|
Post by Quint on Apr 26, 2024 21:15:40 GMT -6
And where's that guy Drew @ UA? Would be great to hear some passive aggressive comments! Yeah, he's good at that sort of thing...
|
|
|
Post by Quint on Apr 26, 2024 20:20:16 GMT -6
I have the UF8 and UF1. I like them. SSL is doing a lot of things with their 360 ecosystem that are over and above what most hardware controller companies are doing. They're more customizable than a lot of the other stuff out there.
|
|
|
Post by Quint on Apr 26, 2024 20:12:06 GMT -6
So, only owners of the uad2 Helios can buy the port uadx plug for $2.99? I don’t think I knew this was uadx, I had it before and didn’t use it much, but If I can get it for $2.99, just for the eq, that’s good value. You're not buying it for $2.99. If you already own the DSP version, the native version is free. The $2.99 comes in if you didn't register your free native license in the first 30 days after the native version is released. The native version is still "free", it just incurs a $2.99 handling charge, if you will, for those that don't register the free license until after the 30 day window. So the $2.99 that is being seen in the shopping cart has nothing to do with any kind of sale. It would have shown as $0.00 in your cart if you had redeemed the license in the first 30 days. I don't remember when the native version of the Helios was released, but it's definitely been longer than 30 days, hence the $2.99.
|
|
|
Post by Quint on Apr 26, 2024 16:08:40 GMT -6
Oh I think this is what’s going on although it looks like the regular plug-in in my cart. “Already own the Helios UAD-2 version, click here to purchase the native only version for $2.99” I believe that what you're seeing is part of UA's new policy on native ports of existing DSP plugins. The new policy basically states that, if you don't claim your license for a new native port (of a DSP version that you already own) within the first 30 days of release of the native port, it'll cost you $2.99 to redeem that port at a later date. It has something to do with liabilities on the books for native licenses that go unclaimed for prolonged periods of time. There was kind of a dust up over this whole thing over on the UAD forum a while back. help.uaudio.com/hc/en-us/articles/13210615648404-FAQ-Native-UAD-Plug-Ins
|
|
|
Post by Quint on Apr 25, 2024 9:48:07 GMT -6
Yeah…that’s the question. What are your parameters? What are you listening for? Can you actually judge them without having them all in the same room? Ya know, I've never owned a sub, but every time I consider getting one, I worry that it will just introduce another variable to the equation that I now also have to manage on top of everything else. And, then, will I be placing too much weight on what I'm hearing from the sub? IOW, will this negatively effect mix translation in a bass-light versus bass-heavy way because it's over emphasizing the bass region, and now I mix things bass-light? Also, if I have a sub, now I can potentially hear those lower frequencies to mix them, but do I even want those frequencies to be in there in the first place, considering what they do to headroom and also what they can't do in an earbuds context? Also, is my room reacting to this super low frequency info in ways that is deceiving, because we all know that the lowest frequencies are the hardest to treat and maintain a flat response? That's a lot of different new stuff that would always be in the back of my mind if I got a sub. Either way, it's now another variable I have to consider, where that variable wouldn't otherwise exist if I simply didn't have a sub. Even if I had a sub, I feel like I would probably have it off most of the time, and only turn it on every now and then to check for any super low frequency noise hiding around that I might want to get rid of because it's eating up headroom or something. Otherwise, I don't know that I would ever actually "mix" with a sub. I know that's not really what you're asking, and I'm curious to see what people say on this subject. I may still break down and get a sub one of these days... But I bet I'd still have it off 90% of the time.
|
|
|
Post by Quint on Apr 24, 2024 3:50:05 GMT -6
|
|
|
Post by Quint on Apr 23, 2024 18:10:35 GMT -6
I dunno. I’m feeling optimistic that the tide shifts toward authenticity. This is the sense I get from watching the other "kids". My middle school aged kids are part of a tape swap group at school. They literally swap cassette tapes and mix tapes. That's just one example. As automation and AI gets better and better, the natural rebound is to see more value in things that can't possibly be automated. Human experience. So the smart ones here and elsewhere should be rethinking their business strategy to emphasize the types of things that AI saturated generations will crave in the future. Real experiences. Things that exist. Yeah, something of that sort will be the best strategy. Authentic has always been authentic.
|
|
|
Post by Quint on Apr 23, 2024 16:03:58 GMT -6
The kind of music I'm into probably can't as easily be mimicked by AI, because the people behind AI would have to have a commercial interest in spending the time and effort to train AI to mimic the sort of non-commercial stuff I like, such as a Tom Waits voice, for example. So the underground, niche music probably isn't in as immediate of danger, compared to the pop schlock shit that is commercial radio. That said, AI is eventually going to come for the underground, more unique stuff too. And when that happens, who is going to continue to want to create that sort of music when there is zero opportunity to do it in any way that is even remotely sustainable as a career, considering how unsustainable it already is now for many artists? That's the worst part of all of this. I'd just ignore the AI shit, assuming that I had a way of knowing what was or wasn't AI, but the real artists will just be squeezed into dust until there is no real music left. I hope something can be done about all of this, but it's highly unlikely. Well I think we're moving into the direction where artists will be sustained by benefactors and philanthropists. Which is actually how it used to be before music publishing so maybe it's kind of the natural state. Also of note, a true AI revolution will almost certainly usher in some sort of UBI as others have mentioned. So maybe, counterintuitively, all this AI stuff will lead to a new era of human creativity where the next Tom Waits' don't have to worry about commercial viability or making a living... they spend their lives pushing the boundaries of music and poetry and art with no concern for making a buck. Yes, I am an optimist in some ways. The way I see it is the "creative" space is overcrowded and cluttered with junk anyway. If the code jockeys can figure out a way to replicate the junk that makes up 95% of today's "releases" all the better for the remaining 5% that are getting crowded out by the weeds. This, of course, is under the assumption that I myself am among the 5%. But you know what? If I'm not? Great, I can stop wasting my time and find something else! I'm more of a pessimist. 😄 I do hear what you're saying though. I'm in support of the notion that art is, in a perfect world, created without any notion of making money at all, but, realistically, I wonder how many artists can or will choose to still do so in the brave new world of AI and basically zero income from creating music.
|
|
|
Post by Quint on Apr 23, 2024 14:42:34 GMT -6
The kind of music I'm into probably can't as easily be mimicked by AI, because the people behind AI would have to have a commercial interest in spending the time and effort to train AI to mimic the sort of non-commercial stuff I like, such as a Tom Waits voice, for example. So the underground, niche music probably isn't in as immediate of danger, compared to the pop schlock shit that is commercial radio.
That said, AI is eventually going to come for the underground, more unique stuff too. And when that happens, who is going to continue to want to create that sort of music when there is zero opportunity to do it in any way that is even remotely sustainable as a career, considering how unsustainable it already is now for many artists? That's the worst part of all of this. I'd just ignore the AI shit, assuming that I had a way of knowing what was or wasn't AI, but the real artists will just be squeezed into dust until there is no real music left. I hope something can be done about all of this, but it's highly unlikely.
|
|
|
Post by Quint on Apr 23, 2024 14:21:56 GMT -6
Where's the Tom Waits preset?
|
|
|
Post by Quint on Apr 22, 2024 19:34:11 GMT -6
I bought some old Sound Anchor standds from eric...don't have anything under them...wonder if I should do that? Sound Anchors here too. I also have the little blue Sorbothane pads under each corner of the monitor, between the monitor and the Sound Anchor platform it rests on.
|
|
|
Post by Quint on Apr 20, 2024 11:05:43 GMT -6
Verve seems like a toy to me. I had high hopes for Verve to be a new end to end model of a tape machine, same as the Studer and ATR, but it was not to be, unfortunately. Verve just seems like a repackaged, dumbed down version of what already exists in the Studer and ATR.
I'm not philosophically opposed to simple tools across the board. LA3A? Simple but effective. Same for the 1176. But Verve.... Yeah, I don't know. Maybe I should test it out more, but I just kind of don't want to use it. The ad copy and supporting video even basically insinuate that this plugin is for people that don't know what they're doing and that people shouldn't care. Ugh....
Sound City was a cool release. But this one, not so much. I hope UA doesn't keep going down the Verve path.
|
|
|
Post by Quint on Apr 17, 2024 13:24:45 GMT -6
Brad McGowan did this very thing years ago, and even put out a video about it on YouTube. It was basically a poor man's CLASP, and worked on the same principle before CLASP even existed. If it's a real time transfer, as it's being played/recorded, I don't see the issue with any timing or alignment concerns, other than maybe not doing phase coherent stuff like drums in multiple passes. IOW, bounce the drums down to a stereo track and transfer that. Brad had/has an 8 track, so that made it a little easier to not have to bounce down so much, but he was doing the record and bounce off the repro head real time, just like is being described in this thread.
|
|
|
Post by Quint on Apr 16, 2024 13:44:36 GMT -6
Latency, or, rather, lack thereof. and I love being able to print a console strip and FX destructively. Also that.
|
|
|
Post by Quint on Apr 16, 2024 13:43:47 GMT -6
Latency, or, rather, lack thereof. Ah, I see. I use an analog monitoring mixer so I guess these are circumstances I don't come across when tracking to Cubase. Yeah, UAD Console is effectively providing the same function as your analog console, although your console is true zero latency and UAD Console is just really low latency (~1.1 ms RTL @ 96k).
|
|
|
Post by Quint on Apr 16, 2024 12:10:27 GMT -6
I can’t speak for drsax but even when I got better A/D, I was still attached to my Apollo for the ability to track through DSP with zero latency. Of course there are several other options for this nowadays, but none seem to do it quite as elegantly as Console. I do miss that aspect of having an Apollo. Why would you track through DSP? Latency, or, rather, lack thereof.
|
|
|
Post by Quint on Apr 16, 2024 12:10:04 GMT -6
How does an Apollo interface positively affect your workflow? Are you using the emulated preamps? I can’t speak for drsax but even when I got better A/D, I was still attached to my Apollo for the ability to track through DSP with zero latency. Of course there are several other options for this nowadays, but none seem to do it quite as elegantly as Console. I do miss that aspect of having an Apollo. It's the quality of the plugins too. I'm not saying that there aren't other native, non-UAD plugins out there that sound just as good as what is available on UAD DSP. I'm saying that there aren't any others out there that sound as good as what is available on UAD that are also available via a DSP platform. The same can be said for the breadth. Who else offers such a wide catalog of DSP plugins, not to mention that also sound good? So if you want to track with plugins, it's hard to beat the Apollo ecosystem. Even AVID can't claim to have anywhere close to what UA offers for plugins in DSP.
|
|
|
Post by Quint on Apr 14, 2024 8:04:59 GMT -6
I believe I read somewhere that the changes to the M160 are basically just cosmetic? IOW, none of the changes affect the sound, correct?
|
|
|
Post by Quint on Apr 12, 2024 17:11:42 GMT -6
Just got it back this morning So the mod on the Apollo x6 was worth the money? Listening to Sade "No Ordinary Love." What kind of wine were you drinking?
|
|
|
Post by Quint on Apr 11, 2024 15:07:56 GMT -6
Just now seeing this. Damn dude. Hope you get it figured out ASAP.
|
|
|
Post by Quint on Apr 11, 2024 12:09:59 GMT -6
Nobody will be willing to spend the extra money on new tape reels. Used tape is your friend, but beware the sticky-shed. Be prepared to buy boxes of used tapes to find a few usable ones without flaking or sticky-shed. You have more faith or bravery than me! I feel like used tape is akin to a used sex doll. You can get into baking. Its useful for really critical restoratoins if needed, but for new work, I find the cost of modern production fresh tape to be very reasonable.You should bake used sex dolls prior to reuse as well.
|
|
|
Post by Quint on Apr 3, 2024 14:54:02 GMT -6
Other than the clock, and that depends on how you view the clock as a component, all of the other mod components are analog components, so there wouldn't really be any parts that could be "checked" by the system. I'm curious about this mod. I've considered it before, but never pulled the trigger. It's not even because I necessarily had any complaints about the sound. It was mostly just FOMO, but that always got cured when I looked at the price and wondered if it actually made a difference. That said, I do own two x16s, so I would actually be able to mod just one and then do a true A/B comparison. That's always been part of my reason for not doing the mod. Before I got a second x16s, I was always put off by the ability to do a real comparison, and was otherwise left to reading opinions or listening to loopback files which were still passing thru my own Apollo. So I never could be convinced to pull the trigger. Maybe one of these days. I'll be curious to see what John thinks. Can you hear a difference between your x8 and x16 converters? cheers Wiz I've never had any of the 8 channel models. I used to have a silverface 16, and then upgraded to an x16, ultimately adding a second x16.
|
|
|
Post by Quint on Apr 3, 2024 13:45:00 GMT -6
I've always been curious what might happen after the mod if Universal Audio decides to update the firmware. Does it do a components check like some PCs do? Other than the clock, and that depends on how you view the clock as a component, all of the other mod components are analog components, so there wouldn't really be any parts that could be "checked" by the system. I'm curious about this mod. I've considered it before, but never pulled the trigger. It's not even because I necessarily had any complaints about the sound. It was mostly just FOMO, but that always got cured when I looked at the price and wondered if it actually made a difference. That said, I do own two x16s, so I would actually be able to mod just one and then do a true A/B comparison. That's always been part of my reason for not doing the mod. Before I got a second x16s, I was always put off by the ability to do a real comparison, and was otherwise left to reading opinions or listening to loopback files which were still passing thru my own Apollo. So I never could be convinced to pull the trigger. Maybe one of these days. I'll be curious to see what John thinks.
|
|
|
Post by Quint on Apr 2, 2024 6:13:20 GMT -6
I've had a pair of BM5As that are about 20 years old. They still work fine. I only just upgraded to a different pair of monitors last year, and that was only because I was jonesing for a 3-way, so I got the Neumann KH-310s, which I have been very happy with.
That said, I'd agree with some of the advice above about using what you know (the BM6As). I guess it depends on how long you think you will continue to want or need a functional pair of monitors. Or, if you're feeling that sort of retirement age urge to splurge, just get something nice like a new 3-way, and live a little.
|
|
|
Post by Quint on Apr 1, 2024 13:05:14 GMT -6
I like the famous "artists" interviews .... well the part when the artists speak. I asked ChatGPT if it could code me a "RB Blocker" extension for Google but alas so far ChatGPT hasn't been able to help I joke - I'm being mean. His channel is alright - I just get a bit tired of the endless self-promotion and check "me" stuff - but he is actually quite a good interviewer. He's using his current popularity to draw in some great musicians to interview - who are only on there of course to promote their current project. RB is probably making $50K month - good luck to him. I haven't cared for all of his whining about how some of his videos get taken down for copyright infringement. I'm like, you work in the music industry, and are making money by basically standing on the shoulders of the people who actually wrote/played these songs so that you can create some kind of lame "how to" video on what "makes a song great". The artist interviews are fine, and in some cases even good, but I can't watch his other videos. And if he is actually making $50k a month off of his videos, I find his whining all the more distasteful then.
|
|