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Post by illacov on May 4, 2017 14:19:30 GMT -6
Ok thanks. I'm a little confused on this...so would the chain be mic>pre>zulu>di>dac? Mic/pre/Zulu/DI/Mic Pre?/ADC. That's how you'd do it. What you're asking would require two mic preamps. Thanks -L.
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Post by illacov on May 2, 2017 20:23:08 GMT -6
Interested in the Zulu and wondering if this can this be done during tracking? Edit: I'm referring to the di box chain. Thanks! Yes it can! You will need to be careful with levels since you can come out too hot of the second mic pre (post DI box). Thanks -L.
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Post by illacov on May 2, 2017 19:03:59 GMT -6
Invoices and Zulus have been going out!
Check your emails and make sure you post your overjoyed reaction at knowing some magic tape is going to hit your doorstep soon!
Thanks -L.
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Post by illacov on Apr 28, 2017 19:23:09 GMT -6
Gonna be a manic Monday. USA and EU. Keep those inboxes warm.
Thanks -L.
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Post by illacov on Apr 27, 2017 20:28:22 GMT -6
Revive dbx 166 or Revive dbx 266.
Add Zulu PHAT and Punchy.
Thanks -L.
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Post by illacov on Apr 26, 2017 20:57:20 GMT -6
International Zulu folks! Please make sure you check your inboxes for the latest emails I've sent you.
Trying to make sure we can ship your units promptly without delay. Thanks -L.
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Post by illacov on Apr 26, 2017 20:56:12 GMT -6
Today I got my studio functional to the degree I could get 8 channels of DAW in and out analog. I got my Metric Halo ULN-8 patched to my DP DAW computer. First thing I wanted to try and report on was the Zulu which I hadn't patched in previously. I took an archive 2trk recording of me multitracked with a Martin Backpacker guitar and vocals (even the 'bass' is the Backpacker pitched down with DP's pitch tools,) loaded it into a current DP session, and tweaked the bare track a bit. Then I sent that 2trk to the Zulu, and brought it back into DP through my ULN-8 (using only trim gain, no DSP character or otherwise.) This isn't much of a demo beyond me futzing with the Zulu and settling on the first thing I liked what it did to the two mix. I recorded the Zulu version back into DP, then made a print version where I switched from the feed track and the Zulu processed track. I matched the volume as best I could by ear and Waves PAZ meters. Here's the file. www.dropbox.com/s/vjpcgwxmufye837/HoldYourHandZuluDemo.mp3?dl=0Last time I did a dropbox link, people said it sounded better if you download the mp3 rather than listen at dropbox.com I dunno. And below is the key to what you're hearing when. Just out of the box, I'm digging the ZULU, and think that it'll be a regular part of my analog chain in tha battle to overcome digititis. First Verse, Feed Track First Chorus, Second Verse Zulu Second Chorus Feed Track First Bridge Third Verse, Zulu Second Bridge Feed Track Last Verse split Zulu, then Feed Track Wrap Chorus and end, Zulu This test is magic btw. Do you have the WAV? Thanks -L.
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Post by illacov on Apr 25, 2017 21:25:33 GMT -6
I'll gladly trade dynamic range for musical THD any day of the week. Vox with no compression or THD tend to sound "loose." Even fader riding an uncompressed vocal from tape thru an analog console to analog tape slave track is a form of compression.
Thanks -L.
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Post by illacov on Apr 25, 2017 13:56:17 GMT -6
This sounds great! When should we be on the lookout for invoices if we were part of the pre-order? Sending out EU invoices today and tmw. USA should be by week's end or Friday. Finishing final inspection for USA this week. Thanks -L.
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Post by illacov on Apr 25, 2017 13:32:39 GMT -6
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Post by illacov on Apr 20, 2017 19:10:58 GMT -6
Final inspection for EU/Global Zulus has commenced. Shipping invoices will be coming tmw and over the weekend. As well my desert flu has subsided. Thanks -L.
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Post by illacov on Apr 20, 2017 13:33:22 GMT -6
Alan Evans is at it again!
Wurliday - "Getting There," Featuring Jennifer Hartswick of the Trey Anastasio Band.
Mixed on an AMEK SR6500 board to Zulu to Burl B2. Tapey!
Thanks -L.
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Post by illacov on Apr 16, 2017 21:51:08 GMT -6
14 channel Allen and Heath with inserts on every channel plus the master. Pretty damn quiet to my ears and only $399. $800 for 28 channels. Usable EQ, I'd wager you could mix on it with little issue too.
Thanks -L.
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Post by illacov on Apr 14, 2017 14:39:06 GMT -6
Ahem ...... New knobs still en route! Once they land and are installed we begin shipping. Thanks -L.
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Post by illacov on Apr 14, 2017 8:50:05 GMT -6
Zulu as a consumer listening format has been in the works from day one ya know Thanks -L.
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Post by illacov on Apr 13, 2017 0:16:11 GMT -6
New awesome video featuring Robert Fleming of Crowd Company, discussing his recent experience working with Alan Evans and Handsome Audio Zulu.
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Post by illacov on Apr 11, 2017 21:42:22 GMT -6
Try some of the tips I recommended in the thread about snare sounds.
Use some copper flashing on the back of some Gorilla tape inside the hi hats near the bell. It will not only choke the cymbals tail a bit it will also lower the volume of the hig hat. Do this for all the cymbals, move the tape around til you get a sweet spot, the closer to the edge of the cymbal you get the quieter it will become.
Same trick works for toms, snare top, snare bottom. Smaller pieces of flashing are recommended here.
For kick, front head, no head, kick tunnel, no tunnel, pillow inside, cinderblock inside, won't matter if your tuning is not on point. I can without a doubt attest to tuning (in context of your room) being the biggest pair of handcuffs to getting great drum sounds. Watch every damn video you can, master it or as best you can. Get seriously good at tuning.
Overheads over a long part of my time were like the kit image array for me. Over recent times, I've completely abandoned them in favor of miking cymbals directly or indirectly. I tend to leave the overheads (when I do set up some overheads) lower in the mix than I used to, relying heavily on the spot mics to develop the front perspective of the kit and letting the room mics offer some fill and bass/body with the overheads being the treble band for that same information. It helps especially if you're stuck with brighter cymbals.
BTW if you haven't get very very familiar with the used UFIP and bonzo Italian cymbals that are on the used market. They go pretty cheap compared to the classic Z and S brand stuff. Typically darker sounding, very smokey and they record really well. Regarding your hi hats, try using two top hats if you have a second pair of hats that are the same size. Its a jazz thing, that coupled with the copper flashing helps a metric ton. Switching to 15"s is definitely a cool method, but its a major change going from 14" to 15" hats especially on open or slightly parted hi hat stuff. Stylistically it may or may not fit you. I use whatever the record calls for and I keep a nice collection of crappy on their own (but sweet when combined as hi hats) cymbals. Try those ribbons down the diagonal spine of the kit (draw a line down the snare and the kick drum where they intersect and treat that as the middle of the kit, it looks bizarre but it works really well) and place them a bit closer to the floor. See if you collect more bass and less brash top end from the cymbals.
Thanks -L.
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Post by illacov on Apr 9, 2017 19:51:52 GMT -6
So does an Allen and Heath Z14 qualify as a multichannel microphone preamp? It has inserts on every channel including the master buss, plus EQ. $399 new, weighs very little, pretty damn quiet and if you add a Zulu to your rig (there's live sound guys doing it now with their digital boards and loving it), you can add all the color you want . Plus you can mix OTB with it. Thanks -L. I'd need to add a half dozen lulu's to fill out the rig. For the price you'd still be punching above your paygrade. I'd be good with just one or two to start. Kick snare bass and lead vocal carries a lot of weight. That's 14 channels of decent mic pres with EQ, 4 channels of Zulu for under 2K. Tracking, mixing and mastering covered PS what's a Lulu? Thanks -L.
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Post by illacov on Apr 9, 2017 14:03:21 GMT -6
So does an Allen and Heath Z14 qualify as a multichannel microphone preamp? It has inserts on every channel including the master buss, plus EQ. $399 new, weighs very little, pretty damn quiet and if you add a Zulu to your rig (there's live sound guys doing it now with their digital boards and loving it), you can add all the color you want . Plus you can mix OTB with it. Thanks -L.
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Post by illacov on Apr 7, 2017 10:05:21 GMT -6
So are there converters that natively sample at 96khz and 192 and beyond without oversampling? For example if you still filter at 22khz but oversample that same audio to achieve the higher sample rate, that's not the same thing as sampling it natively at the higher sample rate (which in turn shifts the filter point further and further up the plot).
So if it's actually a 96khz sample then the filter should be set at roughly 48khz and the 192 capture would call for a 96khz filter. Right? So where are these converters at that work this way? Or are we all chasing after audio converters that repackage the same filtered 22khz frequency response?
Cool thread. Svart you can save us all!!
Thanks -L.
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Post by illacov on Apr 6, 2017 23:47:29 GMT -6
There are actually digital cameras with no AA filtering. This is an old article but it illustrates my thinking. They increased the resolution and offered the end user the option of dealing with aliasing in post rather than at the camera level. www.outdoorphotographer.com/photography-gear/cameras/can-you-go-no-low-pass/I'd love to know what the frequency response of our beloved analog gear actually is. Sure it's beyond the range of human hearing but that's like saying you don't get impacted by solar radiation because you can't see it. It's a wave right? Thanks -L. Oh, photography is not really an analogy to audio recording. The series of snapshots/samples is, what makes the aliasing a real problem, therefore i used the film analogy... Last I checked I thought anti-aliasing filtering was related to digital sampling of data not strictly related to analog to digital conversion for audio, however my inquiry/pointed statement revolves around letting us decide how we want to handle aliasing in post. But it is important to note that there are filtered sampling tech for cameras, so why not for sound is my point? They are talking 50 megapixel sensors for crying out loud! That's beyond the resolution of the lenses itself. That's some promising specs in my book. Let me sample audio like that please and thank you LOL. Thanks -L.
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Post by illacov on Apr 6, 2017 18:35:23 GMT -6
Uhm, AFAIK (and by no means i am a specialist in this field) the anti-aliasing filters are there to prevent aliasing artifacts -in the audioband- that appear when frequencies above the nyqist limit are present. This is due to the sampling process itself. It is a bit like when you look at wheels in a film that has 24 pictures per second (Hz). If the wheel turns faster than nyquist limit, the wheel appears to be turning *slower* backward or forward, but of course this is NOT the real speed/frequency, it is the aliasing in the critical band. (Therefore lowpass is not optional) Hm. I don't know if the answer is a)understandable and b)if we talk about the same filters? I would be happy if some of our specialists could chime in here... There are actually digital cameras with no AA filtering. This is an old article but it illustrates my thinking. They increased the resolution and offered the end user the option of dealing with aliasing in post rather than at the camera level. www.outdoorphotographer.com/photography-gear/cameras/can-you-go-no-low-pass/I'd love to know what the frequency response of our beloved analog gear actually is. Sure it's beyond the range of human hearing but that's like saying you don't get impacted by solar radiation because you can't see it. It's a wave right? Thanks -L.
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Post by illacov on Apr 6, 2017 10:12:42 GMT -6
I'm still trying to get my head wrapped around why there's less open discussion on how to improve the implementation and development of digital conversion.
Is there any research on anti-aliasing filtering and its impact on harmonics?
Its just bizarre to me that we have all this gear that generates varying degrees of harmonic distortion which to our ears offers more detail with than without and yet we use converters that somehow zap a large portion of that same information.
So what gives? Even our DA uses this so, it's not like you can escape it LOL Is it technically impossible in 2017to use digital conversion without the filtering (using analog components or DSP?). And why not?
Thanks -L.
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Post by illacov on Apr 5, 2017 12:49:28 GMT -6
So are there any modern converters (AD/DA) that don't use anti-aliasing filtering? If we are going to talk about implementation I'm all for it, I'd just love to know what the solution to Nyquist looks like in 2017 or are we still using a sort of filter system there? Truly have no idea, would love to know. Tried to Google it before, not a very openly discussed topic, so I'm pulling up at the Cantina Mos Eisley to find out. -L. Some designers are doing DSP filtering instead of hardware filtering. They use extremely wide bandwidth converters and then digitally filter to get steeper filter rolloffs. That being said, I don't personally hear much difference between those and a properly implemented hardware filter, but others swear that there is a huge difference. To each his own I suppose. So based on this answer, we still filter information above a certain frequency to make audio friendly to converters? Thanks -L.
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Post by illacov on Apr 4, 2017 21:03:34 GMT -6
So are there any modern converters (AD/DA) that don't use anti-aliasing filtering? If we are going to talk about implementation I'm all for it, I'd just love to know what the solution to Nyquist looks like in 2017 or are we still using a sort of filter system there?
Truly have no idea, would love to know. Tried to Google it before, not a very openly discussed topic, so I'm pulling up at the Cantina Mos Eisley to find out.
-L.
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