Lynx Hilo Vs Mytek 8x192.

I had a Hilo a couple of years ago and from what I remember, it was super transparent. I ended up "not liking" it as much as the Symphony because the Symphony seemed to add a little bottom end bump...Never tried the Mytek. But I put not liking in quotes because really, all the stuff in this range is excellent. I currently have a Burl. carymiller - have you seen the ADDA svart is building in the DIY section? I think both will be about $400. He's using the best chips and all that jazz. Really great sounding transparent piece.

I'm mixing a record recorded off of an Apollo now and everything sounds strange. It sounds like old motu stuff which isn't a great thing. Sounds lifeless, dull and strangely uneven. I'm not blaming that all on the Apollo but I do think it has part to do with it.

I use the Burl into the Apollo and an RM DA.

Thanks Johnkenn I left a few posts in Svart's thread...I'm sincerely interested in what he's trying to design for sure.

The Yamaha? Are you still in the southwest or did you move east?

The Yamaha.

I built a room in NYC with a financier a business partner lined up and things were going well. But the problem is the person in question is more of an eccentric than I would like to deal with on a regular basis. The money is simply not enough with other out of control spending in unnecessary areas. I am kind of heartbroken about it, but I have no choice but to sell the PM-2000. I have done some maintenance on it...and it works beautifully...but by myself I'm better off with a smaller rig. On the flip side I seem to be in a position to work on my own material for the first time in four years, with a lot of help via marketing and publishing deals. So...I've made my peace with it. The console has been listed along with custom furniture and about $12,000 wiring and TT patchbays on Ebay.

You know...I ask myself the same question. I think part of it is that they think being associated with fame is all that matters. That success is measured by what's sold well. If money isn't something you've ever struggled with, then all that matters is having people think you're good at your job, or that you're a genius I guess.

He blew some money on a few compressors that Chris Walla was selling...and I mean...he paid through the nose. I love Chris's work, but at that point I realized that I was committing to something that was always going to be a stop/go situation around his whims rather than a troubleshooting scenario where I could prioritize work as it comes against gear that gets you around the race track.

I sold a bunch of vintage Neve 1272's that were racked by Brent Averill back in the day and we had this huge argument because I replaced them with Chameleon Labs X-Modded channels after doing a shootout with clones. I put that money towards other things that were needed and got us a great deal on 8 WA12's and a couple Tone Beasts.

Two weeks later the Walla thing happens and he becomes fixated on tracking down the best vocal chain possible. I explain to him that great mics are the way to go moreso than just worrying about preamps. Etc.

I'm the one with the technical experience, but my word was never good enough...and the Yamaha which is a FANTASTIC desk...he kept trying to push for selling it anyway in favor of an overpriced Trident 80B another producer he liked wanted to sell.

That Yamaha has the headroom of an 80's series Neve because Dave Hecht, Fred Forsell, and Fletcher worked on it...but it was all brand name nonsense Vs making the best studio possible once he got out of hand, and since he was supposed to be bankrolling my budget it turned sour fast from there.

I wish I could keep the desk but if I build a new spot I won't have room. So...I figure a Great River Mixmaster 20 or Shadow Hills Equinox is probably the next best thing.