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Post by illacov on Feb 5, 2019 13:01:55 GMT -6
Once the solid state PSU was rebuilt it was clocking in at 60V and the plate resistor was dropped to 100K.
Sounded a ton better and some 5965 tubes sounded great in there to my ears. Replacing the vactrol makes a huge tonal difference. I'm talking blindfold off the eyes different. Stock tubes which were muddy and fugly were now bright and harsh. Keep adjusting items like plate resistor and PSU voltage. Major difference. Cheap compressor that can be made to function exceptionally well. Mastering engineers enjoyed using the modded VLA and sometimes picked it over other noteworthy options such as VariMu.
I no longer sell these mods, I know of others do. Once the information became public, it was inevitable.
Thanks -L.
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Post by illacov on Jan 31, 2019 13:21:38 GMT -6
Since I'm the knucklehead that actually started up the last movement in the real mods for the Pro VLA that included swapping the opto cell, opamps and mods to the PSU, let's address some fallacies in various posts.
Whenever everybody is ready, please measure the voltage at the plate of a tube in most tube mics. Not the B+ rail, the actual amount of juice post any voltage dividers or load resistors. Lo and behold right on the beloved U47 it shows +34V at the VF14. Is this a "toob," mic?
Once modded you can push circa 45V to the plate on a Pro VLA. Adjusting the plate load resistor and the PSU rails offered huge gains in tone, fidelity and harmonics. Swapping the opto cell out lifted the veil completely.
The tube circuit actually offers some gorgeous tones when you clear out the gunk that's obscuring it and ramp up the PSU. Better opto cell offers improved dynamic range, increased release times, plus allowed for more gain reduction with musical qualities.
I just wanted to clarify that.
Carry on.
Thanks -L.
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Post by illacov on Nov 16, 2018 7:47:11 GMT -6
Amazing work Dr sax. Honored that Zulu is on a #1 record and always tickled at your application of it. On horns it rules and many other places.
This is what it's all about right? You can damn near shop for everything your studio needs on RGO and get a #1 record.
The song itself is badass. I really wasn't thinking about the gear after 2 seconds in. This joint is bumpin'and it definitely has that OG vibe to it. Stacy Adams with a glass of Crown Royal (as we say Roy-yal). Or as my uncle would say "This is cold."
Great work!
Thanks -L.
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Post by illacov on Oct 18, 2018 9:47:38 GMT -6
Went and wandered yesterday, hung out with Geoff Daking and Dan Zelleman for a while. Bumped into Andrew Scheps and Tchad Blake, whilst talking with Larry Crane about some opportunities. Saw Bill Cammack and a few other online friends in person. Was supposed to meet up with some A listers but their schedules didn't work out. Saw some interesting gear. There's a nice interface company called ESI that I hung out with for a bit. Made some new buddies, saw some good friends. Still not 100% certain about the viability of doing AES as an exhibitor. Chatted with Peterson from DIYRE, talking about components, some of his color modules, possibly making one and just how funny all of this competition turns out to be since we are all just a bunch of really passionate engineers who love making music and love gear. Hung with my trade show cuzzin from UA at their booth. Saw at least 3 absolutely atrocious outfits that gave me nightmares and realized that either AES is shrinking or my legs have grown longer. Its still something I look forward too as a walker/gawker.
But after doing a smaller but WAY more interactive and connective show like Knobcon where you can sell gear at, I'm realizing more and more that if I can justify the cost, I'd love to do something like NAMM, but also I really like dealing with people in a more intimate and fun setting. When I saw my first AES in 2011 it was beyond anything I'd imagined it to be. A bunch of my buddies who were there have now since passed away and equally, the budgets, the investment and the marketplace are so vastly different that sometimes its hard to look at things with an open mind.
I really get bummed to a degree when computer screens and software dominate a show that was originally the ultimate gear head's Mecca. Things are different now. But I'm still going. Moreso than anything I now go to network and just give people my time. Too many of the legends, the greats and the sages of what made this industry are fading away into history, sometimes after a long life, sometimes a short one. And I've made a pact with myself to give people the energy and time they deserve, especially those that I highly respect and have admiration for. I'll try to head over again today, but its time table dependent. Not having a Saturday, really hurts a guy like me. I'm a consummate workaholic and between my day job as a school director and Handsome Audio, sometimes a Saturday is a nice thing to have. I'm sure its true for the full time studio cats and producers too! If they are going to keep it in NY forever, then bring back the weekends. Otherwise I fear the show will be like this year, with high interest and then the following year will be like last year, with low numbers of vendors and lower numbers of attendees. I pray that doesn't become the case though, I love AES.
-L.
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Post by illacov on Sept 28, 2018 8:17:58 GMT -6
You're right this is silly. Clearly, you never had to deal with old tube and FET comps/limiters back in the day when they were hard to get serviced and produced an awful lot of noise (because you couldn't find someone readily able to service them) so you often chose to do without them and crushed the tape instead . . . or you used VCA limiters that crushed the life out of a track. Good times. Which is EXACTLY the compressor that sounds the most amazing to me in a good deal of situations vs an actual compressor. Thanks -L.
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Post by illacov on Sept 21, 2018 7:08:05 GMT -6
It's seems like a good while back since I last posted here.
I'll be glad to answer questions about JuJu and Zulu R.
PS we also have an event coming up on October 13, 2018 at Brooklyn Commons, 495 Flatbush Avenue. 7-11pm. It's a fundraiser so entry starts at $25. We will have special guests including Emmy Winner Bill Cammack, Philip Birks Gillespie and his Jazz Quartet. Our special guest of honor is Hank Shock Lee (Public Enemy, Janet Jackson, Madonna, American Gangster, Slick Rick) one of our biggest name Zulu Artists.
Portions of all proceeds go to local charities in the NYC area.
Hpm2018.eventbrite.com
Thanks -L.
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Post by illacov on Jun 19, 2018 6:17:57 GMT -6
Not bad for the price. Too bad they aren't stepped controls. also bummer I missed the kits! For the price, might have to get some. Yeah l, but here is the thing stepped pots are not that accurate, when most people say “stepped controls” what they they really want are “switched controls” like an API 550. If you want lost of positions this gets expensive and bulky really fast!! Having played with many EQ’s with stepped pots I have found you only think your getting easy recall and matching but in fact if you want to duplicate something perfectly it’s going to be off, this why mastering gear is so expensive Grayhill switches and lots of resistors. This is the daily challenge with through hole components but I still use rotary switches with resistor ladders because of the very issues you mention. High quality metal film 1% resistors and good rotary switches will take you a long way. Thanks -L.
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Post by illacov on Apr 19, 2018 12:39:39 GMT -6
Svart is it particularly challenging to utilize a transformer in lieu of the anti-aliasing filter? Aside from sourcing the appropriate transformer, what other issues present themselves? Converter quality? Thanks -L. Transformer AS the anti-aliasing filter? You'd want to use it as the input matching, as well as the gain matching for the input too I suppose, right? Sure you could do that. You'd need to characterize your chosen transformer for rolloff to match your anti-aliasing curve. You'd then tweak the loading a little to minimize ringing and dial in your rolloff a little better. Transformers are inherently easy to use with A/D converters, and I use them all the time in my RF work. The issue that I see is that the "transformer sound" is not necessarily inherent to the transformer itself. There are super clean transformers that don't impart much sonic footprint, and there are ones that do, and those sonics are from the components of the signal that people tend to try to avoid, like THD, ringing, nonlinearity of phase/impedance/etc.. So it'd be shooting yourself in the foot to design a super clean converter, and then try to dirty it up again, much like some folks are talking about the "Burl sound" being a bit much to have on everything, all the time. I'd still prefer to design a secondary box with some kind of variable transformer distortion method so that folks could plug that box in when they wanted, and unplug when they didn't. I did something in that vein already. But having listened to Zulu and Burl together vs Zulu without Burl, I always preferred Zulu with Burl. There's something to that interaction which is reflected as well when Zulu goes into a passive DI or Transformer coupled microphone preamp. I honestly detest the sound of digital converters. I've always heard great things about the svartbox from my good friend Dane. So do tell about this use of the transformer in lieu of the anti-aliasing filter. Does this mean that you DONT need anti-aliasing filters technically? Is there a way to remove them? Via firmware or physical mods? Thanks -L.
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Post by illacov on Apr 19, 2018 6:35:30 GMT -6
I predict someone's gonna take the OPPO idea of a giant killing super high end converter at $399, and do a $799 A/D-D/A that rivals the best. Already did that. Sold 30 of them. Svart is it particularly challenging to utilize a transformer in lieu of the anti-aliasing filter? Aside from sourcing the appropriate transformer, what other issues present themselves? Converter quality? Thanks -L.
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Post by illacov on Apr 19, 2018 6:05:07 GMT -6
I predict someone's gonna take the OPPO idea of a giant killing super high end converter at $399, and do a $799 A/D-D/A that rivals the best. I agree wholeheartedly. The design philosophy for using transformers with converters is well documented and plentifully. Recently Rupert Neve and Steinberg teamed up to make 2 and 4 channel transformer coupled converters at this price point. Worth looking into, but I'm more interested in 8 channel devices. Thanks -L.
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Post by illacov on Apr 8, 2018 6:01:33 GMT -6
Some of this is over my head, but I've wished I could have better D/A (and A/D) for along time but just can't see getting one when I could buy a Lewitt 640 mic or a Soyuz 0-13, a Stam SA67 or a Golden Age 47 for what they cost. Is there any way to make the one Jim's been talking about work with my iMac running Sierra and my UAD Apollo 8? I checked and you have SPDIF on the Apollo. That's how you can use it on MAC is over the coaxial or toslink connections via your current converters. Since it won't work via OSX drivers this is my recommendation. Thanks -L.
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Post by illacov on Apr 3, 2018 10:35:36 GMT -6
Hi ruffrecords . I screenshotted a picture of the buy it now button on the purple site Rob's Zulu thread. Curious to hear your findings etc....Been following your posts about tube circuits and consoles for years now at Group DIY. Mucho respect. Thanks -L. What’s the word on the large frame version you were working on? Stereo rack version jumped in front of the modular multitrack but the bones for each are established. The stereo rack version keeps growing more tentacles which then downstreams to the modular system. I have to keep a tight lip though. Thanks -L.
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Post by illacov on Apr 3, 2018 7:26:11 GMT -6
Hi ruffrecords. I screenshotted a picture of the buy it now button on the purple site Rob's Zulu thread. Curious to hear your findings etc....Been following your posts about tube circuits and consoles for years now at Group DIY. Mucho respect. Thanks -L.
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Post by illacov on Feb 5, 2018 13:09:55 GMT -6
This compressor is a good one to have modded. It's basically a GSSL with the Turbo and a case. That's what I did, a GSSL, put the Turbo in it and then a mix knob that has an active summing circuit that I modified to create an airband. I put my own favorite input transformers in and modified the gain stage on the input because the transformers are actually a 2:1, so you get a little flavor, just a taste, but Lundahls don't really do anything like Neve or other Iron'ish trannies, they just make a really nice sound in their own way. Rigging them up so they are in a 2:1 allows you to push the front end a little harder. I did this because I have two of the DIYRE pultecs pushing into it, so when you feed that musical broad highend and lowend into the front of my compressor those trannies just do something really beautiful. Of course, because my signal takes a hit from the 2:1 I had to modify the feedback gain on the front end of the compressor amps, which I replaced all of them with the OPA16xx series of opamps (this is a massive upgrade in and of itself, you need soic to DIP boards**) But, my main point is that this is a great inexpensive GSSL to buy and start customizing to fit your setup. I loved the RED3 because Sal sent me a mix that he'd put through his and I was going crazy wanting that compressor, but then I didn't like how if you pushed it any it clamped and choked, one of the main complaints of the RED3. The SSL you can really hammer and it stays wide open, but, it doesn't IMO take buss eq well, and that's because of the solid state front end. So I just sat down and figured out how to get the best of all my wants and my needs. This allows me to use less eq and compression in the tracks which makes my mixes more solid and less phasey. Hi Jerome, did you evaluate an AS unit already? This is a quote from his ebay ad. "A faithful reproduction of the beast at a great price! Great for mix buss, groups or individual inserts. Many of the clones and DIY circuit boards for these have a summed mono design instead of true stereo in the side-chain section like the original desks have. This has a noticeable impact on the final sound. With summed mono the low end content can become woofy and uncontrollable which can be hard to tame and lead to a frustrating experience... The custom circuit board i have in this compressor stays with the true stereo design in the side chain section which requires additional components but has a much more pleasant natural sound when pushed like the original desks. No need for additional mod boards etc. It negates the need for a side chain high pass filter in most cases. There is still a 160hz side chain high pass filter if still needed of course." "Update: I've received a few questions about whether this unit has the 'turbo mod' as it's known in the diy world. The turbo mod uses an external side chain board to make a gssl build true stereo. This compressor has what would be considered the 'turbo mod' integrated into my custom circuit board design. This is a much more solid solution than fussing with extra mod boards, wires, etc... " I'm curious as to how this has been identified as a GSSL with a turbo mod. Per his site, he never actually claims it to be a GSSL. He says he did a custom design with a true stereo sidechain. Aside from the quad VCA piece which I'm not sure if he included, I just wasn't sure if this is really what it was. I was under the impression this was more SSL than GSSL. Thanks -L.
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Post by illacov on Jan 3, 2018 7:46:48 GMT -6
Literally. In my studio, all of a sudden I hear the sound of scampering claws across the wood floor and a huge boom. Upton on the ground. Pick it up and the capsule looks like Joe Theisman’s leg. No outside damage and luckily no capsule damage. Just snapped the mount. Haven’t tried to turn it on as I’m going to take it to Shannon to see if he can put it on another mount. I hear a little rattling, but don’t see any issues on the inside. Couple of new rules: 1) No more dogs in the studio 2) Don’t put your $4000 mic on a stand from Guitar Center I just called and bout a Triad Orbit stand. Going to go pick it up in a few. I had been avoiding paying $300 for a stand for years...but I just changed my mind. Sorry to hear that. My ex studio partner had his dog in the studio all the time, while it was nice to have a lovable pooch around, she was for many people a distraction and used to scare the crap out of some of the clients (Big dog). I'd like to think that you could possibly check your local digger's list or musician's want ad for a high quality stand too from a private studio owner. Built with real metal and built to last. My partner at Handsome has some seriously heavy old school mic stands with boom arms that look like they came off the Nautilus. Thanks -L.
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Post by illacov on Dec 11, 2017 6:41:11 GMT -6
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Post by illacov on Dec 10, 2017 12:59:35 GMT -6
There's clips online of a U67 modified to use a 5703/5840 tube instead of an EF86 or a 701k.
While the transformer itself has some elusive qualities, Neumann still makes the K67 and there are plentiful options for the output transformer with the tertiary winding.
I had a mic that used a 5840 with a K67 and a Chinese 5:1 as the output transformer. It was a plate follower circuit with no filtering and 120V on the B+. It was surprisingly good on most sources but had some serious color when pushed. It was brighter than any 67 I used but also was better when you needed brighter but the color was also needed to tame the brightness.
Since the 5840 is pretty easy to get, I'd go that route with a Jensen 8:1 transformer or a 4:1, a real K67 and good components, maybe spring for a nice audiophile film output capacitor.
Thanks -L.
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Post by illacov on Nov 28, 2017 12:42:51 GMT -6
What an amazing turn of events this year for you and Zulu! Not even in my wildest dreams did I think I'd see Zulu get this kind of exposure so quickly. BET and Soul Train? These are staples of my childhood. My head is still spinning from the Billboard announcements you sent me but now this too? I'm overjoyed that your expert hands utilize something I invented and that you enjoy using it for what it does best. Deliver the end user the joys of tape and beyond. Wait did I mention Kirk Franklin, Estelle? Huge names in the RnB/Pop and Gospel industry? Sheesh! I can't even imagine! Thanks so much man and the record sounds BANANAS. Thanks -L.
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Post by illacov on Nov 27, 2017 14:18:06 GMT -6
Handsome Audio Black Friday Sale. $600 for a new unit on pre-order. Shipping commences the last 2 weeks in December when your Zulu rolls fresh off the presses.
This sale is eligible for worldwide shipping so the folks around the Globe especially those in EU can click the buy it now button and see their countries available for shipping quotes.
Just go to handsomeaudio.com and make the purchase.
Thanks -L.
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Post by illacov on Oct 29, 2017 20:32:33 GMT -6
I love mine. Vox, drums, bass, mixes. Thanks -L. Stock or mod? Original, A, or later rev? Mine is the black faceplate and it's modded by Revive Audio. I have a ton of stuff modded by them. My 166 and 266 project 1 (AKG built) were modded by Revive with THAT2181, new opamps, new PSU and the 166 has a mod to the peakstop limiter. One mod that was really cool Revive did for me was converting a PSU from a different Wheatstone console to work for my SP5A. They swapped out the PSU connector to a Neutrik 8 pole instead of the proprietary hookup. These guys are my gearus for my studio stuff. Thanks -L.
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Post by illacov on Oct 28, 2017 13:48:57 GMT -6
I love mine. Vox, drums, bass, mixes. Thanks -L.
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Post by illacov on Oct 10, 2017 12:32:21 GMT -6
Time to bump this thread. svart did anyone send you some "bad," tubes? Seems like your findings re: tubes and the circuit itself are in demand now more than ever. Thanks -L.
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Post by illacov on Oct 9, 2017 9:42:08 GMT -6
Pre fader Rides into compression, saturation and EQ if the circuitry or emulation reacts to amplitude as well as post fader Rides (post inserts) offers the most success for me. Sometimes the phrases needs more pre fader gain sometimes the need is for less and for post fader gain. Having both available is very useful and offers less guess work early on. An LA2A doing less traditional compression with the reduction set low but you can incur the transient softening of pushing the signal going in is a fine alternative to simply smashing a vocal or a bass. You have a fun push pull workflow that is for the most part fast and offers more room for style. Really sweet on verbs that feed into compression too!
Thanks -L.
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Post by illacov on Sept 14, 2017 20:11:34 GMT -6
Hello I read some hearsay that Altran transformers are very low quality however the person seemed to have an agenda and did not present a factual side of their perspective... Can anyone shed any light on this? I know that Chandler, CAPI, Great River, and others use Altran, which is great gear so I am confused. This person was a believer of Cinemag and said they are high quality. I think they meant $$$$ because that's how it came off to me because the reasoning given had to do with price not sound quality... I disclosed that Altran manufactures the transformers in my device, I am extremely pleased with them and once I figured out how to ladder my orders with them, I have no complaints. My devices currently only uses the transformers I've designed (which Altran produces) but I actually like Steve and Dave's candor and attitude quite a bit. I plan on utilizing them in my future releases for certain. I challenge the assertion that they are crappy, cheap or anything less than ideal. Seriously results don't lie. People with an axe to grind are simply that. Great River,Burl, Chandler, Universal Audio (let's just stop there) used or sourced Altran transformers in one or more of their products. Beauty is in the eye of the designer. Listen with your ears not your Bill of Materials. It sounds way better. Thanks -L.
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Post by illacov on Sept 9, 2017 21:23:23 GMT -6
Amazing. This thing is extremely quiet, clear and free from distortion. Maybe it's better suited for DAC to ADC loops than PA use? Alan Evans showed me how good his sounded with Zulu and it was bananas. I've tried other EQs and they didn't outperform the Q2031A. Strange that it's doing so well. But so far that's two owners with the exact same experience. I used it without Zulu as well and the experience was the same as far as noise, clarity and distortion. Thanks -L. I'm glad someone found a use for these I saw one in a pawnshop and had a flashback to some very unpleasant gigs ! To each his own! Dude my partner at Handsome had a pair on a session with Jerry Marrotta way way back in the days and he remembers them how I experienced them now. Quiet and clearish, but it was studio work not live. Analog tape no digital. That is intriguing to me that these have such a bad rep. The 2031 uses a 18v power supply for the opamps (4558/5532). This gets you lower noise, lower distortion etc... Thanks -L.
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