t require a download link. Hope that helps. Really curious to hear your thoughts on this one Dr Bill!
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Post by mitchkricun on Jun 14, 2019 3:33:31 GMT -6
I saw this the other day. That company seems to be putting some thoughtful tools. After watching the videos that only dealt with that product on the master bus, I was wondering how/if the plugin was meant to interact with other master bus options? And would you place first in the chain or later? I’ve only used it on two mixes I had already started, so I used it last in my chain. It worked great. I think, for me, I would want to get the mix where I think it sounds right and put Bassroom on to see where you’re low end is sitting compared to the targets.
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Post by mitchkricun on Jun 12, 2019 8:49:46 GMT -6
Hey, I just wanted to share a lightbulb moment I got over the last week with a Plugin called Bassroom. It’s an analyzer/eq dedicated to getting your low end right. Basically, it has a number of preset eq curves for different music styles, you put it on your master buss, and adjust the 5 eq bands (from 20hz to 300 hz) to match the reference curves. It’s been quite eye opening for me. I remember early on in my career, attending Mastering sessions and the first thing the Mastering Engineer would do is hi pass around 40hz, explaining that everything below that is just eating up headroom and very few playback systems reproduce frequencies that low. This is back in the early 90’s and this particular Engineer also cut Vinyl, but anyway, that always really stuck with me. So on my mix buss, I’d routinely put a hi pass filter in that region. So, imagine my surprise, when Bassroom has me ADDING a few dB at 20hz, half a dB at 40hz, etc. and it sounded RIGHT. I know I’m supposed to be using my ears, but I admit, some things I just do because it’s what muscle memory tells me I’m supposed to do. I certainly don’t think my ears would’ve ever directed me to dedicate 5 bands of eq for just the low end. Anyway, I’m in no way affiliated with this company, and this is by no means perfect, but I suggest you give it a trial and see if any lightbulbs go off for you!
Peace
Mitch
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Post by mitchkricun on May 11, 2019 11:35:59 GMT -6
Well, I qualified this by saying “supposed”, but here goes. We had a Demedio API, that came from Sunset Sound. The guy who brought it to us showed me the “trick”. Basically, it’s all three frequencies at 12:00 with the gain on each dimed.*Of course you have to bring down the gain at the line input, but that’s it. It sounded pretty great to my young ears! Hope this helps. *edit - while standing on your head. Do you mean frequencies at 6:00? Yes, good catch. Will edit post
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Post by mitchkricun on May 11, 2019 7:10:05 GMT -6
....I used to work at a Studio that had two different API desks and I was even taught the supposed “Aerosmith guitar trick” of diming all three bands by a pretty established engineer. Sounds amazing.... Can you elaborate on this? Just curious. Well, I qualified this by saying “supposed”, but here goes. We had a Demedio API, that came from Sunset Sound. The guy who brought it to us showed me the “trick”. Basically, it’s all three frequencies at 6:00 with the gain on each dimed.*Of course you have to bring down the gain at the line input, but that’s it. It sounded pretty great to my young ears! Hope this helps. *edit - while standing on your head.
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Post by mitchkricun on May 10, 2019 3:36:50 GMT -6
Yeah, I'm saying you can't generalize about this or that Q setting for vocals or anything else. There will be times when narrow or wide bells work better. Or shelves. It seemed to me that your example with the vocal harshness was more a case of not hearing the problem than of using the wrong Q setting, no? It happens to all of us... I was being sarcastic, but I agree with everything you’ve said. And you’re right, dynamic eq turned out to be the right tool in this case as it was only an issue on certain notes. Thanks!
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Post by mitchkricun on May 9, 2019 11:49:24 GMT -6
I don't think there's any rule of thumb about when to use a proportional EQ. Just use whatever EQ sounds best in a given situation. That will vary. The best rule of thumb is just to listen. You can address that vocal issue with just about any EQ but you have to notice it first. I usually reach for a dynamic EQ or multiband comp to address vocal harshness because it's usually only harsh on certain notes. Ok, so you’re saying I should just listen then?
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Post by mitchkricun on May 9, 2019 8:13:00 GMT -6
Just wanted to get some of your thoughts on proportional eq. I got the Kush Axis on sale recently, so of course I had to use my new toy all over the place on two mixes following the purchase! On both mixes, the Mastering Engineer pointed out that the vocals were a little too sharp in the hi mids, and of course, once he pointed it out it was pretty obvious. So, is there a rule of thumb that slipped through my extensive cracks, like “proportional eq is best used on transient sources?” I used to work at a Studio that had two different API desks and I was even taught the supposed “Aerosmith guitar trick” of diming all three bands by a pretty established engineer. Sounds amazing. And I really like the saturation of Axis, but now I’m thinking wider bells are where it’s at for things like vocals. What are your thoughts?
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Post by mitchkricun on May 4, 2019 12:40:07 GMT -6
Seems kind of embarrassing to share compared to some of the acquisitions posted here, but I’m really excited about the new Vertigo Compressor and Eq plugins I just got. Just beautiful. Also the Rule Tec Pultec plug-in is FANTASTIC as is the PSP E27. Definitely check them out! I was looking for a “go-to” Pultec plug-in, the Rule Tec seems to be very well liked, and the price is great! Dude, the low end on that plug is the TRUTH! I was spoiled to have been a staff engineer at a studio that had an original 1a and Meq5 and though it’s been awhile since I’ve used a real one, this is the first piece I’ve heard that sparked familiar to my ears, including the Warm Audio. Believe it or not, the PSPE27 is in the same league in the low end while being completely different. Kinda shocking actually.
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Post by mitchkricun on May 4, 2019 8:22:35 GMT -6
Seems kind of embarrassing to share compared to some of the acquisitions posted here, but I’m really excited about the new Vertigo Compressor and Eq plugins I just got. Just beautiful. Also the Rule Tec Pultec plug-in is FANTASTIC as is the PSP E27. Definitely check them out!
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Post by mitchkricun on May 4, 2019 7:33:33 GMT -6
I think it depends on if you want to hear the reverb or if you are just trying to create space. Also consider how much low end the source has, as not filtering that out can cause mud. The Bricasti Studio B Close would be an exception imo. It does become part of the sound. I use the Studio B Far and it sounds like a great room, not reverb.
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Post by mitchkricun on Mar 26, 2019 6:59:34 GMT -6
I barely notice the change in pitch! Sweet! Thanks guys! But all your friends with perfect pitch will be hating you. What’s a few semitones between friends?
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Post by mitchkricun on Mar 25, 2019 18:13:45 GMT -6
So, I didn’t realize the the default for Varispeed in Logic changes the speed but keeps the pitch the same, hence the artifacts I was hearing. Using classic tape style Varispeed, I Sped it up to 1.5 percent which changed the tempo from 84 to 85.260 BPM and it worked like a charm and I barely notice the change in pitch! Sweet! Thanks guys!
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Post by mitchkricun on Mar 25, 2019 16:34:25 GMT -6
Could you expound on this? How would I change the file header so the file would change 2 BPM’s? Thanks! Been awhile, but memory says you hack the file header to a different rate, and it then plays at a different speed in your DAW. Then convert that to a standard sample rate, and you've got speed change. There's no easy control, you'd have to do the math or trial and error. I use DP, and it'll let you do this. Soundhack for Mac will let you do it too. Cool trick, thanks!
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Post by mitchkricun on Mar 25, 2019 12:34:38 GMT -6
Lots of options to rewrite the file header to a different sample rate, maybe the easiest thing. Definitely change the mix file after it's printed. Could you expound on this? How would I change the file header so the file would change 2 BPM’s? Thanks!
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