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Post by popmann on Oct 18, 2013 21:21:19 GMT -6
I guess I see everything as an implied "in my opinion" or "in my experience with them"....I mean, that's all any discussion of gear likes/dislikes is....sorry if that's taken wrong.
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Post by Martin John Butler on Oct 18, 2013 21:43:46 GMT -6
No worries, I know it's not always easy to get the tone of our posts the way we mean them. I plead guilty to that infraction myself on occasion.
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Post by sceneofdarhyme on Oct 19, 2013 12:15:18 GMT -6
A usable GUI / Interface for Nebula.
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Post by Ward on Oct 19, 2013 12:19:07 GMT -6
I guess I see everything as an implied "in my opinion" or "in my experience with them"....I mean, that's all any discussion of gear likes/dislikes is....sorry if that's taken wrong. That has to be 100% correct 100% of the time. Even when expressing a consensus. Consensus is still built on opinion!! And yes, the (Neumann) Geffells are definitely better with transformers. Aren't all microphones? |
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Post by Ward on Oct 19, 2013 13:54:40 GMT -6
I wonder what the new Neumann TLM107 is going to be like...
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Post by Ward on Oct 19, 2013 13:55:20 GMT -6
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Post by Martin John Butler on Oct 19, 2013 20:25:59 GMT -6
I heard it today at AES, The room was crowded and noisy, and I only heard it for less than 30 seconds. First impression, it sounds like a Neumann. Seemed like a smoother TLM 103, in the U87 tone family, and clearly there are some convenient options here. I wish I could have given it a longer listen, but I had to run at that moment. If this was more like $1,200 I'd be excited.
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Post by Deleted on Oct 19, 2013 22:31:10 GMT -6
4db bump @ 10khz means it's zingy!
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Post by sceneofdarhyme on Oct 20, 2013 1:50:53 GMT -6
If this was more like $1,200 I'd be excited. It is 1,212, but €  |
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Post by lolo on Oct 20, 2013 3:48:05 GMT -6
Hmm.. I've never used a Bricasti, though I know it by reputation. Is it a convolution reverb? I'm curious what makes it special. The ReLab 480XL is a little special, I think because of the high def algorithms. Its one of the reverb of reverbs. very special. $3500 though. that sunset chamber preset just sounds amazing. I need that ITB |
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Post by Martin John Butler on Oct 20, 2013 7:41:57 GMT -6
I listened to the Bricasti at AES. First, although out of my league now, I think it's well worth it's $3,700 list price. If I had a true project studio, I would love to have this as the main reverb on a bus and augment it with ReLab's 480XL and UAD's EMT-140 plugs. The Bricasti was amazing.
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Post by Deleted on Oct 20, 2013 12:43:42 GMT -6
Ehem, yepp, i think the Bricasti is a hardware reverb (anachronistic somehow) because this is the best dongle for these cool algorithms, most probably...so i guess there will be no native plugin anytime soon....unfortunately, but understandable...
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Post by Martin John Butler on Oct 20, 2013 15:22:35 GMT -6
They guys from Bricasti were cool, They explained that for technical reasons, it wouldn't be feasible, so a plug couldn't happen. It was over my head, but they have been approached by major companies, it just can't be done at this time. I believe it has a digital out as well as analogue, so does that mean you could integrate it into a DAW?
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Post by popmann on Oct 20, 2013 16:17:00 GMT -6
You can integrate ANY outboard device into a DAW, regardless of it's IO. I current have 6 channels in and out of my box dedicated to 4ch of a KSP8 and 2 channels of the PCM91. I believe in Logic, you would be looking at the "IO plug"....maybe a Logic power user can help you specifically if you go down the road. In Cubase, it's External FX--I have all my hardware, digital and analog integrated into the Cubase software mixer. I insert my vintage La3a, and it's there--latency compensated. It's actually the single feature I tested thoroughly (and the plug in delay compensation that is related) when switching platforms. Steinberg's code was rock solid where some other fave DAWs failed miserably.
Regardless, I would advise you NOT hook it up digitally. Why? Because it needs to A)work at it's highest intended sample rate to achieve it's sound--whatever sample rate it's optimized for...and B)you need to be able to change sample rates in your DAW from project to project as needed without having to reconfigure you outboard devices. Analog IO solves both of these.
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Post by Martin John Butler on Oct 20, 2013 16:58:09 GMT -6
Very cool, popmann, that was great, thanks man. I suspected analogue was the way to go with something like that. Man, after hearing it, it's not easy to go back to anything else. Still, I'm grateful for just how good the UAD EMT-140 and the ReLab 480XL are, and they'll be just fine for my purposes at the moment.
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Post by jazznoise on Oct 20, 2013 17:05:19 GMT -6
I like how the microphone gradually turns from a U87 into something 1/3 of its size. It might be great. I don't really get the joystick, though.. |
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Post by Martin John Butler on Oct 21, 2013 8:38:03 GMT -6
Looking again at the title of this thread, I think I'd like to see the absolute best remake possible of a C12 for under $1,200. it's a wish list, remember ;-)
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Post by svart on Oct 21, 2013 14:07:24 GMT -6
New UM70Ts MICS aren't really better than Neumann. Just different. Now, the OLD ones with transformers? Those I think BEAT an old OR new U87 pretty handily. But, they have the same issue as Neumann in terms of old vs new. At almost the same time frame (some point in the 80s)...it was when Senheiser bought Neumann, buy I don't know what happened with Gefell. Yeah, that's why I specifically said the UM70S reissue. It uses new manufacturing but still has the M7 and transformer. It fixes all the issues with the vintage UM70S's reliability but still retains the mojo. I also have the M930 which is a great mic. It shouldn't be confused with the Neumann stuff but I think the closest would be the TLM103, but it's much nicer IMHO. I tried both and the 103 was spitty and kinda dull in the midrange. The M930 is smooth and has a little more pronounced midrange. Not a mojo mic though. Just very clean and clear without ever getting harsh. |
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Post by popmann on Oct 21, 2013 14:46:38 GMT -6
Ah....I didn't know they had reissues the UM70 WITH transformer. Be interested to hear THAT....
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Post by Ward on Oct 21, 2013 21:44:18 GMT -6
New UM70Ts MICS aren't really better than Neumann. Just different. Now, the OLD ones with transformers? Those I think BEAT an old OR new U87 pretty handily. But, they have the same issue as Neumann in terms of old vs new. At almost the same time frame (some point in the 80s)...it was when Senheiser bought Neumann, buy I don't know what happened with Gefell. Yeah, that's why I specifically said the UM70S reissue. It uses new manufacturing but still has the M7 and transformer. It fixes all the issues with the vintage UM70S's reliability but still retains the mojo. I also have the M930 which is a great mic. It shouldn't be confused with the Neumann stuff but I think the closest would be the TLM103, but it's much nicer IMHO. I tried both and the 103 was spitty and kinda dull in the midrange. The M930 is smooth and has a little more pronounced midrange. Not a mojo mic though. Just very clean and clear without ever getting harsh. It's much closer to a TLM102 than a 103 but is even smoother and has that pronounced midrange that correctly pointed out! Very clean, silky and beautifully detailed!! |
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Post by svart on Oct 22, 2013 7:15:37 GMT -6
Ah....I didn't know they had reissues the UM70 WITH transformer. Be interested to hear THAT.... They only made a certain number of them. I was lucky enough to score one after that from a used mic dealer who didn't know what he had. Got it for half what it was really worth although it was a little scratched up. |
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Post by tonycamphd on Oct 22, 2013 9:32:11 GMT -6
Looking again at the title of this thread, I think I'd like to see the absolute best remake possible of a C12 for under $1,200. it's a wish list, remember ;-) Matachung Diy circuit replica C12 w/tim campbell capsule can be done for that price, i think it's about as close as anyone can get to the real deal for that price? i have one, and it's wholly beautiful... I'm actually considering sending it to mic rehab to see if Shannon can tweak her to be like the better C12's??? I still have to contact him on that. |
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Post by mberry593 on Oct 22, 2013 10:39:11 GMT -6
Back in the 1970s, I was working in broadcasting. We had some devices that were compressors that had a resting point in the middle of their gain reduction range. The one I had the most experience with was an EMT 256. en.audiofanzine.com/dynamic-processor/emt/256-mkii/medias/pictures/a.play,m.290064.html The idea is that you can use a relatively slow attack time without having the first word in the script louder than the rest. Of, course today this might be achieved with look-ahead control. I would like to see a modern version of this in a 500 'lunchbox' module. |
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Post by Deleted on Oct 24, 2013 21:20:42 GMT -6
popmann you're the 2nd person I know to integrate a KSP8 into their studio. what do you use it on? I used to have a K2600xs and i still have my K2661. no sampling option tho, so i can't run any audio through it tho..
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Post by popmann on Oct 24, 2013 22:03:15 GMT -6
I've been using it for almost a decade (if you count the Rumour before it) for room reverbs. I also have a soft spot for it's tape delay algorithm--but, EchoBoy is more flexible-KSP8 more "hifi".
I have a PCM91 I use for long'ish "lead" reverbs....which honestly sits on one preset a huge majority of the time--"Vocal Magic". The KSP8 handles drum and "band room" type ambiences. I've mentioned elsewhere, that it's input matrix is true stereo--so, if you send into the left channel, the reverb happens some say 90% on the left. I do a lot of panning INTO the reverb to create space and movement. Most software reverbs don't have a true stereo input matrix. Which is why I admit it's a "me thing"--it doesn't sound better to use it on some single track. But if it's on a bus with a whole band being sent to various panned positions....most software falls down for me. It's like they are made to work on a single instrument. Like I have no issues with using an impulse reverb to add an ambience to a guitar track. But, over the years, I've developed this way of working where various elements are sent to the aux buss with different panning than their pan pot....and I really like it....and clients do....and I've not yet been able to nail that with software.
I remeber when I had a Pc2x...and seeing how much of their "reality" was not in the sample, but in the cabinet modelling (for EPs) and room ambiences....then they announce they would make the reverb units--I bought a Rumour....loved it...so eventually got a KSP8 to integrate with my old Akai DPS24, which had an ADAT port and LOUSY internal FX. Intended to sell it and go software when I moved to Cubase full time....but, I couldn't find anything that worked for me.
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