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Post by geoff738 on Jan 27, 2023 17:16:01 GMT -6
I dunno. Sounds good to me. I’d love to have a voice like that.
Cheers,
Geoff
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Post by robo on Jan 27, 2023 17:50:58 GMT -6
Based on my regular use of DMG Trackcomp and hardware 1176, API 2500, I disagree with Dan's assessment above. I regularly use Trackcomp to set up rough mixes which I then run through hardware in the mix. The hardware sounds richer and more forgiving, but I've never had any surprises when making the switch. What? Like the CLA 76 and Black Rooster FET, the Trackcomp 76 cannot peak limit vocals, which defeats the 1176’s point. Relative to the hardware, the Trackcomp 76 attack is more excited-sounding and finicky. There is room for improvement there, but it is still better than other emu's I've used (Slate, IK). It helps to turn down the "q bias" a little, which helps mellow the splattiness and gets the boxtone closer to the hardware. I'll have to try the Overloud you mention.
We might also use 1176's differently. I'm usually getting peaks tamed a bit with saturation first, both ITB and OTB, which helps narrow the gap.
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Post by Johnkenn on Jan 27, 2023 18:37:50 GMT -6
It's forward, modern and it sounds cool mainly but there's a high end distortion / poke that's annoying me. I hear it a little a couple spots. The kind of thing that might make me back down preamp gain or compression to see if it changed, if tracking. Exercise the wall panel and patch bay connections just in case. Not obvious to most people, but I'd be thinking "mix and master might make that really stick out". But it could also be vocal rasp, a certain frequency node in the room, etc. I couldn't pin it on any one thing. Johnkenn I'd bet if you don't hear it that it's just a thing your voice did that moment that you know and accept. I only heard it in a spot or two, not a constant. Sounds good. Hard to comment on amount of compression without a broader context or hearing you in the air myself, sure sounds like it works though. The other processing you mention sounds useful. It must be my performance, because I don't hear spikeyness from the equipment. My voice is naturally spiky though. |
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Post by Martin John Butler on Jan 27, 2023 18:40:41 GMT -6
I think the Soyuz is the best sounding mic I've heard John sing into. If this had been a vocal John was doing for a finished track, I bet he'd have done a couple of takes and there wouldn't be a single pokey part. We tend to over analyze a bit here, which is part of the charm.
Soundcloud does such weird things. I listened to a track the other day after not going there for months, and it sounded like a different mix altogether than what I was used to.
I used a Cl1b for the first time last week at a friend's studio to help tame a vocal I did at home. It was interesting, I could hear it grab like an LA2A, but it somehow sounds better. I'm not a huge LA2A fan. It really helped the vocal sit like a pro track.
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Post by craigmorris74 on Jan 27, 2023 19:25:33 GMT -6
I’m trying not to buy any more gear, but that’s a real nice sounding 10-15dB of gain reduction.
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Post by Johnkenn on Jan 27, 2023 19:36:47 GMT -6
I’m trying not to buy any more gear, but that’s a real nice sounding 10-15dB of gain reduction. Yeah - I think I've been short changing the V-Comp because I haven't been goosing the input the way I should have been. Think it would have been smoother with single attack and faster release. |
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Post by Deleted on Jan 27, 2023 20:18:44 GMT -6
What? Like the CLA 76 and Black Rooster FET, the Trackcomp 76 cannot peak limit vocals, which defeats the 1176’s point. Relative to the hardware, the Trackcomp 76 attack is more excited-sounding and finicky. There is room for improvement there, but it is still better than other emu's I've used (Slate, IK). It helps to turn down the "q bias" a little, which helps mellow the splattiness and gets the boxtone closer to the hardware. I'll have to try the Overloud you mention.
We might also use 1176's differently. I'm usually getting peaks tamed a bit with saturation first, both ITB and OTB, which helps narrow the gap.
That just means the attack is dysfunctional and that the plug is a toy more than a tool. The fast attack has to work to smash down weird high frequency transients, which is more important than ever with crappy Chinese capsule mics, modern clean line stages, and digital recording. I’d rather use the ancient Oxford Dynamics/Limiter or the ART Limiter rather than hope a drastically non-linear transfer curve will take the peaks off for me without audible oscillation from the discontinuity if I didn’t have the CPU to run a plugin compressor with a functional fast attack. |
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