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Post by ragan on Aug 27, 2016 9:56:59 GMT -6
I slapped this little guy together (in a hurry) the other day. I do all my electrics in my ISO cab and then re-amp them later, often up at my family's cabin where I can put the cabs out in the shop and have the "control room" setup in the main cabin. Anyway, this is the little 'twin' of my Vox AC-15. I put the same Greenback speaker in it. I duplicated all the cuts so I can build the exact same box for my Fender amp (once I settle on what that will be and know what speaker to put in it, been cycling through some different Fenders). Anyway. Sounds quite good even though the speaker isn't remotely broken in yet. Just scraps of wood I had around and some Polyurethane. Attachments:
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Post by Martin John Butler on Aug 27, 2016 10:40:24 GMT -6
Looks great Ragan.
I just got the Warm Audio WA2A, and haven't quite figured out how to dial it in yet. I took a guess at some settings and couldn't see the meter moving when doing a vocal for a friend. Listening back, the vocal sounds better than anything yet from my little home rig, so it must be doing something right. I'll figure it out.
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Post by M57 on Aug 27, 2016 11:09:58 GMT -6
Looks great Ragan. I just got the Warm Audio WA2A, and haven't quite figured out how to dial it in yet. I took a guess at some settings and couldn't see the meter moving when doing a vocal for a friend. Listening back, the vocal sounds better than anything yet from my little home rig, so it must be doing something right. I'll figure it out. I'm far from an expert on this but here's how I do it.. Start with the meter at 'Output +4' (not 'Gain Reduction'). and with 'Peak Reduction' set to 0 (you don't have to, but if you've been having trouble moving the meter..). Then bring up the 'Output Gain' until that meter is working hard. I like to see peaks near 0 db. Then I throw the meter into 'Gain Reduction' mode and stir in Reduction Sauce to taste. If you're really taking a lot off the top, and you want to work it - throw the meter back into 'Output' mode and increase the 'Output Gain' making sure that you're not seeing any blood on the meter. I've never had the inclination or desire to do that, but it makes sense to me. Speaking of cents, that's about $0.02 of advice. It's not at all unlikely that I'm doing it all wrong. Also, I've got to say, the thing sounds good just sitting there. I don't even have to see the needle move and it sounds gorgeous. I know some of you are snickering - it's OK. I've just been ITB forever and having real tubes has been a revelation for me. |
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Post by strangeways on Aug 27, 2016 11:15:34 GMT -6
Just got an ADL 600 dual tube mic pre. Distributed by Presonus, which apparently drove the resale WAY down, since i got it for $525. New they were $2k?!? Apparently very overbuilt and clean and quiet, with a certain hifi character. Tons of bells and whistles. I was going to grab an AEA TRP for around the same price, but this seems to do most of the same things as the trp, plus phantom power, impedance switching, 3 position HP, and line ins. (apparently Fred Forssell had a hand in designing both pres)
Haven't had a chance to use it yet. Internet says it sounds great, and gives the pacifica a run for its money. Must be true, right😝😝😝.
Started another thread looking for more info. If you've used it, chime in over there.
D.
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Post by ragan on Aug 27, 2016 11:19:30 GMT -6
Looks great Ragan. I just got the Warm Audio WA2A, and haven't quite figured out how to dial it in yet. I took a guess at some settings and couldn't see the meter moving when doing a vocal for a friend. Listening back, the vocal sounds better than anything yet from my little home rig, so it must be doing something right. I'll figure it out. You had the meter on "gain reduction" yeah? |
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Post by Martin John Butler on Aug 27, 2016 15:49:53 GMT -6
Yes. Was I wrong?
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Post by ChaseUTB on Aug 27, 2016 22:18:58 GMT -6
No, my advice is to power the unit, leave on for one hour then follow my next advice. Now With your meter/ output selector make sure it's set to gain reduction, and the compress/ limit switch is set to limit. Make sure both knobs are at 50 as a starting point ( you could all this unity gain or zero point) . Turn the peak reduction all the way to 75-80. Next send your DAW output ( ex LD Vox ) to the WA2A, make sure your audio output is a healthy level, at least have the audio peaking at -6 dbfs or RMS of at least -12 dbfs. With these levels and the way the comp is set you should visibly see gain reduction. The more level you send to the WA2A the more gain reduction you will see on the meter. Depending on how much your "LD Vox" track is being reduced, then use the output gain knob to make up gain! Hope this has helped  |
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Post by M57 on Aug 28, 2016 4:37:59 GMT -6
Make sure both knobs are at 50 this is unity gain for wa2a. Now I'm confused. How do you know this? I don't see it anywhere in the manual. And what does it mean to have Unity Gain with a unit like this? I know the amount of reduction is program dependent, but is there an optimal/nominal level at input that (with both knobs at 50) that would induce x amount of gain reduction? I know the numbers are arbitrary, but If there is such a thing as UG on the unit, why wouldn't the meters have zeros at 12, and then something like -50 turning to the left and +50 turning to the right? EDIT: It just doesn't make any sense to me that the Peak Reduction knob should have anything to do with UG. |
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Post by Martin John Butler on Aug 28, 2016 7:39:04 GMT -6
Here's what Chad Kelly from Warm Audio said when I asked about it, " keep in mind that the gain on the 2A is output gain and it's got 40db of available gain. About 9 o'clock on the dial is usually unity gain. The peak reduction is capable of 40db of max gain reduction, with a very hot input signal. at about 12 o'clock, you could be getting as much as -20db peak reduction at the peaks; but only with a hot input signal. Threshold is input dependent. The meter will usually not have quite the speed or range to keep up with quite everything the 2A can do; but at more modest settings and a good test tone signal that is consistent; it should be accurate".
* if warranted, maybe I'll start a "dialing in the WA2A" thread.
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Post by ChaseUTB on Aug 28, 2016 12:55:45 GMT -6
Make sure both knobs are at 50 this is unity gain for wa2a. Now I'm confused. How do you know this? I don't see it anywhere in the manual. And what does it mean to have Unity Gain with a unit like this? I know the amount of reduction is program dependent, but is there an optimal/nominal level at input that (with both knobs at 50) that would induce x amount of gain reduction? I know the numbers are arbitrary, but If there is such a thing as UG on the unit, why wouldn't the meters have zeros at 12, and then something like -50 turning to the left and +50 turning to the right? EDIT: It just doesn't make any sense to me that the Peak Reduction knob should have anything to do with UG. i edited my post for further clarity. I was saying to have the output at 5o and peak reduction at 50 to start as a base (you could call that unity )therefore the signal will hit the unit and be compressed audibly and visibly. At 9 o clock he may not hear his signal due to the extreme amount of compression. I was trying to advise MJB a way to hear and see limiting/ compression with his new unit With peak reduction turned up like I advised he will need his output gain around 9ocloxk to 12 o clock (50) to make up that much gain from compression. I do know for a fact that the Wa76 set at 30 on I/o is unity gain, and I admittedly confused the wording. |
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Post by M57 on Aug 28, 2016 13:47:00 GMT -6
I do know for a fact that the Wa76 set at 30 on I/o is unity gain, and I admittedly confused the wording. Cool - I have one of those too, and that's good to know. I dunno guys - Maybe we do need a WA tutorial/fanboy thread - We've definitely succeeded in hi-jacking this one.  |
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Post by ragan on Aug 28, 2016 14:53:00 GMT -6
I think we might be making this a lot more complicated than it is. On the WA-2a, turn the gain reduction up until you like the sound, then put the output gain where you want the print level to be. BOOM.
If you adjust the pre-emphasis, you'll have to adjust the GR too but it's still about the simplest type of compressor there is. Don't overthink it.
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Post by M57 on Aug 28, 2016 17:26:41 GMT -6
I think we might be making this a lot more complicated than it is. On the WA-2a, turn the gain reduction up until you like the sound, then put the output gain where you want the print level to be. BOOM. If you adjust the pre-emphasis, you'll have to adjust the GR too but it's still about the simplest type of compressor there is. Don't overthink it. It may be simpler than we're making it, but it's more complicated than you suggest. If you turn the Gain Reduction up - you get No Sound if there is no Output Gain. You must start with the Output Gain at something other than 0, so where would that be? ..and how do you determine what that value is? I suggested a method. It may be crap, but.. To be fair, your method - turning knobs until it sounds right works too.. but.. |
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Post by kcatthedog on Aug 28, 2016 17:36:47 GMT -6
I am kind of with Ragan on this one, if you start with OG at 9 . Remember to that the 2a will be slower than a 76 ,for example, so perhaps better to use your ears than watch the metres anyway. Perhaps start the gain reduction at 9 as well and keep turning up till you get the sound you want ? Obviously you can by increasing your pre gain drive the input on the 2a and play with the GR and use the OG to drive your actual recording level on your daw channel ?
I have been tracking vox for 2 days running my 2a into my 76. Yes, I was aware of the metres but I paid more attention to the sound, liking the way I could lift and control parts of my vocal that would normally get lost.
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Post by Guitar on Aug 28, 2016 17:39:17 GMT -6
I don't know if the hardware is different to the software, but the UAD LA2A is one of the easiest compressors I have ever operated.
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Post by M57 on Aug 28, 2016 17:57:10 GMT -6
if you start with OG at 9.. OK, now we're getting somewhere. I will agree that it's easy. I'm not saying it isn't, but some general 'rule' of thumb starting points or approaches that help speed up and make sense of the process is what we're talking about.. Something more than - just turn knobs until it sounds good. The various meter settings are there for a reason - The meter may not be necessary, but it is certainly helpful; otherwise the pros would buy the product that didn't have one. |
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Post by ragan on Aug 28, 2016 18:46:18 GMT -6
I think we might be making this a lot more complicated than it is. On the WA-2a, turn the gain reduction up until you like the sound, then put the output gain where you want the print level to be. BOOM. If you adjust the pre-emphasis, you'll have to adjust the GR too but it's still about the simplest type of compressor there is. Don't overthink it. It may be simpler than we're making it, but it's more complicated than you suggest. If you turn the Gain Reduction up - you get No Sound if there is no Output Gain. You must start with the Output Gain at something other than 0, so where would that be? ..and how do you determine what that value is? I suggested a method. It may be crap, but.. To be fair, your method - turning knobs until it sounds right works too.. but.. Heheh. Yes. If the output gain is all the way down, you won't get any output. I just mean that your only control over sonics/behavior is that GR knob. Turn that thing until you like what you hear and then adjust the output to where you want it. Done! |
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Post by Deleted on Aug 28, 2016 19:54:30 GMT -6
Aside from the plugins I make, I'm still as active doing recordings as time allows. And as a classical guy, I'm very much in the minority here. So the mics I lust after will likely be very different from the mics many of you know. Take that as an appropriate caution. I added a pair of Schoeps MK2 capsules (CMC6 bodies) to my kit this summer. For those that don't know them, these are omnis and are perhaps the flattest and quietest mics I've ever used. Studio mics are often 'character' mics of one sort or other--and they have to be. You've got to reduce that rattle in a singer's throat. Or there's that guitar cab pushing 120dB that destroys any mic you put in front of it. But sometimes you want a mic that doesn't seem to be there at all--something that provides a true and faithful account of what happened in the room. Man oh man, but those Schoeps really do it! I just need a few more. Then I'll stop. I promise ;-)
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Post by Guitar on Aug 28, 2016 19:56:31 GMT -6
Classical recording is my fantasy dream gig, I love hearing about it. Probably very little of my gear would be appropriate.
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Post by Deleted on Aug 28, 2016 20:09:00 GMT -6
Classical recording is my fantasy dream gig, I love hearing about it. Probably very little of my gear would be appropriate. Recording of any type (done well) is always hard and takes a lot of experience. That's true whatever style you're talking about. The sort of classical I do is almost always location stuff. The challenge there is in sizing up the room, finding out what's going to be played, and then making decisions you can live with. So decisions about mic choice and placement often require a real gut check--as well as consideration of sight lines and such. I suppose it's sort of a high wire act (except that you don't die if you fall off the wire). I have a good friend who's recorded large symphonies for years. These days it's not unusual for him to hang 50 mics. For me, it's perhaps 3 mics up to a half dozen or so. Having a small car imposes a sort of discipline. But it's so much fun when there's a good performance and your recording gives that a chance to reach a larger audience. |
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Post by jcoutu1 on Aug 28, 2016 20:30:44 GMT -6
But it's so much fun when there's a good performance Isn't this the truth. I mixed a jazz gig tonight and the players were stellar. Easiest gig of the year for me and spent most of the night just listening. |
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Post by Deleted on Aug 28, 2016 20:33:04 GMT -6
But it's so much fun when there's a good performance Isn't this the truth. I mixed a jazz gig tonight and the players were stellar. Easiest gig of the year for me and spent most of the night just listening. Don't you enjoy those reminders of why you got into this in the first place? |
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Post by ChaseUTB on Aug 28, 2016 21:41:18 GMT -6
if you start with OG at 9.. OK, now we're getting somewhere. I will agree that it's easy. I'm not saying it isn't, but some general 'rule' of thumb starting points or approaches that help speed up and make sense of the process is what we're talking about.. Something more than - just turn knobs until it sounds good. The various meter settings are there for a reason - The meter may not be necessary, but it is certainly helpful; otherwise the pros would buy the product that didn't have one. That's why I advised to start at 50 on both knobs feeding the wa2a a healthy signal from the daw peaking around -6dbfs. With the output gain at 50 you will hear GR and with the PR starting at 50 you should see peak reduction in your meter as well! |
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Post by Bob Olhsson on Aug 28, 2016 21:52:56 GMT -6
I have a good friend who's recorded large symphonies for years. These days it's not unusual for him to hang 50 mics. For me, it's perhaps 3 mics up to a half dozen or so. Having a small car imposes a sort of discipline. But it's so much fun when there's a good performance and your recording gives that a chance to reach a larger audience. While he may hang 50 mikes, he probably only uses a tiny number in a mix. It saves hours of experimenting with placement. |
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Post by Martin John Butler on Aug 28, 2016 22:16:54 GMT -6
Great advise and suggestions guys, thanks. I'll try again tomorrow and see how it goes.
I have a friend who records the NY Philharmonic at Lincoln Center occasionally. He uses Schoeps mics all the time, but usually brings a couple of his own along for fun. Last time, he brought two cheap Chinese made knock-offs of the Neumann K84 by Guage USA, just for fun to compare. I swear, both the conductor and his boss chose the recording done with the cheap mics over the Schoeps for the record. I guess sometime's the "wrong" mic has the right sound!
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