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Post by Guitar on Feb 2, 2017 17:11:03 GMT -6
FUCK YEAH great stuff brad
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Post by drbill on Feb 2, 2017 17:15:37 GMT -6
Wow ! Implode makes me want to explode with excitement! Haha , You've got some crazy good design ideas . Neve / API / 1176 , all in one unit for the 500 series . That seems like an impossible feat but you pulled it off ! Yes , 4:1 ratio default for sure . Maybe attack to slowest and release to fastest settings as well ? I like those settings too! Also, don't forget a couple of things that you didn't see in the above video. 1 - Chroma can drive the compressor a LOT harder than that pallet did/can. 2 - Chroma supports parallel processing on the color slot, so you can blend and mix the direct to compressed signal like you can on some high end compressors. SWEET stuff!!
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Post by kilroyrock on Feb 2, 2017 21:44:35 GMT -6
This right here is what new tech brings to the market. I'm looking forward to this, and maybe one day getting a turn on the chopshop making the rounds.
And I still want the mojobox(silver bullet).
Rock.
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Post by scumbum on Feb 2, 2017 22:30:13 GMT -6
You know what would be crazy to make.....you might already be doing this ,
LA2A LA3A Distressor api 525 Fairchild 660
Emulation color modules like Implode , cover all the classic compressors so you can swap them into your mic pre , that would be insane .
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Post by BradM on Feb 4, 2017 17:30:29 GMT -6
Thanks Guitar and kilroyrock! There's a lot of "me too" products on the market. I always have been and always will be interesting in designing things that have yet to be done. scumbum - I may have to hire you. Now you are seeing the same potential I envision for this stuff. So yeah...think crazy and you might not be too far off from what I'd like to accomplish with Chroma. Brad
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Post by Johnkenn on Feb 4, 2017 21:12:31 GMT -6
"Louder Than Liftoff's "Implode" Colour is not an emulation at all, but an exact replica of the 1176 Rev F amplifier and gain-reduction circuitry pre-set to "All Buttons In" mode. " Since its not an emulation how close to a Rev F does implode sound ? You can use a 4:1 ratio correct ? Hi, It actually sounds scary close to a real 1176. I didn't have the luxury of comparing to a Rev. F model, but I can tell you this. When I was first developing Implode I bought myself a UA 1176LN and used it as a sonic reference and a means for developing a calibration procedure that worked. I was hoping to be in the 80% as good territory. After all we are talking about something that is $129 vs. $1500. However, when I started to do the A/B comparisons and really match settings by ear, what I discovered really surprised me. I was able to achieve results that I felt were virtually indistinguishable from the big guy. The compression action was not only in the ball park, but it was nearly spot on. At that point I called it good. By the way, thanks for sharing that link to the DIYRE demo video for Implode. I want to point out that those clips were made with Implode setting to the "All Buttons In" ratio, but I think many of those sounds would be more suited to the 4:1 ratio, which can be set via onboard jumpers. I personally would rather use 4:1 on bass, vocals, and guitars 9 times out of 10. Unfortunately, it seems those clips simply show how Implode sounds when you pull it out of the box, and not how it sounds if you select more musically appropriate settings. Also, it's worth noting there are trimpots onboard that let you adjust attack and release as well. So that begs the question: would you guys like to see me set Implode for 4:1 ratio as the default factory setting? I feel like I only use "all buttons in" for things like parallel drum bus. Brad Yeah - I would think more people would use it at 4:1 with the Chroma...
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Post by scumbum on Feb 11, 2017 0:56:18 GMT -6
Can you explain more about the Neve inspired mic pre ? Is it based on the 1073 ? How close to the Neve does it sound ?
Most Neve mic pres are expensive because of the parts , how did you pull it off with Chroma and keep the price tag so low ?
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Post by drbill on Feb 11, 2017 10:58:08 GMT -6
"scumbum said: Can you explain more about the Neve inspired mic pre ? Is it based on the 1073 ? How close to the Neve does it sound ? Most Neve mic pres are expensive because of the parts , how did you pull it off with Chroma and keep the price tag so low ?"
scumbum - I'll give your questions a go. Maybe Brad will see this and chime in as well.
The Chroma's N mojo amp (or the Silver Bullet's N mojo amp for that matter) is not meant to be a Neve clone. There are probably a dozen of those out there already. However, it's N mojo amp is definitely inspired by the traditional 80 series (1073/1084) mic amps. When you build a "clone" people want/expect "exact". We can't do what we want to do with either product if bound by "exact" - the 1073 (less EQ of course) would limit our design esthetic in the way we envision what Chroma (or SB) in essence "is". Not only that, but we don't really feel the need to be "exact". There are plenty of great N sonics to use without having to be a virtual clone. We both feel that people get tend to get hung up on "exact" and throw the baby out with the bathwater sometimes.
Most people who have purchased or used the LTL SB (not many have had the opportunity with Chroma yet, but it is very similar to the Silver Bullet in architecture, although somewhat different due to it's 500 format) immediately "get it" and hear the A/N relationships. Again., not a clone - but definitely a close brother - much like the Aurora or Great River mic amps which are not clones either, but which draw inspiration and vibe from the originals. In addition to the actual mojo amp circuitry itself, the "vintage" HF contour filter of the Silver Bullet which is implemented into the Chroma is a pretty amazing thing. It shapes the entire top end of the Chroma (or SB) to a VERY close contour of a vintage neve console. That open, yet rolled off sound is instantly identifiable to many. This was a super addition that Brad came up with, and I love it and use it all the time - but it is not intrinsically in a 1073 - it's the way a Neve console sounds with a bunch of 1073's and all the other associated circuitry, summing, bussing, etc. in it.
As to why some mic pre's are expensive and others not. I think that it's pretty obvious by this point with companies like Stam and Warm, that products don't HAVE to cost a fortune. Brad and I spec parts that are second to none - no compromise for cost. Add in the fact that Brad is not only a great electronics designer and intuitive audio studio engineer, but he is an uber high end mechanical engineer that has designed and built a lot of "gear" that has to go up in space and survive. A rocket scientist? One could make the argument..... At any rate, he KNOWS what he is doing, knows how to build these to exacting "military acceptable" tolerances, knows how to spec out vendors, and where to get high end parts at great prices.
A person may have a PREFERENCE of Ed Anderson Transformers over Carnhill - or vice versa - but there is no dispute that either are top notch. We won't compromise on the parts, because both Brad and I are users of these pieces, and we want nothing but the best. One reason that the Silver Bullet doesn't cost $3500-4000US is that Brad sells direct only. Cutting out the margins of both distributors and dealers. The helps a lot. If Chroma went thru a normal dealer markup scenario, it would no doubt cost north of $1500. And IMO, still be an amazing bargain, but it would preclude a lot of users from buying one - and we didn't want that. We want everyone who needs a mic amp to eventually own a Chroma.
On the Chroma, we made a difficult decision that we wanted to bring it to market for under $600. That affects Louder Than Liftoffs bottom line negatively - no doubt. But there is more than one way to make money, and we're headed into the quantity of sales over high profit margin with Chroma. There are certain price points that preclude a lot of users from buying a piece of gear. We don't all have unlimited funds to buy whatever strikes our fancy. By making Chroma an API, NEVE and a "fill in the blank with whatever you can imagine" color analog plugin box, there is no denying that Chroma is unprecedented in not only approach and workflow, but price point. We aren't fooling around with this product. It's innovative far beyond any of it's competition and it's going to sell like hotcakes if we do our jobs right.
We're looking to sell thousands of them. I think it's do-able. I think Chroma will explode and firmly put LTL on the map as a super innovative, high end, fairly priced manufacturer of incredible audio gear. Time will tell, but one thing is for certain. We have huge plans for expansion with Chroma and both Brad and I are very excited and proud of it.
Will it match your Neve, get close enough - or be better? That will be up for you to decide. But there's no real reason a mic pre needs to cost $1500-3000 dollars, and there's no reason a $599 box can't be very, very close.
PS - anecdotal - I just spent a week or so recording acoustic guitars and violin and ended up using some Chroma prototypes 98% of the time over my "normal" mic pre's. It's no slouch. It will hold it's own with the best.
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Post by BradM on Feb 11, 2017 11:59:18 GMT -6
drbill - I should hire you to do my marketing or something. You did a pretty good job. Let me see if I can clarify a couple things and add my 2 cents regarding cost/affordability. First I have to say that even if I had dealers I would never sell Chroma for $1500. That's a bit of hyperbole. But it probably would be north of $799. I personally think that's stupid money to pay for a mic preamp. I'm going to make a prediction. I think in 5-10 years time you are going to see more manufacturers selling direct and less using dealers...even some that have traditionally used dealers. Just like the internet did to established music distribution paradigms, I predict similar things will happen to pro audio gear sales. I believe more in an affiliate sales model where a "salesperson" might take a modest commission for a sales referral. I effectively do that right now with my rewards program. You make a referral to your friend and you earn points you can cash out. Here's where my company is fundamentally different than most others and why I'm able to offer a lot in the bang-for-buck department. The company is not based on a capitalist notion of annual growth and profits. It's practically Un-American of me to admit that. Rather it's based on personal drive for creative fulfillment through design and a desire to connect with and inspire other creators by sharing my talents in the form of something useful. At some point I may even consider investigating how to make LTL a non-profit. I price my products so I can cover overhead costs, pay taxes, design new products, and afford groceries, rent, and health care. I live a very simple life where I feel very fortunate to get up every morning, make myself a yummy breakfast, and walk out to my workshop (garage) in my pajamas and begin making things with my brain and my hands. I want LTL to always be a small, manageable venture where I am 100% connected with my products and customers. I don't want to be a CEO. I want to be a guy that enjoys his life doing what he loves and not a guy that has to get up 5 a.m. because it's "time to make the donus". Bill mentioned component quality. It's true. I don't really skimp on parts. I design things to be sonically and aesthetically something I'm proud of. I do, however, meticulously work on my designs to make them smarter and more cost effective to manufacture. But that never means cheaping out on anything. It does mean communicating with my vendors to understand what drives cost and making intelligent design tweaks to reduce cost. Example: the original faceplate design had a rear machined pocket for the meter, similar to what I do for the Silver Bullet. However, eliminating that pocket removed a setup change and reduced machine time, and thus cut the cost of the faceplate in half. Another thing I do to keep the cost low is build in runs of at least 100, and competitively bid multiple vendors. That allows me to get into a sweet spot for price breaks on parts and assembly. Obviously building 100 of something can be very costly. So that's why I typically take pre-orders for the initial run of each product. In exchange for being an early adopter and participating in "The Mission", I usually offer a discount or perk. So everyone wins. It's true that I do build to aerospace standards. I was at a work-related happy hour last month, and my (drunk) boss was jokingly asking if I followed company processes for engineering, procurement, and manufacturing. I totally do! I told him after working 18 years at the Mega Defense Contractor, I didn't know how to do things any other way. So the same processes I used to design spacecraft hardware are implicitly part of what I do for each and every Louder Than Liftoff product. So where does the $599 price come from for Chroma? It's simply a killer price I feel good about charging my peers regardless of cost to manufacture. Based on traditional business models the profit margin is lousy and I'm sure other manufacturers would tell me I totally suck at business. But between you and me I don't give a f*ck, nor do I care about how things are supposed to be done. F*ck Void Corp. And that's the beauty of being in charge of your own socialist rogue business. Brad
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Post by scumbum on Feb 11, 2017 17:37:16 GMT -6
You guys rule , thanks for taking the time to answer our questions . Love the donut comercial..............Time to make the Chroma , I MADE the Chroma.....
So what makes Chroma so special that its better than just using any old pair of 2 Neve or 2 api mic pres and running your mix through them ? Does it have something special in its design that sets it apart from other mic pres ? The VP28 is a 2 stage mic pre which makes things more compressed and phat . So I get the specialness of the VP28 . What makes Chroma so special that its better than using any old pair of 2 mic pres on the mix buss ?
I found on your website the mention of a "Vintage" eq boost , "The HF switch can be programmed to add the Silver Bullet’s VINTAGE filter as well".....how is this done ?
Can two Chromas be synced together to use on the Mix Buss so you get really accurate Stereo levels or Stereo compression ?
Also it hit me today.....screw all the other compressors , imagine an SSL Buss compressor color Module !
Sorry for so many questions . I'm really interested in picking up a pair of Chroma's and normally I'm only DIY because of cost but all these little features are adding up and getting me to want to spend the extra money .
The ability to switch from api to Neve , dr.bills EQ settings built into them , the color modules , I can use them as mic pres and on the mix buss to get louder mixes by shaving transients ......Chroma is looking really cool .
Also having dr.bill endorse / design / use this stuff makes me more confidant that it really can deliver the goods and its not just hype . Theres a lot of hype out there in audio gear land . If dr.bill wasn't involved I honestly probably wouldn't believe it was this good . But if he says it kicks ass , its gotta sound good ,
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Post by drbill on Feb 11, 2017 17:56:41 GMT -6
You guys rule , thanks for taking the time to answer our questions . Love the donut comercial..............Time to make the Chroma , I MADE the Chroma..... Haha!! Thanks scumbum!! You're too kind. I'm heading out for dinner and the wife's giving me that sideways look...... I'll try to answer some of your questions later when I get back.
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Post by chasmanian on Feb 11, 2017 18:23:39 GMT -6
and if you have time and feel like it, Dr. Bill, please, what do you think about it for recording vocals while accompanying myself on acoustic guitar? music styles: anything from the 20's to the present day, that I think sounds pretty.
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Post by Guitar on Feb 11, 2017 18:44:23 GMT -6
Suddenly you guys are one of my favorite pro audio companies just based on those two posts alone. I'll have to save up for a Chroma.
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Post by drbill on Feb 11, 2017 21:01:17 GMT -6
You guys rule , thanks for taking the time to answer our questions . Love the donut comercial..............Time to make the Chroma , I MADE the Chroma..... So what makes Chroma so special that its better than just using any old pair of 2 Neve or 2 api mic pres and running your mix through them ? Does it have something special in its design that sets it apart from other mic pres ? The VP28 is a 2 stage mic pre which makes things more compressed and phat . So I get the specialness of the VP28 . What makes Chroma so special that its better than using any old pair of 2 mic pres on the mix buss ? I found on your website the mention of a "Vintage" eq boost , "The HF switch can be programmed to add the Silver Bullet’s VINTAGE filter as well".....how is this done ? Can two Chromas be synced together to use on the Mix Buss so you get really accurate Stereo levels or Stereo compression ? Also it hit me today.....screw all the other compressors , imagine an SSL Buss compressor color Module ! Sorry for so many questions . I'm really interested in picking up a pair of Chroma's and normally I'm only DIY because of cost but all these little features are adding up and getting me to want to spend the extra money . The ability to switch from api to Neve , dr.bills EQ settings built into them , the color modules , I can use them as mic pres and on the mix buss to get louder mixes by shaving transients ......Chroma is looking really cool . Also having dr.bill endorse / design / use this stuff makes me more confidant that it really can deliver the goods and its not just hype . Theres a lot of hype out there in audio gear land . If dr.bill wasn't involved I honestly probably wouldn't believe it was this good . But if he says it kicks ass , its gotta sound good ,
OK. Got back and didn't get in trouble..... Re: Donuts. I can GUARANTEE that Brad's not up at 5:00A doing ANYTHING. Much less making donuts. LOL Yes, versatility is an 11 on this one. Hard to imagine much else, but.........just wait. That analog plugin colour slot is BEGGING for some innovative and cool things. Brad will beat me up if I keep going on about this.... RE: Why is Chroma better than other options? Well, because it would take at least 3+ units to do what ONE Chroma does. API pre - √ Neve pre - √ 1176 comp - √ Oh wait, never mind - Tube saturation √ No, not for this song - I need some weight - Mass Drivr√ And it goes on guys. There is more coming than you can dream up. BUT - if you are really good at dreaming, let us know. We just might give it a go. Bottom line - Chroma does what a bunch of other gear does, it does it just as well, costs less, and is way more versatile, AND it will leave more open spaces in your 500 rack, and what's not good about THAT! Chroma has Silver Bullet lineage. A lot in it is identical to the Silver Bullet. Quite a bit is different too. They are two different animals. I can't see one replacing the other. Why is Chroma better than your other fav mic pre? I dunno. I suppose I should have a preset answer for this but I don't. I CAN tell you that I used Chroma right alongside my "go to" mic pre for the last 5 years that's always plugged in with a mic and ready to go. Used Ribbons - (RCA77DX, and MJE 205) and SDC's (2 KM86's) and the Chroma kept kicking the butt of my other mic pre which came out sounding pinched and peaky around 3k compared to Chroma's API mode. It's a very sweet box. RE: the EQ. There are jumpers and switches on the PCB. Once you get your fav setting, the front panel switches will switch the EQ in and out - per band. Options : LF - Sub or Bass boost ala SB. Choice of either Sub or Bass on PCB. Set boost. HF - Three way switch. There is a preset boost where you choose a jumper setting of either Presence or Air. Then there's a 3 way switch - HF Shelf (of either Presence or Air), HF Shelf WITH Vintage, or Vintage only. Vintage is the HF filter contour of an 80 series Neve console. Originally I thought - "a preset EQ? That's dumb!" However after having the production model Silver Bullets for awhile, I've found that a lot of the time, my EQ is in about the same place for mixing and I mix through it and make adjustments to my individual instruments. So.....fingers crossed, it's going to be super cool. Kind of like hitting the loudness button was on your 70/80's Marantz receivers on your home stereo. You remember that, right??? Vintage works great for me personally (looking for a darker, vibe-ier, vintage sound a lot. Vintage + Air boost and I'm really feeling it. Presence can work very excellent on individual instruments, but I don't use it as much as air. Air is like crack cocaine. LOL Once you use it, there's never enough. You even KNOW it's too much and you keep turning right on the knob. Speaking of course of the Silver Bullet implementation. But Brad has worked HARD on this to get the EQ inter-reacting between bands like the SB does, so my hopes are high. We're still futzing around with it to get the correct "amount" that's most useful most of the time, but it's a bonus really, and I think a useful one. There's no need to "sync" two together or latch them as you might two mono compressors. They both have detented pots so that recall is easy, but there is a "tolerance" for each click of the pot. Generally they are very close, but there is always the chance that the cal might be off a tiny bit between the two at a particular setting. Consoles I've worked on have the same issues sometimes. I just deal with it. Continuously variable pots can get you almost perfect, but are not so good at recall. And we felt recall was of essence. But yeah, they are set up to use in pairs for buss or 2 buss duties. And.......happy, happy - equally good to set up for 5.1. yay!!! (of course you'd need 6 of em....) No worries on the questions. Understood - DIY is huge bang for the buck, but when you add up the cost of a pair of top notch transformers, a couple of high end discrete DOA's, a color slot, metering and the built in versatility, it's a no brainer AFAIC. But, you will still be able to DIY a BUNCH of cool Colour plugins that are super cost effective! Colour is very pro DIY. Check out DIYrecording.coom if you haven't already. Yes, again, versatility with quality sonics was a main goal for us. I'm going to send your bolded text above to Brad to make sure he remembers. LOL Thanks for the kind words. Brad and I actually USE this stuff. I got one "gratis" Silver Bullet for the idea and helping Brad with the design, but that didn't stop me from buying several more. (5 now.....maybe 6 in the future) I'll get a Chroma gratis too as part of my contract with the socialist entrepreneur, but that won't stop me from having 6-10 in my 500 racks. Hope I answered everything OK. Kind of rushing here, and you had a LOT of questions. If I missed anything, fire away with more questions. Cheers, bp
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Post by drbill on Feb 11, 2017 21:14:28 GMT -6
and if you have time and feel like it, Dr. Bill, please, what do you think about it for recording vocals while accompanying myself on acoustic guitar? music styles: anything from the 20's to the present day, that I think sounds pretty. I love the API side on Ac. Gtrs. I used KM86's as I mentioned above and got a beautiful round, but present sound. Finger picking. Dead quiet and enough gain. For vocals, I'd probably start with the Neve side and see how that worked out. Of course, you mic, voice, room, and the song may dictate otherwise, but API and Neve are the two main food groups over the last 30-40 years. Then you have the colour analog plug-in slot. Lots of options, great sonics, minimal expenditure. Re: 20's thru 40's.... The modern stuff is easy for me. Vintage retro sounding? A little trickier. I'm not sure what mics you're using, but the Chroma in API mode being fed from an RCA77DX was like hitting a time machine for me last week. Actually, it ended up being a bit dark for a very jangly set of songs with lots of high strung acoustics, mando's, and dulcimers. But man, it was like 1944 in a heartbeat. If you have good mic selections, I think you would be good to go. Good luck.
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Post by chasmanian on Feb 11, 2017 21:42:35 GMT -6
thank you Dr. Bill. this is clearly no brainer city.
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Post by scumbum on Feb 12, 2017 11:37:42 GMT -6
Well I'm sold .
Too bad you can't sync them , because you won't be able to use them as a 2 Buss compressor ?
The plan is to use them on Neve mode with Overheads (HF boost) , then Neve Mode on Vocals (HF Boost) and Neve mode Mix Buss (HF Boost) . If I do it right I'm guessing I'm gonna end up with a really nice top end on my mixes . That little EQ feature is really what makes Chroma more desirable than other mic pres .
Then of course come mix time using the color modules too . 1176 on EVERYTHING........
Probably use the Pentode module on the mix buss , that might be the most awesome thing right there .
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Post by BradM on Feb 12, 2017 11:59:05 GMT -6
Well I'm sold . Too bad you can't sync them , because you won't be able to use them as a 2 Buss compressor ? It's not Chroma that would need to provide linking (I'm pretty sure you are talking about stereo link). It's the Colour modules that would need to be able to do that. Chroma will be calibrated for unity gain on both the "A" and "N" Mojo Amps. There are little trimpots that adjust the gain. This allows you to seemlessly switch between "A" and "N" without level shifts. There might be some pot tolerance due to the detents (41 detents by the way) between two modules. In that case I'd just use a trim plugin in your DAW before or after Chroma to compensate for the difference. You are probably talking tenths of a dB. Brad
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Post by kcatthedog on Feb 12, 2017 12:03:28 GMT -6
What if your 500 chassis has a link function ?
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Post by BradM on Feb 12, 2017 15:51:23 GMT -6
Hi Matt,
That wouldn't do anything because the Colour module itself has no provision to get the "link" signal from the 500 series interface. All of the 8 pins on the Colour connector are already accounted for. And there is nothing on Chroma itself that can be linked since it's not a compressor with a sidechain.
Brad
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Post by Johnkenn on Feb 12, 2017 15:52:31 GMT -6
So Brad, what do you think would be the best option/most useful for the color card?
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Post by scumbum on Feb 12, 2017 16:33:06 GMT -6
Hi Matt, That wouldn't do anything because the Colour module itself has no provision to get the "link" signal from the 500 series interface. All of the 8 pins on the Colour connector are already accounted for. And there is nothing on Chroma itself that can be linked since it's not a compressor with a sidechain. Brad How about if you make the SSL buss comp with an extra connector on the color module pcb that lets you link the two color modules . Have a Master , Slave jumper on the pcb as well . Then pull an apple and have the cable be special and only sold through you and that should pay for the extra headache of developing two modules that can be linked .
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Post by BradM on Feb 12, 2017 16:43:16 GMT -6
What flavor ice cream do you like? I think I can better answer that question if you tell me a little more about the application? What do you think would make your life easier for tracking or bus processing? EQ? Compression? Saturation? Here's what LTL offers in the way of analog plugin modules right now: Equalization: Rogue-Tec Air - Pultec HF shelving boost FET Filter - FET buffered filter set including HPF / low shelf cut, and midrange boost/cut EQ Compression: Implode - 1176 limiting amplifier with 4:1 and all-buttons-in ratios Saturation: Pentode - sweet subminiature tube for harmonic enhancement and fattening Mass Drivr - API 325 style line amp with vintage flavored 2520 driving a steel core transformer I hate to say it, but they are all kind of rad. Personally I intend to set up my Chromas for tracking channels with with either FET filter configured as a variable 330 Hz midrange cut filter or Rogue-Tec Air configured as a variable top end boost. Instant clarity...just two different ways to get there. If I were using Chroma on a drum submix I'd definitely load up a pair of Implodes set to all-buttons-in and then blend in a totally smashed signal with the dry signal using the C-MIX knob. On a bass subgroup I'm pretty sure I'd use Mass Drivr to push hard into the transformer and create distortion and use the C-MIX knob to blend the dry signal back in. There are so many super delicious combinations with this thing. And the best part is that I'm going to keep designing rad Colour modules, so it's just going to get even more versatile. Brad
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Post by Deleted on Feb 12, 2017 17:45:50 GMT -6
Hi Matt, That wouldn't do anything because the Colour module itself has no provision to get the "link" signal from the 500 series interface. All of the 8 pins on the Colour connector are already accounted for. And there is nothing on Chroma itself that can be linked since it's not a compressor with a sidechain. Brad How about if you make the SSL buss comp with an extra connector on the color module pcb that lets you link the two color modules . Have a Master , Slave jumper on the pcb as well . Then pull an apple and have the cable be special and only sold through you and that should pay for the extra headache of developing two modules that can be linked . Might have got the wrong end of the stick here - I stuck this on another thread, but would this do the trick - 500 rack with built in summing mixer? When I saw it I thought of chroma. www.production-room.com/product-details/Radial-Workhorse-Power-Rack
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Post by Guitar on Feb 13, 2017 7:46:30 GMT -6
If you can get a Fairchild 660 in there I don't even need stereo link! Haha, just tugging your leg.
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