|
Post by tonycamphd on Feb 13, 2014 16:40:43 GMT -6
Ok, I gotta ask, What does GAS mean?
|
|
|
Post by Johnkenn on Feb 13, 2014 16:52:08 GMT -6
Gear Acquisition Syndrome
|
|
|
Post by tonycamphd on Feb 13, 2014 17:18:08 GMT -6
Gear Acquisition Syndrome Ahhh, yup.., I got that!
|
|
|
Post by popmann on Feb 13, 2014 19:01:30 GMT -6
Admission is the first step to recovery.
|
|
|
Post by popmann on Feb 22, 2014 17:22:19 GMT -6
See the "i need help" thread with the collab....one of the two clock outputs is 10cent flat. That's not confidence inspiring. As I'm sitting there going "how did they record an obviously sampled piano 10cent flat"?...it occurs to me, the Burl is now clocking my system. And, this really puts a whole new spin on the comparisons. I mean, I guess...it was clock for the whole thing...so, both playback and recording were flat, therefore still relatively in tune, but...wow...I've never owned anything whose clock was "off"--and definitely not one that one port was off and the other on. That doesn't even make sense to me how that's possible.
Still, I thought I'd bump this to ask how other Burl users ARE clocking...? Are you just using the AES/SPDIF to clock...or using the word clock? Which also begs the question...if you use external instruments...have you noticed any instability in tuning?
|
|
|
Post by RicFoxx on Feb 22, 2014 19:09:31 GMT -6
See the "i need help" thread with the collab....one of the two clock outputs is 10cent flat. That's not confidence inspiring. As I'm sitting there going "how did they record an obviously sampled piano 10cent flat"?...it occurs to me, the Burl is now clocking my system. And, this really puts a whole new spin on the comparisons. I mean, I guess...it was clock for the whole thing...so, both playback and recording were flat, therefore still relatively in tune, but...wow...I've never owned anything whose clock was "off"--and definitely not one that one port was off and the other on. That doesn't even make sense to me how that's possible. Still, I thought I'd bump this to ask how other Burl users ARE clocking...? Are you just using the AES/SPDIF to clock...or using the word clock? Which also begs the question...if you use external instruments...have you noticed any instability in tuning? Yeah...Especially when I sing thru it! Joking aside, I havent noticed but that doesn't mean a whole lot. I guess the best way to check it would be to mult a vocal thru each channel of the Burl and my Symphony and compare...I could check pitch and latency.
|
|
|
Post by popmann on Feb 22, 2014 19:58:03 GMT -6
Yeah...I don't know that a mult would test this...it would the latency....FWIW--it's 37 samples slower than my RME at 88.2. So, I just have that offset in Cubase now. That's not really a concern unless I start using it AND the RME simultaneously on a multi mic'd thing...
It's fine now...with one of the two WC outputs. The other one is flat. Which is FUCKED up...I mean...I could see there being a disconnected something inside and the second not working AT ALL...but, simply being 10 cents flat (whatever that works out to be in clock drop) is weird. Why on earth would THAT be?
So, how are you configured?
I'm set up here with the RME Multiface as the interface to computer. SPIDF out to the Benchmark DAC1 for monitors....and now WC and SPIDIF IN from the Burl....RME slaved to WC. It seems to just be this one of two WC outs that's wonky. Benchmark completely resamples the input to 110khz or something anyway--no matter what it's fed by anything. Their ADC works the same way, except it's 220khz. I really did want to try theirs, but no one in town had one...
|
|
|
Post by Johnkenn on Feb 22, 2014 22:34:01 GMT -6
See the "i need help" thread with the collab....one of the two clock outputs is 10cent flat. That's not confidence inspiring. As I'm sitting there going "how did they record an obviously sampled piano 10cent flat"?...it occurs to me, the Burl is now clocking my system. And, this really puts a whole new spin on the comparisons. I mean, I guess...it was clock for the whole thing...so, both playback and recording were flat, therefore still relatively in tune, but...wow...I've never owned anything whose clock was "off"--and definitely not one that one port was off and the other on. That doesn't even make sense to me how that's possible. Still, I thought I'd bump this to ask how other Burl users ARE clocking...? Are you just using the AES/SPDIF to clock...or using the word clock? Which also begs the question...if you use external instruments...have you noticed any instability in tuning? Oh - you got the Sara Evans Edition...10 cents flat... I'll be here all week...tip your waiters...
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 23, 2014 2:50:09 GMT -6
Yeah...I don't know that a mult would test this...it would the latency....FWIW--it's 37 samples slower than my RME at 88.2. So, I just have that offset in Cubase now. That's not really a concern unless I start using it AND the RME simultaneously on a multi mic'd thing... It's fine now...with one of the two WC outputs. The other one is flat. Which is FUCKED up...I mean...I could see there being a disconnected something inside and the second not working AT ALL...but, simply being 10 cents flat (whatever that works out to be in clock drop) is weird. Why on earth would THAT be? So, how are you configured? I'm set up here with the RME Multiface as the interface to computer. SPIDF out to the Benchmark DAC1 for monitors....and now WC and SPIDIF IN from the Burl....RME slaved to WC. It seems to just be this one of two WC outs that's wonky. Benchmark completely resamples the input to 110khz or something anyway--no matter what it's fed by anything. Their ADC works the same way, except it's 220khz. I really did want to try theirs, but no one in town had one... Man, this is interesting. I just try to imagine how something like this can happen, from the technical point of view, i mean, the different WC outs should get the signal from the same clock circuit, maybe they have each a buffer on their own (unlikely?) but different speeds are hard to explain anyhow? If someone has an idea how to explain such a phenomenon, i am very interested.....
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 23, 2014 3:00:09 GMT -6
The only idea i have is, that there is something wrong with the WC signal quality of the second WC out of the AD and RME's special PLL circuit makes a funny thing out of it...?
|
|
|
Post by popmann on Feb 23, 2014 19:03:47 GMT -6
Yeah--RME factors in...I've been able to recreate it now. It was fine all day yesterday on the "other" WC port. THis morning? Fine. So, I switched back....STILL fine...but, then I left it to take a long phone call--came back, we were flat. Back to the "other" port--back in tune.
So, it has to do with the computer sleeping, maybe...coming from sleep to renegotiate "best sync"?
Burl called this morning--they'd never heard of anything like this so I just said it could wait for Monday. I have a workaround--plug into the other WC port. Now, I got to play with it...if it has to do with power management on the computer...it's an RME call. But, if it's power management AND one of two ports...I need to know what's different about the two. That SHOULD be two of the exact same things.
|
|
|
Post by popmann on Feb 23, 2014 23:24:12 GMT -6
Can't replicate it again...I can with that file of Cowboy's....but, not with any test tones. So, I'm gonna call them in the morning and say I must be going crazy. Maybe it's just a combination of things--I broke out the strobe tuner, plugged in a mic and set it in the middle of the room---found that most of the patches on the Kronos are 3-4cents sharper than the hammond and DAW test tone....so, that WAS what I went to when I first heard an issue--walked over to the Kronos and banged on a root...so, if it's a tad sharp--file's intonation a few flat...and maybe some tiny amount of clock variation add a few...
I honestly don't think the organ sounds in tune listening to the track. I mean, it's "ok" because there's such a wide variance between the chorus generator and Leslie spinning...but, when I listen to the mix...I still don't think that's how the Hammond has ever sounded on my own stuff...or stuff I've cut for other people.
It's actually a bit of a mind F...what IS in tune...? And I'm still pissed there's no varispeed in Cubase...this would've all gone completely through had I been able to simply vary the clock enough to make it in tune with the Hammond...cut it...move on...it sucks to have two absolute, unvariable pitches that can't move. You can't tune a Hammond...so if something's recorded out...I'm F'kd? Have to use a fake Hammond?
|
|
|
Post by popmann on Feb 27, 2014 21:41:27 GMT -6
Rock guitar tonight...set the calibration down....ride hard...literally comes back better than the analog cue going in. Like tape did. I really dont' DO that much rockin' guitar....but, hell I might have to START....
|
|
|
Post by RicFoxx on Feb 28, 2014 7:05:53 GMT -6
Rock guitar tonight...set the calibration down....ride hard...literally comes back better than the analog cue going in. Like tape did. I really dont' DO that much rockin' guitar....but, hell I might have to START.... This happens for me to...a great rock n roll box!!!
|
|
|
Post by roundbadge on Mar 2, 2014 19:12:13 GMT -6
my MS still killing it here. still clocked to Antelope 10M. I just fine tuned my output [DA] calibration to my api console..dropped all the DA about -3 db. seems to be hitting the consoles sweet spot IMO. cant believe how good the tracks coming back on the console are sounding. I also feel like I can hit gtrs a little harder and the Burl circuit seems to be rinsing out some of the upper mid harsh crap I've fought with the Avid/Apogee convertors a bit before. I also suggest trying the Littlelabs redcloud for attenuation.had the atty and it did alter the sound more than the LLabs box.
|
|
|
Post by popmann on Mar 3, 2014 9:38:23 GMT -6
I found it higher...9khz to be specific. I could get more cancellation by pulling a bell out centered at 9khz (from the rme)...but, then of course the RME sounded like muted garbage, so that wasn't fair. --but, it certainly working on that "low treble" range. Doing something. It's not as simple as cutting...it's likely a dynamic thing--like removing 9khz for over X dynamic level--this the tape comparisons. It allows transient THUMP without any accompanying fizzle or scratch...no where better than condenser on a bright bass amp--still bright...but, not much in the way of clickity clackity that typically gets overemphasized by the LDC and (apparently) the typical line amp to an AD.
Buy, that's subtle compared to (dirty) electric guitar run into it hot. That's just....stunning.
|
|
|
Post by roundbadge on Mar 3, 2014 11:13:03 GMT -6
Yeah the 9k thing your talking about is wonderful on drum overs..cymbals in particular.smoothes em but leaves all the good shimmery bits in tact. The overall effect is uglier elements like nasty rock gtrs become prettier NOT harder harsher sounding . The result is they can live more forward in the mix w out offending /spiking the ears, a thing I've always fought with all other conversion.
|
|
|
Post by popmann on Mar 6, 2014 19:41:31 GMT -6
This is definitely eating high frequencies to some degree. And I mean higher than the area we're talking about.
That said...it's an interesting chicken/egg....what is reality scenario here....tracking Egtrs...and I literally just can't seem to make them sound bad. Chicken/egg comes in--with as a guitarist (this is my own stuff now)...I've spent over the years on such wonderful amps and axes and pickups-and to some degree, stuff to record them...and I've never had this little trouble getting them recorded. I happened to have the sm7 down...dropped in front off one--killer...ok...but, let's drop the Royer in front of the other...killer...I feel like putting the UM70, which is silly bright in front of one and see if I can get it to be shrill.
So, is this the most natural converter....and it's finally tracking my amps as they sound? Or is it working some magic on the signal that's just super kind to guitar amps?
It really does....if I had to describe it, I would say it's dulling the treble frequencies ONLY on high level transients...not overall--which leads to it not sounding muted, but the only "shrillness" that comes from high frequencies (usually) involves pick attacks or tom transients or vocal sibilance (effectively those transients)...while leaving the high frequencies that are transient related...it's not simply losing transients--clipping them, because I did a slap bass part earlier--and it's clearly peaking when I hit the bass--you can hear and see it in the waveform...but, yet, no annoying fret clicky kinds of extraneous noises.
Intriguing piece, for sure.
|
|
|
Post by roundbadge on Mar 11, 2014 21:14:36 GMT -6
for me it smoothes the highs a bit but doesnt eat them.cymbals just sound better
|
|
proxy
Full Member
Posts: 29
|
Post by proxy on Feb 19, 2020 0:50:39 GMT -6
So, I recently picked up a B2 ADC, as an alternative to my Apollo x8 AD. What I wasn’t expecting, was the subtle-but-not difference the new clock did for the Apollo overall.
I’ve just been listening, and listening to music and enjoying some of my favorite recordings on a whole new level, just from the clock improvements to the Apollo’s DA. I’ve never enjoyed the reverb and space in Sea Change as much as tonight, and it crossed some weird subtle tipping point of realism.
I did some tests recording my own voice, which sounded very smooth, but I’m not much of a singer, so I’ll have to wait and see how I like the B2 clock, converters, and transformers for tracking on real singers.
Based on the ADC, I started researching the DAC, which had more mixed reviews than the ADC, and a fair amount of noise and some confusion around color associated with it.
For some context, I’m a producer who mixes, not a dedicated mixer, so, my needs for pristine DA aren’t the same as other people’s. And because of all that, I couldn’t help myself, and I just ordered the DAC to give it a try. I’ll report back once I have it!
|
|
|
Post by roundbadge on Feb 19, 2020 0:53:45 GMT -6
Ive replaced my Burl B2 AD with the Dangerous AD+
|
|
proxy
Full Member
Posts: 29
|
Post by proxy on Feb 19, 2020 1:05:13 GMT -6
Ive replaced my Burl B2 AD with the Dangerous AD+ Seems like the new hotness these days. That and Convert-2. And Solaris. I buy many of the things, but you buy all the things. 🤗
|
|
proxy
Full Member
Posts: 29
|
Post by proxy on Feb 19, 2020 1:12:52 GMT -6
Ive replaced my Burl B2 AD with the Dangerous AD+ You find yourself using the Hammond transformers much?
|
|
|
Post by Martin John Butler on Feb 19, 2020 8:14:58 GMT -6
Roundbadge, can you tell us a bit more of your findings when comparing the Burl and the Dangerous?
|
|
|
Post by cowboycoalminer on Feb 20, 2020 13:26:55 GMT -6
I miss my B2. I heard a noticeable difference clocking off that box, too.
|
|