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Post by drbill on Oct 17, 2015 9:54:41 GMT -6
If a man's happy with his setup, that's a rare thing. HANG ON TO IT!!! :-)
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Post by drbill on Nov 11, 2015 10:18:27 GMT -6
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Post by lpedrum on Nov 11, 2015 11:03:52 GMT -6
At a quick glance this looks to be very helpful Bill. Two bonuses that I didn't know the SB had--a Mic + setting (more gain for ribbons and dynamic mics) and a "Vintage" console button!
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Post by lpedrum on Nov 11, 2015 11:31:28 GMT -6
Quick question Bill or Brad....what is the depth measurement of the Silver Bullet?
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Post by jeromemason on Nov 11, 2015 11:41:15 GMT -6
That meter is just cool.
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Post by warrenfirehouse on Nov 11, 2015 12:14:36 GMT -6
Wow guys this looks awsome. I could see myself utilizing this box in many different ways with my hybrid workflow. I wonder what tracking drums through the A and N setting sounds like?!
Any video demos yet?
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Post by drbill on Nov 11, 2015 14:23:27 GMT -6
Quick question Bill or Brad....what is the depth measurement of the Silver Bullet? Nine inches, give or take .050.
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Post by drbill on Nov 11, 2015 14:24:38 GMT -6
At a quick glance this looks to be very helpful Bill. Two bonuses that I didn't know the SB had--a Mic + setting (more gain for ribbons and dynamic mics) and a "Vintage" console button! With the extra gain, high shelf boost and single knob stereo gain, I'm super excited to give this box a whirl with ribbon mics on overheads. I works well in that application. Very sweet, IMO. Brad's goal was making the pre's sound sweet with Ribbons.
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Post by drbill on Nov 11, 2015 14:26:40 GMT -6
Wow guys this looks awsome. I could see myself utilizing this box in many different ways with my hybrid workflow. I wonder what tracking drums through the A and N setting sounds like?! Any video demos yet? The mic pre's in A>N mode, pushed hard is a favorite of mine. Dirty and crunchy, but still big and open. I could never get "that" sound before using the SB in that fashion. Not for everyday use in my recordings, but very cool, and definitely useable. The pre's can go from open, sweet and euphonic clean to dirty and crunchy in cascaded modes. Very versatile. The workflow of the Mix vs Tracking, and Mic modes was designed specifically for a hybrid workflow.... Check out the application notes in the manual on the link above. No vids yet. I've got to get a production unit first.... :-)
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Post by drbill on Nov 11, 2015 14:29:58 GMT -6
At a quick glance this looks to be very helpful Bill. Two bonuses that I didn't know the SB had--a Mic + setting (more gain for ribbons and dynamic mics) and a "Vintage" console button! The Vintage setting along with the HF Eq allows for some cool top end textures. <thumbsup>
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Post by drbill on Nov 11, 2015 18:35:01 GMT -6
Yes. On the final prototype (essentially a production unit) I did Joly 205's on mono drum high up OH and out in6 feet out in front of the kit. It was a very sweet sound. Very retro, mono and FAT sounding.... Not really a "room" mic, but close.
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Post by NoFilterChuck on Nov 12, 2015 8:20:04 GMT -6
Wow guys this looks awsome. I could see myself utilizing this box in many different ways with my hybrid workflow. I wonder what tracking drums through the A and N setting sounds like?! Any video demos yet? it'll probably sound like how it would sound tracked thru an API or a Neve pair of preamps lol
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Post by warrenfirehouse on Nov 12, 2015 9:38:57 GMT -6
Wow guys this looks awsome. I could see myself utilizing this box in many different ways with my hybrid workflow. I wonder what tracking drums through the A and N setting sounds like?! Any video demos yet? it'll probably sound like how it would sound tracked thru an API or a Neve pair of preamps lol I was talking about the a>n combo mode, which I would assume to be like an api pre into a neve line amp. Then having control of the 4 gain stages independently to get different sounds. Could be cool. Maybe not. I have both styles of pre, but not enough channels to try "doubling" them up on a drum kit.
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Post by drbill on Nov 12, 2015 11:29:02 GMT -6
@ bannedchuck - Yeah, it's "kinda" like that, but not completely. Stereo pairs of mic preamps are where I started on my Tone-Amp™ journey, but the Silver Bullet is where Brad and I ended up. The gain staging options reach far beyond simple A and N mic preamps, and there are quite a few additional bells and whistles that owning a pair each of A and N mic preamps can't/don't provide. I still have the vp28's and AML 1073's and Missing Links, but now I use em for what they were designed for LOL - mic pre's (and post pre filter/fader stage with the ML). For tone shaping mix and tracking duties, it's the Silver Bullet by a mile - simply because of the elegant options that beg me to be creative. (IMO extremely biased opinion of course.... LOL)
For me, tools that instigate creativity are at the top of my production tool list. I think Brad feels the same way, and actually runs his company with a mission in that direction.
And when I need mic pre's to amplify a microphone....well, I judge each on it's own merits. All the options I have are great, but the SB holds up just fine against the best of the best in the A and N camps IMO. A little different, sometimes it's what I prefer, and sometimes I'll choose the vp or aml options. But they all perform admirably in the A/N camps IMO.
After you figure out that 4 mic pre's cost significantly more than a SB while offering significantly less options, you'll figure out why we designed this beast the way we did. Mic pre's can't easily do what the SB does :-) They were never designed to do what the SB does.
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Post by drbill on Nov 12, 2015 11:47:16 GMT -6
BTW - as a side note. As Jeff Steiger eloquently observed when he invented the Missing Link - there are a LOT of gain stages in these vintage consoles. Way more than just a simple mic pre provides. Going through a mic preamp is not going to give you the same sound as going thru the same mic preamp in a console. It's just isn't. There are multiple gain stages in a console - and each and every one colors the sound. As a matter of note, I used to bypass the bussing and / or EQ stage by patching around them in the patchy of the old DeMedio API console that I had so that I could get to tape "cleaner". Back in the old school days, you didn't need all the harmonic coloring that consoles and tape provided. As a matter of fact, we worked against that color a good deal of the time to provide cleaner recordings, but even then, the sonic signatures of those consoles are obvious in the recordings. Now with Digitius and mixing ITB in full epidemic modes, we have to add back in what we took for granted a few decades ago....
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Post by BradM on Nov 13, 2015 12:28:26 GMT -6
Look what showed up this morning. A whole lot of them actually. Just need the assembled PCBs and then it's party time. Attachments:
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Post by mitchkricun on Nov 13, 2015 15:31:40 GMT -6
BTW - as a side note. As Jeff Steiger eloquently observed when he invented the Missing Link - there are a LOT of gain stages in these vintage consoles. Way more than just a simple mic pre provides. Going through a mic preamp is not going to give you the same sound as going thru the same mic preamp in a console. It's just isn't. There are multiple gain stages in a console - and each and every one colors the sound. As a matter of note, I used to bypass the bussing and / or EQ stage by patching around them in the patchy of the old DeMedio API console that I had so that I could get to tape "cleaner". Back in the old school days, you didn't need all the harmonic coloring that consoles and tape provided. As a matter of fact, we worked against that color a good deal of the time to provide cleaner recordings, but even then, the sonic signatures of those consoles are obvious in the recordings. Now with Digitius and mixing ITB in full epidemic modes, we have to add back in what we took for granted a few decades ago.... Yes! This is so true, which I learned kinda the hard way after buying a 3124+... Nice, but not the same. I worked on a DeMedio for several years. It had a massive long frame patch bay, with tons of patch points, allowing you to patch around gain stages. Cleaner and less noise, which adds up. On Jazz or Big Band stuff, we'd patch right after the mic pre to tape. I even know a guy who would often mix from the monitor section, because it was very clean, quiet and believe or not, very punchy! When he mixed on channels, he would patch around any eq's that he wasn't using. Also, I checked out the Silver Bullet at AES and I was so impressed! It is so well layed out. I was able to dig right in and dial in several BEAUTIFUL tones in seconds. The image is so wide and the textures are vintage-y and hi fi at the same time. A few settings reminded me a lot of the tone and sound stage of my Overstayer FET, which I love. I wasn't able to check out the pre's, but if they are anywhere near the quality of the rest of the box, you guys have created a super versatile audio toolbox and I hope you sell a million of 'em!
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Post by drbill on Nov 13, 2015 16:14:46 GMT -6
BTW - as a side note. As Jeff Steiger eloquently observed when he invented the Missing Link - there are a LOT of gain stages in these vintage consoles. Way more than just a simple mic pre provides. Going through a mic preamp is not going to give you the same sound as going thru the same mic preamp in a console. It's just isn't. There are multiple gain stages in a console - and each and every one colors the sound. As a matter of note, I used to bypass the bussing and / or EQ stage by patching around them in the patchy of the old DeMedio API console that I had so that I could get to tape "cleaner". Back in the old school days, you didn't need all the harmonic coloring that consoles and tape provided. As a matter of fact, we worked against that color a good deal of the time to provide cleaner recordings, but even then, the sonic signatures of those consoles are obvious in the recordings. Now with Digitius and mixing ITB in full epidemic modes, we have to add back in what we took for granted a few decades ago.... Yes! This is so true, which I learned kinda the hard way after buying a 3124+... Nice, but not the same. I worked on a DeMedio for several years. It had a massive long frame patch bay, with tons of patch points, allowing you to patch around gain stages. Cleaner and less noise, which adds up. On Jazz or Big Band stuff, we'd patch right after the mic pre to tape. I even know a guy who would often mix from the monitor section, because it was very clean, quiet and believe or not, very punchy! When he mixed on channels, he would patch around any eq's that he wasn't using. Also, I checked out the Silver Bullet at AES and I was so impressed! It is so well layed out. I was able to dig right in and dial in several BEAUTIFUL tones in seconds. The image is so wide and the textures are vintage-y and hi fi at the same time. A few settings reminded me a lot of the tone and sound stage of my Overstayer FET, which I love. I wasn't able to check out the pre's, but if they are anywhere near the quality of the rest of the box, you guys have created a super versatile audio toolbox and I hope you sell a million of 'em! Thanks for the kind words Mitch. Glad you had a chance to check it out @ AES. Yeah, the pre's are on the same level as the rest of the box! Do you have any pics of your deMedio? I was looking for some old pics of the one I had the other day and couldn't find them. :-( Sad thing is, that console was cut up with a sawzall and tossed in a dumpster. To make room for a newer API, which didn't sound as great.
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Post by mitchkricun on Nov 13, 2015 17:28:55 GMT -6
I didn't own the console, but it was in the A room at the Warehouse in Philly where I was an assistant and later staff engineer. Apparently it came out of Sunset Sound, which I didn't originally believe until I assisted on a record with Andy Johns and he recognized it immediately! It was a black beast with the monitor section on the left and two upright patchbay sections, shaped like a "L" on the right. It had 4 560B's,16 550A's, 2 553's and two Aengus EQ's! Similarly, it was replaced with another API that had half the balls and all the noise... I'll look around for pics, but I didn't have an iPhone back then!
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Post by drbill on Nov 14, 2015 10:04:49 GMT -6
Sweet Mitch! Thanks for the description! What did we do without iPhones? heh heh I always wonder how many consoles DeMedio did. I have a fond memory of the one we had back in the day. I actually learned a lot of my recording chops on that console. "half the balls and all the noise"..... LOVE IT!! Ha! Although the newer API had more functionality and channels, there was definitely a certain "something" about the DeMedio. Thanks for the description. Take care. bp
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Post by drbill on Jan 19, 2016 20:27:17 GMT -6
Just a quick shout out -
Louder Than Liftoff will be at Anaheim NAMM this week. Brad will be showing the Silver Bullet, the Chop Shop and the LTL Colour Modules.
Trade Show Attendees will receive a discount on a Silver Bullet (and possibly on the other LTL products as well - gotta check with Brad on that....)
You can find the Silver Bullet @
Booth 5000 - sharing the booth with Black Market Modular and DIYRecording Equipment. Stop by and say "hi".
*** Demo Clips will be available and hands on tweaking will be encouraged!! ***
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Post by BradM on Jan 31, 2016 14:38:22 GMT -6
Hey all,
Just wanted to let my friends here know that I have two units left from the first run. These are ready to ship immediately, no wait. After these two are gone then it's going to be a couple month wait while the next run is built.
Brad
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ericn
Temp
Balance Engineer
Posts: 14,953
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Post by ericn on Jan 31, 2016 15:43:42 GMT -6
Hey all, Just wanted to let my friends here know that I have two units left from the first run. These are ready to ship immediately, no wait. After these two are gone then it's going to be a couple month wait while the next run is built. Brad [ Happy to hear that these are doing so well ! You know I love them ! Sucks that I'm broke !
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Post by RicFoxx on Jan 31, 2016 19:00:45 GMT -6
Hey all, Just wanted to let my friends here know that I have two units left from the first run. These are ready to ship immediately, no wait. After these two are gone then it's going to be a couple month wait while the next run is built. Brad How much??
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Post by BradM on Jan 31, 2016 20:32:52 GMT -6
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