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Post by Johnkenn on May 16, 2014 12:42:36 GMT -6
I've had it for about two weeks now, but this is the first chance I had gotten to do this...Running a 2 mix out to the Burl and then back into PT's...Playing with the input level and pushing the analog path. Now - maybe this is just placebo - but I don't want to know if it is...I swear I'm hearing a bigger stereo field/width, tighter bottom, smoother top...just overall, punchier yet smoother - it sounds MUCH more like a console than before it goes through. Maybe if I ABX'd them I couldn't tell them apart - who knows...But I am blissfully ignorantly happy right now! I was really nervous about selling my Symphony and going the Apollo/Burl route...but I haven't missed it for one second (It could be that I refused to do a side by side again before selling the Symphony  ) cowboycoalminer fed my lust and encouraged me to do it, so thanks, man! |
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Post by indiehouse on May 16, 2014 15:22:37 GMT -6
ADC or DAC?
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Post by Johnkenn on May 16, 2014 15:26:48 GMT -6
ADC...Clocking the Apollo with it. Just taking it out of the Apollo into the Analog ins of the Burl...using it like a summing unit. Then back into the Apollo via SPDIF.
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Post by kcatthedog on May 16, 2014 16:20:30 GMT -6
so aren't the b2 transformers working for you now ?
did you track with the b2 too or is this a non b2 session just on 2 buss ?
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Post by Johnkenn on May 16, 2014 16:32:09 GMT -6
No - they were tracked one a Neve console...but there's a definitely difference. Whether it's confirmation bias or not, that's my story and I'm sticking to it.
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Post by Bob Olhsson on May 17, 2014 8:39:09 GMT -6
That's pretty typical of transformers.
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Post by cowboycoalminer on May 18, 2014 1:39:59 GMT -6
Another note on the Burl clock. It turns the Apollo into a high end piece. Anyone can say what they will here, many opinions I know. But here's a fact, it's not conformation bias on my end. Not in my head but in my ear. A/B'd and A/B'd over and over until I left myself no doubt. Clocking the Apollo off the Burl makes a very big difference in the audio that comes out.
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Post by LesC on May 23, 2014 23:07:46 GMT -6
I've had it for about two weeks now, but this is the first chance I had gotten to do this...Running a 2 mix out to the Burl and then back into PT's...Playing with the input level and pushing the analog path. Now - maybe this is just placebo - but I don't want to know if it is...I swear I'm hearing a bigger stereo field/width, tighter bottom, smoother top...just overall, punchier yet smoother - it sounds MUCH more like a console than before it goes through. Maybe if I ABX'd them I couldn't tell them apart - who knows...But I am blissfully ignorantly happy right now! John, I think I'll try this with my UFX, and also try UFX line out to TB12 line in to Burl B2. Are you mixing into the Burl, or using it after the mix is complete? |
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Post by Johnkenn on May 23, 2014 23:36:00 GMT -6
Here lately, ITB, I start my mix with VCC on every channel and the master. I get balances and do all my bus stuff I do - drum bus, AG bus, eg bus, etc. Then once everything starts coming together, I put MusEQ on the master and tweak till I have it where I want it. After that, lately I've been using UAD Ampex and then slate fg-x. I get it sounding as good as I possibly can. Then I creat a Burl Mixdown audio channel. I route all of the audio channels and aux's line out, into the Burl and record it. This is before the master channel. Then, I take that 2 mix and add route just it to the master channel and gain stage and tweak from there...punchier, wider, smoother on top.
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Post by jeromemason on May 23, 2014 23:56:57 GMT -6
I do the exact same thing with my BLA Sparrow REd and it made massive amounts of difference. BLA told me they didn't mean for it to happen, but it's just one of those things that sometimes happens with a piece of gear. Even before I had my summing mixer I would run to analog outs into it and let it convert them and then go back into PT and the mix just seemed to sound so much more gelled and smooth. I use it also to clock all my gear.
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Post by kcatthedog on May 24, 2014 6:01:57 GMT -6
I know people argue this forever, but I have used a 2192, a b2 ( for clock and conversion) and a bla micro clock mkii for clock with my apollo and to my ear it just sounded better, more detailed, more soundstage, presence, open, pick your positive adjective
no slag on the Apollo but you do get what you pay for, both the 2912 and b2 retailed for way more than the apollo and the bla micro clock ( also in its sparrows) is 25% of the retail cost of the apollo, so the component build quality has got to be higher and I think you hear that sonically.
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Post by jeromemason on May 24, 2014 15:47:11 GMT -6
The clock that's in the Sparrows is different than the MC. The REd, has the same clock as the FM192, actually a guy at BLA told me that the Sparrow Red may be the best converter/clock they've built. For some reason, the white version has a few more components, and although it's more expensive, I had two separate guys at BLA tell me "off the record" to buy the Red. I've talked to a few other people who tried both and all of them confirmed it. As far as I'm concerned that will stay in my rack forever, amazing how it sounds.
I am also clocking my Apollo, Ensemble, and a modded ADA8000 and it's crazy how much different it sounds when I clock from either the Apollo or Ensemble.... Just doesn't have the same feeling and detail. I like the fact that for around 1k you can pick up the Sparrow and get the conversion and clock hailed by (RIP) the great Mike Shipley, who is my all time favorite mixing engineer. Miss that guy.
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Post by LesC on May 24, 2014 16:33:12 GMT -6
Here lately, ITB, I start my mix with VCC on every channel and the master. I get balances and do all my bus stuff I do - drum bus, AG bus, eg bus, etc. Then once everything starts coming together, I put MusEQ on the master and tweak till I have it where I want it. After that, lately I've been using UAD Ampex and then slate fg-x. I get it sounding as good as I possibly can. Then I creat a Burl Mixdown audio channel. I route all of the audio channels and aux's line out, into the Burl and record it. This is before the master channel. Then, I take that 2 mix and add route just it to the master channel and gain stage and tweak from there...punchier, wider, smoother on top. Thank you for the detail! |
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Post by Johnkenn on May 24, 2014 22:44:52 GMT -6
It's definitely an improvement!
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Post by Deleted on May 26, 2014 14:15:11 GMT -6
anyone clocking their symphony to a ross martin?
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Post by Johnkenn on May 26, 2014 14:22:16 GMT -6
I would be surprised if the RM would be an upgrade there. I would say the same for the Burl.
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) cowboycoalminer fed my lust and encouraged me to do it, so thanks, man! 
