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Post by Deleted on Apr 7, 2020 1:05:05 GMT -6
The current studio business in the US (40 dollars an hour without the engineer working for you is the going rate in many places) means that you can't really avoid Chinese transistors, Chinese capsules, or the better made in China monitors. If there aren't Chinese monitors, there will be a pair of HS8 in a smaller studio. Yamaha is cheap Asian gear done right. A ton of other stuff will just break before paying for itself or isn't any more useful to getting the job done. Many Western manufacturers focusing on color gear that's unusable for many types of music depresses the market for relatively neutral utilitarian made in the USA gear too.
The real issue is unethical Western companies and Chinese manufacturers working in tandem. Behringer, Focusrite, Presonus, and Mackie all release defective by design units that use dodgy parts. The clone and outsourced China analog gear tends to be rather awful. The made in China Focusrite and UA pres were really fucking bad to say the least. When we look at any decent, cheap, made in China monitor, there will be 2 to 3 other sizes in the same line that are unusable crap due to midrange black holes, awful crossovers, and ridiculous resonances. They are made just to steal your money and steal sales from better monitors where that size is the one to buy. There are a ton of Warm units out there that should never have left the factory. The Chinese contract manufacturers simply won't maintain quality control when the representatives from the Western aren't there. The only way for the Chinese manufacturer to make the cheap stuff at the price the Western corporation is willing to pay is to cut corners.
FMR, Apogee, Daking, MOTU, Audioscape, CAPI, Vintech, etc shoudl all be way more popular than they are now.
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Post by the other mark williams on Apr 7, 2020 8:17:44 GMT -6
The current studio business in the US (40 dollars an hour without the engineer working for you is the going rate in many places) means that you can't really avoid Chinese transistors, Chinese capsules, or the better made in China monitors. If there aren't Chinese monitors, there will be a pair of HS8 in a smaller studio. Yamaha is cheap Asian gear done right. A ton of other stuff will just break before paying for itself or isn't any more useful to getting the job done. Many Western manufacturers focusing on color gear that's unusable for many types of music depresses the market for relatively neutral utilitarian made in the USA gear too. The real issue is unethical Western companies and Chinese manufacturers working in tandem. Behringer, Focusrite, Presonus, and Mackie all release defective by design units that use dodgy parts. The clone and outsourced China analog gear tends to be rather awful. The made in China Focusrite and UA pres were really fucking bad to say the least. When we look at any decent, cheap, made in China monitor, there will be 2 to 3 other sizes in the same line that are unusable crap due to midrange black holes, awful crossovers, and ridiculous resonances. They are made just to steal your money and steal sales from better monitors where that size is the one to buy. There are a ton of Warm units out there that should never have left the factory. The Chinese contract manufacturers simply won't maintain quality control when the representatives from the Western aren't there. The only way for the Chinese manufacturer to make the cheap stuff at the price the Western corporation is willing to pay is to cut corners. FMR, Apogee, Daking, MOTU, Audioscape, CAPI, Vintech, etc shoudl all be way more popular than they are now. Which Warm pieces in particular do you think never should have left the factory? Or are you saying particular *units* should never have left the factory? |
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Post by Deleted on Apr 7, 2020 9:05:38 GMT -6
The current studio business in the US (40 dollars an hour without the engineer working for you is the going rate in many places) means that you can't really avoid Chinese transistors, Chinese capsules, or the better made in China monitors. If there aren't Chinese monitors, there will be a pair of HS8 in a smaller studio. Yamaha is cheap Asian gear done right. A ton of other stuff will just break before paying for itself or isn't any more useful to getting the job done. Many Western manufacturers focusing on color gear that's unusable for many types of music depresses the market for relatively neutral utilitarian made in the USA gear too. The real issue is unethical Western companies and Chinese manufacturers working in tandem. Behringer, Focusrite, Presonus, and Mackie all release defective by design units that use dodgy parts. The clone and outsourced China analog gear tends to be rather awful. The made in China Focusrite and UA pres were really fucking bad to say the least. When we look at any decent, cheap, made in China monitor, there will be 2 to 3 other sizes in the same line that are unusable crap due to midrange black holes, awful crossovers, and ridiculous resonances. They are made just to steal your money and steal sales from better monitors where that size is the one to buy. There are a ton of Warm units out there that should never have left the factory. The Chinese contract manufacturers simply won't maintain quality control when the representatives from the Western aren't there. The only way for the Chinese manufacturer to make the cheap stuff at the price the Western corporation is willing to pay is to cut corners. FMR, Apogee, Daking, MOTU, Audioscape, CAPI, Vintech, etc shoudl all be way more popular than they are now. Which Warm pieces in particular do you think never should have left the factory? Or are you saying particular *units* should never have left the factory? Particular units. Very bad QC and build ime. If it has improved for some people, that's fine but they already lost me as a customer. Can't rely on it. |
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Post by Deleted on Apr 7, 2020 10:02:06 GMT -6
The noise is awful. There are probably power supply issues. Warm stuff also can't really do many of the jobs the originals (and even many plugins) can and are a bit of one trick, tonal color ponies with more things not to like about them than the originals. I don't need ersatz color boxes, I need stuff that works. I'd rather use many interface pres.
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Post by chessparov on Apr 7, 2020 14:17:40 GMT -6
Hey keymod - aren't you in New Zealand? I wrote a few songs with this eccentric guy 15 years ago...he was a chess grand master - super interesting guy. But he was railing on how "We don't make anything anymore - we don't manufacture anything in the US anymore and that's going to lead to major problems." It always stuck with me, but I was kinda like what the hell do I do about it? But I guess he was right lol. Simple. Chess Masters are ALWAYS right. It's something we just have to live with, and I do humbly accept it.  IMHO Warm is best suited for Hobbyists (like me) and Personal Project Studios, because of what Tom is saying. I do think, however, their microphones are more reliable vs. Hardware, and can be useful in "backup" duties. Chris |
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Post by sozocaps on Apr 15, 2020 14:45:38 GMT -6
I have the Warm WA-2A it works but not a wow piece
I have 2 EQP-WA even more meh....
I do like the WA-2A for tracking , rather have a Stam or something else better personally.
John
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Post by the other mark williams on Apr 16, 2020 10:56:09 GMT -6
I have the Warm WA-2A it works but not a wow piece I have 2 EQP-WA even more meh.... I do like the WA-2A for tracking , rather have a Stam or something else better personally. John It’s interesting: I know there aren’t too many Acustica users here on RGO, but their “Purple” suite of plugins is a set of Pultecs, including a vintage EQP-1A and a Warm unit (as well as a couple MEQ-5s). The Warm unit does not sound as good to me. I’ve never used a Warm in real life, so I don’t know how accurate it is, but it’s a marked difference in (Acustica) plugin form. |
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Post by sozocaps on Apr 18, 2020 10:59:00 GMT -6
I have the Warm WA-2A it works but not a wow piece I have 2 EQP-WA even more meh.... I do like the WA-2A for tracking , rather have a Stam or something else better personally. John It’s interesting: I know there aren’t too many Acustica users here on RGO, but their “Purple” suite of plugins is a set of Pultecs, including a vintage EQP-1A and a Warm unit (as well as a couple MEQ-5s). The Warm unit does not sound as good to me. I’ve never used a Warm in real life, so I don’t know how accurate it is, but it’s a marked difference in (Acustica) plugin form. Its just harsh and has no vibe up top.. if you forget about wanting a real vibe out of it and use it for what it does best.... the low end is the useful part because its so edgy it stays clear as you increase the bass more then a real one.... John |
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Post by the other mark williams on Apr 18, 2020 11:40:08 GMT -6
It’s interesting: I know there aren’t too many Acustica users here on RGO, but their “Purple” suite of plugins is a set of Pultecs, including a vintage EQP-1A and a Warm unit (as well as a couple MEQ-5s). The Warm unit does not sound as good to me. I’ve never used a Warm in real life, so I don’t know how accurate it is, but it’s a marked difference in (Acustica) plugin form. Its just harsh and has no vibe up top.. if you forget about wanting a real vibe out of it and use it for what it does best.... the low end is the useful part because its so edgy it stays clear as you increase the bass more then a real one.... John in the Acustica plugin, the Warm sounds smaller and pinched in comparison. At least to my ear. |
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Post by Ward on Apr 24, 2020 9:49:36 GMT -6
It’s interesting: I know there aren’t too many Acustica users here on RGO, but their “Purple” suite of plugins is a set of Pultecs, including a vintage EQP-1A and a Warm unit (as well as a couple MEQ-5s). The Warm unit does not sound as good to me. I’ve never used a Warm in real life, so I don’t know how accurate it is, but it’s a marked difference in (Acustica) plugin form. Its just harsh and has no vibe up top.. if you forget about wanting a real vibe out of it and use it for what it does best.... the low end is the useful part because its so edgy it stays clear as you increase the bass more then a real one.... John I have two Warm EQs that were gutted and modded to a great extent. The low end bands work well. They 'align' the bass when you do the equal cut and boost at different frequencies depending on the program material. I don't have enough time with high quality vintage ones to be able to really say how the clones exactly perform but I do understand from a friend of mine in Nashville that the new audioscape EQP1 clones completely surpass all expectations. So there's that. And I'll probably end up with a pair in the next couple of years! And ditch the Chinese EQs |
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