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Post by gravesnumber9 on Dec 28, 2023 13:09:24 GMT -6
If you renamed this thread "mixbus chain" instead of "mastering" there might be less confusion. That's really what you're talking about it seems.
Back on topic... I heard the MBP used at a live show and it was head turning. We walked back to the board to see how they were getting this incredibly musical compression on a live mic set up. Sure enough they were hitting MBP before mains.
That's my only experience with the unit, but I gotta say if it turns heads (ears?) like that on an outdoor stage I imagine it could impart a lot of flavor to recording.
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Post by noob on Dec 28, 2023 13:22:00 GMT -6
If you renamed this thread "mixbus chain" instead of "mastering" there might be less confusion. That's really what you're talking about it seems. Back on topic... I heard the MBP used at a live show and it was head turning. We walked back to the board to see how they were getting this incredibly musical compression on a live mic set up. Sure enough they were hitting MBP before mains. That's my only experience with the unit, but I gotta say if it turns heads (ears?) like that on an outdoor stage I imagine it could impart a lot of flavor to recording. The MBP is absolutely insane. I used it at a studio one time and it was incredibly musical. Definitely nothing close to that I've found in the box. It's definitely on my short list. Thanks for your input! |
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Post by Deleted on Dec 28, 2023 13:22:28 GMT -6
Let me try to pinpoint a better question, because all of this is interesting, but my original point of posting was specifically talking about a chain of analog RU's or 500 series that could be used in a mastering process. I completely understand how crucial monitoring is in the mastering process, in fact, I'd agree it is the most important thing of all. However, let me try to frame my question differently: Let's say you're a mixing engineer and you are working with indie/psych rock bands that love the sound of a good transformer and want real punchy and analog sounding masters. You don't have any outboard gear that is mastering quality, so you're in the market for a few (or one) good pieces to add to the rack to expand the tonal quality, and vibe of stereo bus. Your budget is $5k. Given that you already are 100% happy with your monitoring and also converters, what do you buy? Some switched eq for basic shelves and broad gentle cuts/boosts. Maybe get a good deal on a switched eq or something you can match easily. Anything with a circuit pretty much that is switched or can be easily stereo matched so parametric with pots is out of it. Even something cheap like the DAV BG3. You just want a circuit that isn't some prosumer/cheap out/chinesium garbage for some color. Circuits add additional slight distortion. Even ic opamp based ones can contribute to the tone.
Dynamics. Build yourself some peak limiters if you want or have someone build them or even get some old speaker protection limiters. It's all eventually clipping. Honestly just limit itb with a modern limiter without a lot of distortion (not waves, limitless, elevate, oxford, or what comes with your daw) unless you want that distorted limiter sound. Peaks don't get past the PSP Xenon, TDR Limiter 6, and Ursa Boost ime if you set them half decently.
Maybe get the Dangerous Compressor (auto only because attack and release are pots), Daking Comp II T, or a Fatso (way too much color honestly but if you're mastering your own stuff...) and match L and R by true peak daw meters like PSP Triple Meter. The Dangerous Compressor is just another flavor to what's itb: Weiss, Kotelnikov, the MDWDRC, the multiband detector Unisum. Other stuff has minimum phase anti alias filters or is fully multiband so I cannot recommend it for mastering unless you want to color the highs (Presswerk) or bullshit fm type sound dug in (DynOne). But the dangerous is one of the only complex analog compressors still made with simultaneous peak and RMS detectors like the better old VCA comps, and let me emphasize this NOT THE DBX AND SSL BUS, without a confused design (the feedforward/feedback and peak/rms switch compressors) so you might pick it for some tracks. Pure peak detector or RMS compressors aren't nearly as well behaved even if they have a lot of program dependency built in like the Daking or SSL on auto.
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Post by noob on Dec 28, 2023 13:34:53 GMT -6
Let me try to pinpoint a better question, because all of this is interesting, but my original point of posting was specifically talking about a chain of analog RU's or 500 series that could be used in a mastering process. I completely understand how crucial monitoring is in the mastering process, in fact, I'd agree it is the most important thing of all. However, let me try to frame my question differently: Let's say you're a mixing engineer and you are working with indie/psych rock bands that love the sound of a good transformer and want real punchy and analog sounding masters. You don't have any outboard gear that is mastering quality, so you're in the market for a few (or one) good pieces to add to the rack to expand the tonal quality, and vibe of stereo bus. Your budget is $5k. Given that you already are 100% happy with your monitoring and also converters, what do you buy? Some switched eq for basic shelves and broad gentle cuts/boosts. Maybe get a good deal on a switched eq or something you can match easily. Anything with a circuit pretty much that is switched or can be easily stereo matched so parametric with pots is out of it. Even something cheap like the DAV BG3. You just want a circuit that isn't some prosumer/cheap out/chinesium garbage for some color. Circuits add additional slight distortion. Even ic opamp based ones can contribute to the tone.
Dynamics. Build yourself some peak limiters if you want or have someone build them or even get some old speaker protection limiters. It's all eventually clipping. Honestly just limit itb with a modern limiter without a lot of distortion (not waves, limitless, elevate, oxford, or what comes with your daw) unless you want that distorted limiter sound. Peaks don't get past the PSP Xenon, TDR Limiter 6, and Ursa Boost ime if you set them half decently.
Maybe get the Dangerous Compressor (auto only because attack and release are pots), Daking Comp II T, or a Fatso (way too much color honestly but if you're mastering your own stuff...) and match L and R by true peak daw meters like PSP Triple Meter. The Dangerous Compressor is just another flavor to what's itb: Weiss, Kotelnikov, the MDWDRC, the multiband detector Unisum. Other stuff has minimum phase anti alias filters or is fully multiband so I cannot recommend it for mastering unless you want to color the highs (Presswerk) or bullshit fm type sound dug in (DynOne). But the dangerous is one of the only complex analog compressors still made with simultaneous peak and RMS detectors like the better old VCA comps, and let me emphasize this NOT THE DBX AND SSL BUS, without a confused design (the feedforward/feedback and peak/rms switch compressors) so you might pick it for some tracks. Pure peak detector or RMS compressors aren't nearly as well behaved even if they have a lot of program dependency built in like the Daking or SSL on auto.
The DAV EQ is kind of ugly haha, but it probably sounds amazing. I'd love to check one of those out and dangerous compressor too.  |
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ericn
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Post by ericn on Dec 28, 2023 13:48:00 GMT -6
Let me try to pinpoint a better question, because all of this is interesting, but my original point of posting was specifically talking about a chain of analog RU's or 500 series that could be used in a mastering process. I completely understand how crucial monitoring is in the mastering process, in fact, I'd agree it is the most important thing of all. However, let me try to frame my question differently: Let's say you're a mixing engineer and you are working with indie/psych rock bands that love the sound of a good transformer and want real punchy and analog sounding masters. You don't have any outboard gear that is mastering quality, so you're in the market for a few (or one) good pieces to add to the rack to expand the tonal quality, and vibe of stereo bus. Your budget is $5k. Given that you already are 100% happy with your monitoring and also converters, what do you buy? Some switched eq for basic shelves and broad gentle cuts/boosts. Maybe get a good deal on a switched eq or something you can match easily. Anything with a circuit pretty much that is switched or can be easily stereo matched so parametric with pots is out of it. Even something cheap like the DAV BG3. You just want a circuit that isn't some prosumer/cheap out/chinesium garbage for some color. Circuits add additional slight distortion. Even ic opamp based ones can contribute to the tone.
Dynamics. Build yourself some peak limiters if you want or have someone build them or even get some old speaker protection limiters. It's all eventually clipping. Honestly just limit itb with a modern limiter without a lot of distortion (not waves, limitless, elevate, oxford, or what comes with your daw) unless you want that distorted limiter sound. Peaks don't get past the PSP Xenon, TDR Limiter 6, and Ursa Boost ime if you set them half decently.
Maybe get the Dangerous Compressor (auto only because attack and release are pots), Daking Comp II T, or a Fatso (way too much color honestly but if you're mastering your own stuff...) and match L and R by true peak daw meters like PSP Triple Meter. The Dangerous Compressor is just another flavor to what's itb: Weiss, Kotelnikov, the MDWDRC, the multiband detector Unisum. Other stuff has minimum phase anti alias filters or is fully multiband so I cannot recommend it for mastering unless you want to color the highs (Presswerk) or bullshit fm type sound dug in (DynOne). But the dangerous is one of the only complex analog compressors still made with simultaneous peak and RMS detectors like the better old VCA comps, and let me emphasize this NOT THE DBX AND SSL BUS, without a confused design (the feedforward/feedback and peak/rms switch compressors) so you might pick it for some tracks. Pure peak detector or RMS compressors aren't nearly as well behaved even if they have a lot of program dependency built in like the Daking or SSL on auto.
If I had to do a budget mastering chain the analog parts would probably all be pot based, and Jim Williams would be seeing a big part of it, we shall start Backwards. Used B&W 801 or 2s JW modded Adcom, Lavry 11 and 10 for conversion. JW Modded Meyer CP 10 for EQ - analog stereo 5 band or mono 10 band phase coherent EQ every time I play with one I want one. JW modded Aphex Compellor for almost invi invisible Compression JW modded Aphex Dominator, not really used as a multi band but as a invisible brick wall limiter. The last 2 live in the live racks everybody loves how hard you can push the mix without clipping the conversion in IEMs and drive boxes. Mastering on a budget they would probably do far less damage than anything else out there. |
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Post by Deleted on Dec 28, 2023 13:53:25 GMT -6
Some switched eq for basic shelves and broad gentle cuts/boosts. Maybe get a good deal on a switched eq or something you can match easily. Anything with a circuit pretty much that is switched or can be easily stereo matched so parametric with pots is out of it. Even something cheap like the DAV BG3. You just want a circuit that isn't some prosumer/cheap out/chinesium garbage for some color. Circuits add additional slight distortion. Even ic opamp based ones can contribute to the tone.
Dynamics. Build yourself some peak limiters if you want or have someone build them or even get some old speaker protection limiters. It's all eventually clipping. Honestly just limit itb with a modern limiter without a lot of distortion (not waves, limitless, elevate, oxford, or what comes with your daw) unless you want that distorted limiter sound. Peaks don't get past the PSP Xenon, TDR Limiter 6, and Ursa Boost ime if you set them half decently.
Maybe get the Dangerous Compressor (auto only because attack and release are pots), Daking Comp II T, or a Fatso (way too much color honestly but if you're mastering your own stuff...) and match L and R by true peak daw meters like PSP Triple Meter. The Dangerous Compressor is just another flavor to what's itb: Weiss, Kotelnikov, the MDWDRC, the multiband detector Unisum. Other stuff has minimum phase anti alias filters or is fully multiband so I cannot recommend it for mastering unless you want to color the highs (Presswerk) or bullshit fm type sound dug in (DynOne). But the dangerous is one of the only complex analog compressors still made with simultaneous peak and RMS detectors like the better old VCA comps, and let me emphasize this NOT THE DBX AND SSL BUS, without a confused design (the feedforward/feedback and peak/rms switch compressors) so you might pick it for some tracks. Pure peak detector or RMS compressors aren't nearly as well behaved even if they have a lot of program dependency built in like the Daking or SSL on auto.
The DAV EQ is kind of ugly haha, but it probably sounds amazing. I'd love to check one of those out and dangerous compressor too. honestly it’s just something cheap with a circuit and switches. I’ve debated buying one but only have 2i/2o of great conversion now and the motu inputs on my other interface setup are far from mastering grade. I don’t care if it has distortion way down. It kills tone and detail in favor of warmth for home recordings Even on the same boxes the computer -> motu output -> monitors sounds way more detailed than computer -> motu output -> motu input -> motu output -> monitors. The Apogee Symphony Desktop was a big step up. Dangerous, it’s really expensive, clean, and what’s itb is great and clean now, and still has pots and separate attack/release values for a stereo compressor. Good luck matching them not on auto without plugin doctor. And what if auto doesn’t work for what you need it to do and you want to tweak it? Get out plugin doctor to match L and R. Might as well use a plugin on a bus or master then. Kotelnikov GE is 10 bucks and the Dangerous Compressor is about 3000… Honesty trakworxmastering is right and you need something that has more beneficial distortion than the detrimental distortion done by your converters. You’re running UAD not Burl. |
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ericn
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Post by ericn on Dec 28, 2023 13:57:17 GMT -6
The DAV EQ is kind of ugly haha, but it probably sounds amazing. I'd love to check one of those out and dangerous compressor too. honestly it’s just something cheap with a circuit and switches. I’ve debated buying one but only have 2i/2o of great conversion now and the motu inputs on my other interface setup are far from mastering grade. I don’t care if it has distortion way down. It kills tone and detail in favor of warmth for home recordings Even on the same boxes the computer -> motu output -> monitors sounds way more detailed than computer -> motu output -> motu input -> motu output -> monitors. The Apogee Symphony Desktop was a big step up. Dangerous, it’s really expensive, clean, and what’s itb is great and clean now, and still has pots and separate attack/release values for a stereo compressor. Good luck matching them not on auto without plugin doctor. And what if auto doesn’t work for what you need it to do and you want to tweak it? Get out plugin doctor to match L and R. Might as well use a plugin on a bus or master then. Kotelnikov GE is 10 bucks and the Dangerous Compressor is about 3000… Honesty trakworxmastering is right and you need something that has more beneficial distortion than the detrimental distortion done by your converters. You’re running UAD not Burl. Of course there a few nice mastering EQ options on GroupDIY, just have to know how to solder and not throw the ELMA switches through the window 😎 |
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Post by Deleted on Dec 28, 2023 14:03:19 GMT -6
Some switched eq for basic shelves and broad gentle cuts/boosts. Maybe get a good deal on a switched eq or something you can match easily. Anything with a circuit pretty much that is switched or can be easily stereo matched so parametric with pots is out of it. Even something cheap like the DAV BG3. You just want a circuit that isn't some prosumer/cheap out/chinesium garbage for some color. Circuits add additional slight distortion. Even ic opamp based ones can contribute to the tone.
Dynamics. Build yourself some peak limiters if you want or have someone build them or even get some old speaker protection limiters. It's all eventually clipping. Honestly just limit itb with a modern limiter without a lot of distortion (not waves, limitless, elevate, oxford, or what comes with your daw) unless you want that distorted limiter sound. Peaks don't get past the PSP Xenon, TDR Limiter 6, and Ursa Boost ime if you set them half decently.
Maybe get the Dangerous Compressor (auto only because attack and release are pots), Daking Comp II T, or a Fatso (way too much color honestly but if you're mastering your own stuff...) and match L and R by true peak daw meters like PSP Triple Meter. The Dangerous Compressor is just another flavor to what's itb: Weiss, Kotelnikov, the MDWDRC, the multiband detector Unisum. Other stuff has minimum phase anti alias filters or is fully multiband so I cannot recommend it for mastering unless you want to color the highs (Presswerk) or bullshit fm type sound dug in (DynOne). But the dangerous is one of the only complex analog compressors still made with simultaneous peak and RMS detectors like the better old VCA comps, and let me emphasize this NOT THE DBX AND SSL BUS, without a confused design (the feedforward/feedback and peak/rms switch compressors) so you might pick it for some tracks. Pure peak detector or RMS compressors aren't nearly as well behaved even if they have a lot of program dependency built in like the Daking or SSL on auto.
If I had to do a budget mastering chain the analog parts would probably all be pot based, and Jim Williams would be seeing a big part of it, we shall start Backwards. Used B&W 801 or 2s JW modded Adcom, Lavry 11 and 10 for conversion. JW Modded Meyer CP 10 for EQ - analog stereo 5 band or mono 10 band phase coherent EQ every time I play with one I want one. JW modded Aphex Compellor for almost invi invisible Compression JW modded Aphex Dominator, not really used as a multi band but as a invisible brick wall limiter. The last 2 live in the live racks everybody loves how hard you can push the mix without clipping the conversion in IEMs and drive boxes. Mastering on a budget they would probably do far less damage than anything else out there. Agreed unless you want to mod the wazoo out of a DL241 or use TDR Kotelnikov GE and Slick EQ M or the usually more cracked out Softube Weiss bundle. When you can pick between a bunch of different top tier mastering bundles like TDR, Weiss, MDW, Eventide/Newfangled, Ozone for a few hundred each, it’s really hard to argue for a 500 dollar piece of hardware. It certainly won’t make you more money outside of a live sound or recording context |
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Post by Deleted on Dec 28, 2023 14:29:42 GMT -6
I already did this exercise, Gainlabs or IAA, Bettermaker & the Core 59's are your best bet for a cheaper mastering chain. You'll still be at least $5K over budget and the monitors only satisfy Eric's criteria if your room supports them. That being said I still use plugins because no piece of analog equipment can do what the likes of Ozone can.
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Post by Deleted on Dec 28, 2023 14:35:17 GMT -6
I already did this exercise, Gainlabs or IAA, Bettermaker & the Core 59's are your best bet for a cheaper mastering chain. You'll still be at least $5K over budget and the monitors only satisfy Eric's criteria if your room supports them. That being said I still use plugins because no piece of analog equipment can do what the likes of Ozone can. yeah all the program dependent craziness and estimating its own distortion or something like presswerk's adapt having 8 release low pass filters and integrators instead of just 2 or 3 in a typical analog compressor "auto-release" along with it calculating both the rms and the peak crest |
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ericn
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Post by ericn on Dec 28, 2023 15:17:05 GMT -6
I already did this exercise, Gainlabs or IAA, Bettermaker & the Core 59's are your best bet for a cheaper mastering chain. You'll still be at least $5K over budget and the monitors only satisfy Eric's criteria if your room supports them. That being said I still use plugins because no piece of analog equipment can do what the likes of Ozone can. Yeah Danny brings up a good point, the key is finding plugins that what analog can’t and going analog where plugins can’t do it. Another point: looking at Justin / Trakworx mastering chain, while nobody is going to say any of this chain isn’t highly coveted kit, in the world of mastering gear choices are much more personal than in the studio simply because your never going to see someone else in the drivers seat and because the client is far less likely to choose a mastering house based on gear expectations. This is a huge advantage. |
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Post by Darren Boling on Dec 28, 2023 17:07:28 GMT -6
I'd check out the Silver Bullet MK2 with either of the new compressors. A lot of sonic bang for the buck.
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Post by tasteliketape on Dec 28, 2023 17:20:23 GMT -6
I bought a MBP a few months back .Compression is great , and the SFE function is phenomenal can really open up a mix.. The red and blue transformer options very nice. Unit can also do M/S
My sometime studio partner was working on a small label release and ask me to run one of his mix thru the MBP . After the label heard the track they asked to have the whole project ran thru the MBP
Its one of many nice options out there
Edit: The above was all before mastering , but I do have a friend that’s bringing his bands ep here and mastering thru the MBP
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Post by noob on Dec 28, 2023 17:45:44 GMT -6
I bought a MBP a few months back .Compression is great , and the SFE function is phenomenal can really open up a mix.. The red and blue transformer options very nice. Unit can also do M/S My sometime studio partner was working on a small label release and ask me to run one of his mix thru the MBP . After the label heard the track they asked to have the whole project ran thru the MBP Its one of many nice options out there Wow! Yeah I think if I were to spend the whole budget on one box, it might be that one. It's such an impressive unit. |
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Post by drbill on Dec 28, 2023 17:48:32 GMT -6
If you renamed this thread "mixbus chain" instead of "mastering" there might be less confusion. That's really what you're talking about it seems. Seemed that way to me too. And if so, I'd suggest : A Silver Bullet mk2 with Locomotive Audio Fairi-Mu Mojo Module insert, along with the SSL Buss comp / Master section insert. Along with a pair of ZOD IDDI's to follow. That is a monster, MONSTER 2 buss chain with flexibility between typical buss comp action, and a more vibey Vari-Mu option. The IDDI's are super as well!! |
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Post by drbill on Dec 28, 2023 18:03:06 GMT -6
PS - IMO, a great mastering chain will be about double your budget. For mastering, I'd still use the mk2 and perhaps the ZOD's, but you will need a fully featured EQ, and probably a great compressor. Both are going to be some serious $$$. (For instance, the Manley Vari-Mu is $5000-$7000 alone last time I checked.
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Post by matt@IAA on Dec 28, 2023 18:13:48 GMT -6
Let me try to pinpoint a better question, because all of this is interesting, but my original point of posting was specifically talking about a chain of analog RU's or 500 series that could be used in a mastering process. I completely understand how crucial monitoring is in the mastering process, in fact, I'd agree it is the most important thing of all. However, let me try to frame my question differently: Let's say you're a mixing engineer and you are working with indie/psych rock bands that love the sound of a good transformer and want real punchy and analog sounding masters. You don't have any outboard gear that is mastering quality, so you're in the market for a few (or one) good pieces to add to the rack to expand the tonal quality, and vibe of stereo bus. Your budget is $5k. Given that you already are 100% happy with your monitoring and also converters, what do you buy? You might check out our V2 EQ. Lots of our customers use for mix bus and mastering work. |
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Post by Deleted on Dec 28, 2023 18:48:06 GMT -6
PS - IMO, a great mastering chain will be about double your budget. For mastering, I'd still use the mk2 and perhaps the ZOD's, but you will need a fully featured EQ, and probably a great compressor. Both are going to be some serious $$$. (For instance, the Manley Vari-Mu is $5000-$7000 alone last time I checked. You could roll with a DAV BG5 and a Buzz DBC-M for under 4k for just cheap and uses switches and most surgical things would have to be done itb. Or a used STC-8M for under 5k. You could also match left and right on the Daking Comp II because it has mono input and output pots and the other controls are buttons including an auto setting. The Dangerous Compressor has to be used in auto attack/release and Smart Dynamics (dual RMS and peak detectors) in mastering for real, deep control.
What's ITB isn't worse than Dangerous, is more flexible, and better in mastering than the better traditional peak compressors like the SSL Bus and Daking (program dependent release and attack on auto www.transaudiogroup.com/wp-content/uploads/2021/03/Daking-Comp-II-Release-Times-with-1kHz-Input.pdf ) and much better than the Manley (heavy reliance on distortion) at real control of the audio. The Weiss DS-1, Kotelnikov, and MDWDRC2 have more control over the the faster detectors like the Compellor and the 8900. Not a lot of program dependency in the Manley and it limits by saturating the peaks and then leveling the remainder. Heavy reliance on distortion but it works and is widely available. You can really mold tracks into having uniform, even dynamics with the dual detector compressors. Kotelnikov's peak detector can snap hard but can attack faster and suppress peaks better than most of limiters on the market too. |
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Post by drbill on Dec 28, 2023 20:41:54 GMT -6
PS - IMO, a great mastering chain will be about double your budget. For mastering, I'd still use the mk2 and perhaps the ZOD's, but you will need a fully featured EQ, and probably a great compressor. Both are going to be some serious $$$. (For instance, the Manley Vari-Mu is $5000-$7000 alone last time I checked. You could roll with a DAV BG5 and a Buzz DBC-M for under 4k for just cheap and uses switches and most surgical things would have to be done itb. Or a used STC-8M for under 5k. You could also match left and right on the Daking Comp II because it has mono input and output pots and the other controls are buttons including an auto setting. The Dangerous Compressor has to be used in auto attack/release and Smart Dynamics (dual RMS and peak detectors) in mastering for real, deep control.
What's ITB isn't worse than Dangerous, is more flexible, and better in mastering than the better traditional peak compressors like the SSL Bus and Daking (program dependent release and attack on auto www.transaudiogroup.com/wp-content/uploads/2021/03/Daking-Comp-II-Release-Times-with-1kHz-Input.pdf ) and much better than the Manley (heavy reliance on distortion) at real control of the audio. The Weiss DS-1, Kotelnikov, and MDWDRC2 have more control over the the faster detectors like the Compellor and the 8900. Not a lot of program dependency in the Manley and it limits by saturating the peaks and then leveling the remainder. Heavy reliance on distortion but it works and is widely available. You can really mold tracks into having uniform, even dynamics with the dual detector compressors. Kotelnikov's peak detector can snap hard but can attack faster and suppress peaks better than most of limiters on the market too. Calling out the Manley for "heavy reliance on distortion" might be one of the most egregious audio descriptions I've ever heard while at the same time suggesting plugins..... ?? I'm. Sorry. That's just wrong. |
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Post by ab101 on Dec 28, 2023 21:20:32 GMT -6
The Manley Elop+ is underrated imho.
I have not tried the Manley Nu Mu though. Maybe someone can comment on that.
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Post by drumsound on Dec 28, 2023 22:52:57 GMT -6
Poke around Beriech03 for a bit. Really cool 500 series stuff for not ridiculous money. I bought their BAX EQ earlier this year and have been mixing with it after my Ruper Neve Designs 5254. 3 bands that can each be set for mid, stereo, or side. I got 1db steps, but they also offer .5db steps. If you click mastering-desk there are a bunch of other cool things. Or get the MBP or Louder than Liftoff box. |
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Post by kcatthedog on Dec 29, 2023 3:25:20 GMT -6
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Post by phantom on Dec 29, 2023 5:24:04 GMT -6
Get yourself some Burl converters.
Better conversion than the crappy Apollo, with some nice color from the transformers.
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Post by viciousbliss on Dec 29, 2023 5:49:45 GMT -6
Ever taken a look at Access Analog? They have two very legit mastering chains and a lot of other stuff. Black Box HG-2. Silver Bullet. The Portico II. Fusion. Massive Passive. Lots of stuff and they're always adding things and making improvements. If you have decent credit, you could use Affirm or the Vintage King card to finance something long term, some guys there know how to do 48 months on most anything. Get a couple things from Looptrotter or IGS or one expensive top tier piece. Maybe your budget could go up if you did 48 month financing? Building a Wesaudio Titan system could be cool and fit your budget. Maybe a Titan system and plugins could do the trick? Try comparing the PA SPL PQ plugin to the Massive Passive if you check out Access Analog. I felt like they were comparable in quality, much more so than any of the MP emulations or whatever other eq plugin I compared it with. Identifying the best emulations can allow one to prioritize other things OTB. There's a video of the Dangerous Compressor vs Kotelnikov I think it was. They were extremely close most of the time from what I remember. For 5k, you'd have to have multiple pieces that are under 2k each, or even closer to $1500 each. It's a really tough call.
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Post by Deleted on Dec 29, 2023 8:29:55 GMT -6
You could roll with a DAV BG5 and a Buzz DBC-M for under 4k for just cheap and uses switches and most surgical things would have to be done itb. Or a used STC-8M for under 5k. You could also match left and right on the Daking Comp II because it has mono input and output pots and the other controls are buttons including an auto setting. The Dangerous Compressor has to be used in auto attack/release and Smart Dynamics (dual RMS and peak detectors) in mastering for real, deep control.
What's ITB isn't worse than Dangerous, is more flexible, and better in mastering than the better traditional peak compressors like the SSL Bus and Daking (program dependent release and attack on auto www.transaudiogroup.com/wp-content/uploads/2021/03/Daking-Comp-II-Release-Times-with-1kHz-Input.pdf ) and much better than the Manley (heavy reliance on distortion) at real control of the audio. The Weiss DS-1, Kotelnikov, and MDWDRC2 have more control over the the faster detectors like the Compellor and the 8900. Not a lot of program dependency in the Manley and it limits by saturating the peaks and then leveling the remainder. Heavy reliance on distortion but it works and is widely available. You can really mold tracks into having uniform, even dynamics with the dual detector compressors. Kotelnikov's peak detector can snap hard but can attack faster and suppress peaks better than most of limiters on the market too. Calling out the Manley for "heavy reliance on distortion" might be one of the most egregious audio descriptions I've ever heard while at the same time suggesting plugins..... ?? I'm. Sorry. That's just wrong. I’m sorry Bill, the Manley Varimu is massively distorted compared to modern vca, pwm, and some optical compressors where the harmonics from gain reduction overpower any real box tone they may have in their circuitry. If they’re a VCA compressor with a smoother RMS detector, there’s often only one third harmonic and that is overshadowed by intermodulation distortion. The modern itb mastering compressors are based off of the dual detector designs with both rms and peak detectors. They have ways to minimize distortion that are impossible in analog while utilizing all of the program dependent, attack/release tricks from analog. They go far beyond feedback peak compressors with multiple time constants no matter how smooth those may be. The Manley Varimu is a linear, feedback peak detector compressor without a lot of program dependency. It has a slow to molasses attack and a reasonable release but only one release. The internet recommended way to use it is to tickle the peaks with a fast release to not pump too much. This makes most of the settings unusable. I don't think DISA and Manley intended that. The way to use it more is to hit it hot in limit mode with the high pass filter on to not pump with the kick or bass line, saturate off the peaks, and set attack and release appropriately (you can get away with a lot more settings here) to level the track with a couple vu of gain reduction. This gives the most control, the most goo and sheen, and makes it sound the coolest it can. If it's too much, switch to compression. This isn't a lot of control of the peaks though using volume modulation. |
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