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Post by rowmat on Jan 30, 2017 14:02:22 GMT -6
I'm very sorry to hear that... Yikes... 3 mill upfront.... I would want to live in that factory or be present every step of the way.. Plus for 3 mill I'm having my own supervisor supervise their supervisors, that's a super vision 😂 Apparently they had a guy on the ground in China. Don't know whether he was part of the scam or not. It probably wasn't a complete scam as such, more like the original manufacturer thought it would save money (ie. increase its margin) by subcontracting out the work to another company who made them (unsuccessfully) for a cheaper price. Bribery is rampant over there and most involved in any kind of business dealings expect to be paid off in way that we see as corrupt but they see as a normal business practice. Even the business trip I was on in Hong Kong and Macau to demonstrate door access control systems to the burgeoning casino market involved an Australian government appointed Chinese national trade offical taking me out to dinner and offering me special one-on-one meetings with Chinese building companies that he would arrange to buy our product provided he personally received a secret 20% commission on all sales. The reality was our products were not suitable for the clients he was intending to set me up with yet he didn't seem the least bit bothered. All he was worried about was getting the commission payments (bribes). After the dinner I thanked him and flew home. I contemplated whether I should report him to the Australian Trade Commission for attempting to solicit bribes and was told not to bother because everybody does it in China and that's 'how they roll'. Doing business in China can be like tap dancing on a minefield. You need to be able to tap dance really well and pay someone to tell you where the mines are.
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Post by sozocaps on Jan 30, 2017 16:40:00 GMT -6
The STAM 87 is the one which interests me with the Heiserman capsule....
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Post by Vincent R. on Jan 30, 2017 19:14:47 GMT -6
The STAM 87 is the one which interests me with the Heiserman capsule.... I'd love to hear a head to head with the SA87, WA87, and a vintage U87.
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Post by Deleted on Jan 31, 2017 17:10:29 GMT -6
The STAM 87 is the one which interests me with the Heiserman capsule.... I want to see more love for the 67 / 47.. An SA-67 or WA-67 would be a welcome addition..!
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Post by ragan on Jan 31, 2017 17:14:39 GMT -6
Just grab the MaxMod U67! You're obsessed with U67s, dude. I know, because I can recognize my own disease in another
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kcatthedog
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Post by kcatthedog on Jan 31, 2017 17:15:58 GMT -6
I'm down !
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Post by Vincent R. on Jan 31, 2017 17:35:18 GMT -6
Just grab the MaxMod U67! You're obsessed with U67s, dude. I know, because I can recognize my own disease in another Mine should get here this week. We may need to start a support group.
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Post by Deleted on Feb 1, 2017 8:07:47 GMT -6
Just grab the MaxMod U67! You're obsessed with U67s, dude. I know, because I can recognize my own disease in another I'm listening, what's involved / any links? Hopefully I can get it in time to compare against a real precious *Cough* I mean U67.
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kcatthedog
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Post by kcatthedog on Feb 1, 2017 8:35:19 GMT -6
Go to group diy microphones and find the thread, but Max makes a drop in replacement .
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Post by ragan on Feb 1, 2017 10:20:47 GMT -6
Just grab the MaxMod U67! You're obsessed with U67s, dude. I know, because I can recognize my own disease in another I'm listening, what's involved / any links? Hopefully I can get it in time to compare against a real precious *Cough* I mean U67. Yeah check the threads about it. It takes a TLM67 or U87ai and turns it into a U67 They already have the same capsule/jeadbasket/body. This is the full, 1:1 U67 circuit that you swap in with a few screws. Reversible too, you can go back and forth. Don't you already have a U87ai? For a grand, you could also have a U67
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Post by Vincent R. on Feb 1, 2017 16:50:25 GMT -6
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Post by Deleted on Feb 1, 2017 17:27:50 GMT -6
Thanks for the info.. I've just found something might amusing, y'know I've been banging on about Superlux (Samson) mic's lately? Well turns out they do a U67(ish) clone as well. Superlux CM-H8D, found them for sale here and they are going for around £230.00. They cost double that in the US (around $560.00) for reasons unknown. *Giggles*
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Post by ericn on Feb 1, 2017 17:59:53 GMT -6
Thanks for the info.. I've just found something might amusing, y'know I've been banging on about Superlux (Samson) mic's lately? Well turns out they do a U67(ish) clone as well. Superlux CM-H8D, found them for sale here and they are going for around £230.00. They cost double that in the US (around $560.00) for reasons unknown. *Giggles* Cough I might know where there's a used one for $150😎
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Post by Deleted on Feb 1, 2017 19:11:21 GMT -6
Thanks for the info.. I've just found something might amusing, y'know I've been banging on about Superlux (Samson) mic's lately? Well turns out they do a U67(ish) clone as well. Superlux CM-H8D, found them for sale here and they are going for around £230.00. They cost double that in the US (around $560.00) for reasons unknown. *Giggles* Cough I might know where there's a used one for $150😎 Hmm, as in you're selling one or you've found one? Please do tell if they're any good, I'd rather avoid adding another mic to my junk draw..
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Post by aamicrophones on Feb 1, 2017 19:41:44 GMT -6
If this mic was labelled as something else other than 87... I wouldnt write anything. It doesn't sound anywhere near as good as my U87. Does it sound good for the price it is... thats where the name thing comes in for me....possibly. It sounds to me, not unlike lots of other Neumannalikeish capsules I have heard. I hope its successful, and people record lots of great music that makes them happy. A U87i it is not though. cheers Wiz I tend to agree but, I'm waiting to get one in my hands before passing Judgement and as much hope as I have based on everything else Warm figure at some point it will end up in the hands of Shannon who will make it something very special.
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Post by ericn on Feb 1, 2017 19:47:35 GMT -6
Cough I might know where there's a used one for $150😎 Hmm, as in you're selling one or you've found one? Please do tell if they're any good, I'd rather avoid adding another mic to my junk draw.. I don't own it but I know of a Pawn shop that has one, I might have Have misquoted the price but I'll stop out and see if it's still there send me a PM!
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Post by aamicrophones on Feb 1, 2017 19:55:17 GMT -6
I tend to agree but, I'm waiting to get one in my hands before passing Judgement and as much hope as I have based on everything else Warm figure at some point it will end up in the hands of Shannon who will make it something very special. According to Warm AUDIO and the clips I heard of the WA87, Bryce was going after an original U87 made before 1988 and not the later AI version. The AI is brighter because of the increased polarization voltage on the capsule plus the AI has more output and the 2nd harmonic distortion starts earlier. The U87AI polarizes the capsule at 60v while in he original U87 the polarization voltage is down around 47 volts. I couldn't tell the difference between the Warm 87 and the original U87 used in the shootout I heard??? The ones made before 1988 without the DC to DC converters always sound mellower to my old ears. Cheers, Dave Thomas aamicrophones.com
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Post by Vincent R. on Feb 1, 2017 21:40:55 GMT -6
According to Warm AUDIO and the clips I heard of the WA87, Bryce was going after an original U87 made before 1988 and not the later AI version. The AI is brighter because of the increased polarization voltage on the capsule plus the AI has more output and the 2nd harmonic distortion starts earlier. The U87AI polarizes the capsule at 60v while in he original U87 the polarization voltage is down around 47 volts. I couldn't tell the difference between the Warm 87 and the original U87 used in the shootout I heard??? The ones made before 1988 without the DC to DC converters always sound mellower to my old ears. Cheers, Dave Thomas aamicrophones.com Hey Dave, Good to see you here. I talk about your mics quite a bit here. Welcome. -Vincent
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Post by ericn on Feb 1, 2017 22:07:22 GMT -6
According to Warm AUDIO and the clips I heard of the WA87, Bryce was going after an original U87 made before 1988 and not the later AI version. The AI is brighter because of the increased polarization voltage on the capsule plus the AI has more output and the 2nd harmonic distortion starts earlier. The U87AI polarizes the capsule at 60v while in he original U87 the polarization voltage is down around 47 volts. I couldn't tell the difference between the Warm 87 and the original U87 used in the shootout I heard??? The ones made before 1988 without the DC to DC converters always sound mellower to my old ears. Cheers, Dave Thomas aamicrophones.com Dave thanks for coming to our corner of the net & THANKS FOR BEING A CLASS ACT ! We love it when a manufacturer comes and rather than being passive agaresive actually will admit he likes a compeditors product! Oh if only the rest of the world would learn from that!
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Post by aamicrophones on Feb 1, 2017 23:50:26 GMT -6
Hi thanks, I have a Warm Audio WA76 and a lovely UREI 1176F and I couldn't tell you which is which when I feed them from the same signal; then bring them back up on two channels of the MXP3036.
I have been using 1176 compressors since they came out in 1968.
We had 3 of them in the concert PA system and I remember using one as a +8dbm Line Level "booster" to send the output of Led Zepplin's 6 channel mixer to the Altec House system in Vancouver late 1969.
I think Bryce did an amazing job choosing the WA 76 input transformer and re-designing the circuit board to be more ergonomic. Plus the WA76 has brand new 1% resistors and 5% capacitors.
The WA76 is Class "A" while the 1176F has a balanced IC input stage and Class A/B output stage but they were more stable. It takes a bit of finessing to get an older 1176LN or an early 1176D to settle in.
However, Bryce has build a more stable 1176D class "A" version with very high tolerance components for an incredible price.
It has the transformer input stage the Class A output stage but improved "detection" circuit of the 1176F. I can't even buy an 1176 kit and built it for that price.
When I bought the pair of 1176F compressors for Ocean Sound studios they were about $400 each. I once bought a box of 3-1176 compressor "as is" for $250 but those days are long gone.
It took the longest to get the older 1176LN to operate properly and the other two were 1176D models.
I want a pair of the Warm Audio Pultec type tube EQ's next. I used to have a pair of real Pultec EQ at Ocean Sound and we just loved them.
Has anybody tried Bryce's version. I talked to a few clients in Nashville last June at the NAMM show that loved theirs.
I also have 4-URIE LA4 compressors that I have completely re-built in my studio.
You have to be a bit of a DIY guy and source adapter sockets from JLM Audio so you can fit two OP275 IC's in each of the 3 sockets.
Upgrade the 4-filter capacitors, and change out all the tantalum capacitors in the audio chain for new ones, clean the switches and pots then calibrate it.
The Silver face LA4 kind of "suck a bit" with the original 4136 IC which had a slew rate of <1 (very, very slow).
The OP275 has a slew rate of 22 and an output impedance nearly 10 times lower than the 4136. An upgraded Silver Face is now superior to a stock Black Face.
I often prefer their lower 2:1 compression rate when cutting vocals but the LA4 also has selectable 4:1, 8:1, 12: and 20:1. The 1176 has 4:1 as its lowest setting which I like to save for the mix.
The LA2a tube compressor has a fixed 2:1 ratio and its also a favourite on vocals. These optical compressors have a slow attack and an instinctive release that changes with gain reduction.
I like to having a vocal compressor in the chain on the way to the recording medium but I want it to do as little damage to the transients as possible.
It was a great privilege for me to work last year with my friend Malcolm Toft on our MT8016 preamp design based on Malcolm & Chris Potter's Trident Series 80 microphone preamp.
I also got some great advice on the preamp build from my friend Tom Graefe who designed the Sony MXP3036 console and makes a killer boutique tube guitar amp.
Tom and Malcolm both (in my experience) tend to build well thought out designs that are musician, engineer and producer friendly. I just love talking with them about circuits and audio in general.
I just received a TLM103 which we will now use in the studio as the reference microphone for all our sound clips.
Next week we plan to record some tracks comparing the TLM103 to our CM87, CM414 and the new CM48T 3-pattern tube microphone.
Cheers, Dave Thomas aamicrophones.com
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Post by topshelfmg on Feb 2, 2017 1:22:41 GMT -6
Hi thanks, I have a Warm Audio WA76 and a lovely UREI 1176F and I couldn't tell you which is which when I feed them from the same signal; then bring them back up on two channels of the MXP3036. I have been using 1176 compressors since they came out in 1968. We had 3 of them in the concert PA system and I remember using one as a +8dbm Line Level "booster" to send the output of Led Zepplin's 6 channel mixer to the Altec House system in Vancouver late 1969. I think Bryce did an amazing job choosing the WA 76 input transformer and re-designing the circuit board to be more ergonomic. Plus the WA76 has brand new 1% resistors and 5% capacitors. The WA76 is Class "A" while the 1176F has a balanced IC input stage and Class A/B output stage but they were more stable. It takes a bit of finessing to get an older 1176LN or an early 1176D to settle in. However, Bryce has build a more stable 1176D class "A" version with very high tolerance components for an incredible price. It has the transformer input stage the Class A output stage but improved "detection" circuit of the 1176F. I can't even buy an 1176 kit and built it for that price. When I bought the pair of 1176F compressors for Ocean Sound studios they were about $400 each. I once bought a box of 3-1176 compressor "as is" for $250 but those days are long gone. It took the longest to get the older 1176LN to operate properly and the other two were 1176D models. I want a pair of the Warm Audio Pultec type tube EQ's next. I used to have a pair of real Pultec EQ at Ocean Sound and we just loved them. Has anybody tried Bryce's version. I talked to a few clients in Nashville last June at the NAMM show that loved theirs. I also have 4-URIE LA4 compressors that I have completely re-built in my studio. You have to be a bit of a DIY guy and source adapter sockets from JLM Audio so you can fit two OP275 IC's in each of the 3 sockets. Upgrade the 4-filter capacitors, and change out all the tantalum capacitors in the audio chain for new ones, clean the switches and pots then calibrate it. The Silver face LA4 kind of "suck a bit" with the original 4136 IC which had a slew rate of <1 (very, very slow). The OP275 has a slew rate of 22 and an output impedance nearly 10 times lower than the 4136. An upgraded Silver Face is now superior to a stock Black Face. I often prefer their lower 2:1 compression rate when cutting vocals but the LA4 also has selectable 4:1, 8:1, 12: and 20:1. The 1176 has 4:1 as its lowest setting which I like to save for the mix. The LA2a tube compressor has a fixed 2:1 ratio and its also a favourite on vocals. These optical compressors have a slow attack and an instinctive release that changes with gain reduction. I like to having a vocal compressor in the chain on the way to the recording medium but I want it to do as little damage to the transients as possible. It was a great privilege for me to work last year with my friend Malcolm Toft on our MT8016 preamp design based on Malcolm & Chris Potter's Trident Series 80 microphone preamp. I also got some great advice on the preamp build from my friend Tom Graefe who designed the Sony MXP3036 console and makes a killer boutique tube guitar amp. Tom and Malcolm both (in my experience) tend to build well thought out designs that are musician, engineer and producer friendly. I just love talking with them about circuits and audio in general. I just received a TLM103 which we will now use in the studio as the reference microphone for all our sound clips. Next week we plan to record some tracks comparing the TLM103 to our CM87, CM414 and the new CM48T 3-pattern tube microphone. Cheers, Dave Thomas aamicrophones.com Welcome Dave! I don't know if I've been on GS since I was shown this site, haha. I also wanted to briefly state that if you are in the market for an original U87 style microphone you may want to check out one of Dave's CM87s or CM87SEs. He recently sent me a test between a well maintained and serviced original U87 and his CM87 (or was it the CM87se Dave?), that was sent as a stereo file with the U87 being the left channel and the CM87 being the right channel. When I split the audio into two mono tracks, I thought I had made an error and that I had accidentally loaded in two of the exact same files! It wasn't until I flipped the phase 180 on one of the tracks that I was sure they were two different files / microphones playing back. And there wasn't a whole lot left over when the polarity was flipped, for the record. His CM67se is also my favorite microphone that I own. As for the Warm Audio Pultec clones, the EQP-WAs, I have a pair with a gain pot added to the back for better matching when used for stereo applications, and though I do not have an original Pultec EQP-1A, they certainly beat out any plugin I've heard modeled after them, that's for sure. They have served me very well for the price. Chad at Warm Audio explained that some have said the original Pultecs having more of a "transformer sound", and the Warm Audio version having more of a "tube sound" saturation wise, though this is apparently very subtle. Hope this helps.
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Post by kcatthedog on Feb 2, 2017 3:14:36 GMT -6
I characterized my wa-eqp's as smooth and glassy, not in a brittle sense but in the good sense of adding dimensionality : after all theyare flat from like 40-50k cycles
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Post by Martin John Butler on Feb 2, 2017 9:21:06 GMT -6
Hi Dave, welcome to the forum.
My Warm EQP-1A is on every take I do now. Even if I don't use any EQ, I run it through. It applies a subtle sheen that gets you closer to a more finished sound. I hate to call it polished, because sometimes great music doesn't need "polishing", but I mean it in the way a well recorded album post mastering has a certain smooth balance. The EQP-1A is glorious in the low end, just sweeeeet. In the high end, it works fine, but the magic happens in the low end, at least in my tracks so far.
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Post by Guitar on Feb 2, 2017 19:05:14 GMT -6
I can't figure out how to stay subscribed to threads. I missed most of this, and a lot of it is good stuff.
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Post by Martin John Butler on Feb 2, 2017 20:13:41 GMT -6
Up on top to the right, click on Actions, then add "BOOKMARK". Anytime you're at Real Gear, look up on top where it says Bookmarks, click there, and you'll see all of your subscribed threads. The bookmark heading will also show you if there are any new posts . Hope that helps.
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