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Post by Quint on Aug 4, 2022 17:01:43 GMT -6
The implications of that previous post are that this may just be becoming the new of way of doing business, regardless of chip shortages for cars or not. Not that every manufacture won't go back to the old ways but, if Toyota does it, you can expect others to do it too. I understand the implications but the logic is off. For a start it wrecks the used car market which some dealers rely on to keep going, I visted quite a few who extolled the virtue's of their profitable new position only to go bust a year or two later due to stock shortages. Also large manufacturers rely on volume and quite a few have took a massive hit during the covid age. Their profit reports are out there for all to see, I understand that leaving cars unsold on the lot draining profit with every passing month might be a thing of the past. Although again, most manufacturers I've come across aren't delaying releases intentionally now they've found their feet again. For any manufacturer who wants to play that game it's simple in my book, buy something else..
The one thing that remains consistent is price hikes, if you can sell a million cars every month at an inflated rate or hold on to them for over a year whilst draining internal profits in the hopes of creating artificial inflation. What you gonna do?
Dude, I'm not trying to argue. I have no dog in this fight, for or against this means of doing business. It's just a simple observation based on what I see and hear from people trying to buy cars and what I read about in the news. Take it up with Toyota if you don't like it, or don't buy Toyota. I really don't care but, Toyota IS an industry leader and other car manufacturers do tend to follow suit, even if we don't like this particular new way of selling cars.
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Post by Quint on Aug 4, 2022 16:26:37 GMT -6
I think that's where everything is headed or already is, regardless of the car maker. At least here in the US. I've been hearing of a lot of people complaining about wait times, regardless of make/model of vehicle. That's mainly due to chip / parts shortages though, it's still affecting other markets outside of the industry who are actively trying to combat scalping due to scarcity. I needed a new car recently and things for the most part have eased up (a bit). VW is still 12 - 18 months for a Golf and BMW isn't much better but Seat / Hyundai / Kia / Ford / Nissan / Mazda / Vauxhall / Genesis / Tesla etc. you can get a brand new one in about four to six weeks. There's a ton of Audi's in stock for some reason.. The implications of that previous post are that this may just be becoming the new of way of doing business, regardless of chip shortages for cars or not. Not that every manufacture won't go back to the old ways but, if Toyota does it, you can expect others to do it too.
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Post by Quint on Aug 4, 2022 15:59:00 GMT -6
Neumann is discovering the law of scarcity. I was recently sitting with a guy I know well in financing here at a local Toyota dealership, and he told me... "Even if there is no scarcity of parts, Toyota Corporate will NEVER go back to the old way of selling cars. They are now making record profits, and the 'waiting game' is working for them. People putting their name in for a car they are told they'll have to wait 6-18 months for is working far better than having cars just sitting out on lots and hoping people will come in and buy one on a Saturday afternoon. Cars will never be sold that way again, pandemic or no pandemic, shortages or no shortages."Well there's a good reason never to buy a Toyota, if you can wait 6 - 18 months for a car you don't really need one in the first place. Built to order is fine (which takes 3 - 6 weeks?) but that's just crazy..
Looking forward to hearing some clips of the M49..
I think that's where everything is headed or already is, regardless of the car maker. At least here in the US. I've been hearing of a lot of people complaining about wait times, regardless of make/model of vehicle. Which sucks, because what if you get in a wreck and your car is totalled? Are you gonna wait a year to get a new car, which meets your specific needs and desires, or just buy whatever you can find?
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Post by Quint on Aug 4, 2022 14:48:23 GMT -6
This does sound nice. Hmmm...
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Post by Quint on Aug 4, 2022 8:40:31 GMT -6
I got an email about it yesterday or over night.
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Post by Quint on Aug 4, 2022 8:03:16 GMT -6
As perspectives go back and forth about UA pricing, have oeeps checked their accounts for Ultimate 10 discount price? Currently, I can get 42 plugs for a grand. Im not sure what you do or don't own but, in my case, I went and looked and the remaining (I think it was 36?) UA developed plugins that I could get for $999 are pretty much all plugins that I don't really have any interest in. Which, obviously, it's a personal decision to determine what plugins appeal to you. One thing I didn't realize is that the Ultimate list is exclusively UA developed plugins, and doesn't include anything developed by other companies like Brainworx. That said, I think I own over 70 plugins from the full UA library (this includes 3rd party developed plugins too) at this point and there is just not really hardly anything left that I even kind of want from UAD. I will be glad to see all or most of these plugins eventually port over to Spark, at which point I might even be convinced to ditch the Apollo and go fully native in a few years. We'll see. Either way, this Spark thing is a bit of a cherry on top situation. If you already own all of these as UAD plugins, you can just sit back and let them port over to Spark for free. No subscription required.
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Post by Quint on Aug 2, 2022 13:22:47 GMT -6
Based on recent emails, it looks like the 84s are finally going to ship this month. So I'll look forward to receiving my pair.
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Post by Quint on Aug 1, 2022 17:32:49 GMT -6
Did you ever look into something like the TC Helicon? I did but the main thing I wanted was a really natural break up from a pushed preamp. It’s possible I didn’t dig deep enough, but it didn’t seem like I was gonna find that in an all in one. They all had a bunch of stuff I would never use like pitch correction and millions of different effects. Is there a good one that you would recommend? I've never used on either. I was just curious if maybe you had.
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Post by Quint on Aug 1, 2022 17:09:04 GMT -6
Anybody ever get a hold of one of these?
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Post by Quint on Jul 28, 2022 23:13:38 GMT -6
So it's pretty much a 1:1 clone, relatively speaking? I know it comes down to the makeup gain stages, as much as anything. What about the interstage transformer? I thought I read somewhere that the Empress doesn't have that? I couldn't care less about the Pultec, the Empress tube boost and the ability to make massive EQ changes with minimal issues is astonishing. For the two bus I'd recommend it over the API 5500 which was my other option.. While I'm at it, might as well bare somoe of the rest.. Well shit, I guess I need to try the Empress then. But I did think the Empress was going after the Pultec thing? Is it not?
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Post by Quint on Jul 28, 2022 22:31:50 GMT -6
How's that Empress? I haven't been able to find many opinions on it? I like how, in theory, I could get two Pultec style eqs in 2u of rackspace versus 6u of rackspace for something like a pair of "unit space correct" boxes like what Audioscape offers. Absolutely fricking brilliant, the empress is a no brainer purchase. Unlike the whole monitor thing ... So it's pretty much a 1:1 clone, relatively speaking? I know it comes down to the makeup gain stages, as much as anything. What about the interstage transformer? I thought I read somewhere that the Empress doesn't have that?
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Post by Quint on Jul 28, 2022 22:22:49 GMT -6
Hey everybody- 1st post. In all the videos I've watched of the IGS Tubecore, I've never seen anyone really crank the gain knob. Is this knob for input gain, which you could use to drive the tube like a Sta-Level? Or is it makeup gain like on an LA2A? I downloaded the manual, but it's a bit unclear to me. They take the edge off but don't overthink it.. Crank that shit and enjoy..
How's that Empress? I haven't been able to find many opinions on it? I like how, in theory, I could get two Pultec style eqs in 2u of rackspace versus 6u of rackspace for something like a pair of "unit space correct" boxes like what Audioscape offers. I'm positive that the Audioscapes sound great, but it annoys me that they insist on it taking up 3u per mono channel. Yeah, it's "correct", but I don't care. I could even live with 2u per box, but 3u just seem unnecessary, unless it's just about looks, which it is.
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Post by Quint on Jul 28, 2022 15:15:29 GMT -6
It's all relative, but I guess we'll have to agree to disagree on the distortion thing on the Lyds. But like I said, it also doesn't really matter and I don't have any interest in arguing about it anyway. It's not a big deal. You're picking what works for you and I'm doing the same. Enough said. I'll be curious to hear how the ATCs fair. That's probably what I'll at least be heavily considering if/when I ever upgrade again one day. Though it will either be quite a while and/or if I happen to come across a good deal like the one you found for $6.5k. It's all good, whatever works for you (in a none sarcastic way I promise).
Yeah I've heard a few pairs of ATC's already but they were in "proper" studio's. The one's I were going to buy came from a place called The Farm if you've ever heard of it? There's just a slight problem with mass (and petrol costs due to weight at the moment ).. Anyway, it does show how much the cost soars to upgrade from the likes of the Kh310 or LYD 48. They are both bargains relatively speaking..
Best of luck Quint, seems like you're heading towards the Neumann's right?
Yes, I'm leaning towards the 310s right now. I'm actually thinking I might try to make a final decision tonight actually. I wish I was leaning the other way, because it'd be a lot cheaper, but it is what it is. If I did go with the Lyds, I probably would take the money I saved and buy one of those Dyn subs though. That way I could take the load off the Lyds. I imagine that would help with the muddiness issue.
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Post by Quint on Jul 28, 2022 14:22:43 GMT -6
I don't think it's that simple to say that, because the Genelec is "supposed" to be low distortion on paper, and sounds like the Lyd (according to you, I haven't heard it), then what I'm hearing in the Lyds must definitely not be due to distortion at all. So I'd disagree with you there, but it also doesn't really matter what the reason is. At the end of the day, like I said, I still hear a bit more highs in the Lyds than the 310s, when both are set flat, and that's having an impact on my decisions. It is that simple, Dynaudio for example have Klippel's and the Jupiter testing facility to watch out for this kind of stuff. When some of the other Dyn's (LYD-5's I believe) were tested via third party's they were also extremely low distortion too. I don't just say stuff on a whim, I embark on journey's of extreme amounts of research both technical and psychoacoustic by listening then I try to correlate the two. Doesn't always work but when my budget rises I become increasingly more concerened about making a mistake..
The fact remains after swanning through (or about to) another 15? Sets at this point they ALL sound different, the RL906's I tested from Geithain years back had audible (yet pleasent) distortion and it was notable compared to the LYD-48's. Sealed designs like the Sonodyne SM100's I bought years back aren't like regular monitors, they sound very different for better or worse. Well, they do to me at least..
For me the KH310's are like every monitor room dependant, I'm testing these in both a 14.5X13 and a 28X17 room because there needs to be some future proofing involved. In the former room the KH310's were more than enough to deafen someone and bass wasn't much of an issue even if they felt light and a bit muddy compared to something like PSI's A23's (which costs double), in the other room they didn't cut it.
Sure none of this might have any relevance to you personally, I'm unfortunately not as decisive and allow my options (plus budgets) to be too wide. I might save up for 5 / 10 / 15 years before I do a refit or upgrade and then it comes all at once hence all of the questions but it does give me a good insight. Again, the KH310's are "better" but in short the Dyn's do a couple of things right as well. I'm not trying to sway your position or push anything, I'm looking to upgrade from the Dyn's so it has no bearing on me whatsoever.. Honestly I'm just trying to assist anyone else who might be going through this journey (and not even you specifically) because I HATE looking for monitors and they are VERY critical to your work.
Ultimatley though you've just gotta pick one and roll with it, once you've acquired a decent set adaption is far more important anyway.
It's all relative, but I guess we'll have to agree to disagree on the distortion thing on the Lyds. If I'm hearing distortion in the Lyds that I'm not hearing in the 310s, well, I don't know what else to say about. But like I said, it also doesn't really matter and I don't have any interest in arguing about it anyway. It's not a big deal. You're picking what works for you and I'm doing the same. Enough said. I'll be curious to hear how the ATCs fair. That's probably what I'll at least be heavily considering if/when I ever upgrade again one day. Though it will either be quite a while and/or if I happen to come across a good deal like the one you found for $6.5k.
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Post by Quint on Jul 28, 2022 12:09:43 GMT -6
Both Dyns seem to have just a smidge more high end and sound a little more hi-fi or exciting compared to the 310. I imagine that's just the voicing of the Dyns. However, I also suspect that some of that excitement may be coming from distortion, as I feel like the 310s are giving me less distortion at the same dB levels, especially in the bass region, but also in the high end. Nah, the Genelec 8341's (which are $5.5K here) are supposed to, according to all the Klippel tests have really low distortion but they sound more like the Dyn's than the Neumann's. In terms of measurements the KH does also have low distortion, I've found that monitors with more "colour" sound "warmer".. Did you engage the DSP switch on the back to knock off the high's a bit? Also aren't you using some sort of frequency correction software? Dirac, Trinnov, Arc etc. If not it might be prudent to look into it. They do and that's where the Neumann's come into their own IMO, also there is the option of buying the KH750 which can do frequency response correction and phase alignment. GLM with Genelec for example was amazing and whilst adding a sub makes the endeavour more expensive there's another reason to go Neumann. Also whilst the bass / LMF is much improved over the LYD's it could certainly be better, at higher volumes there is noteable distortion in the lower frequencies and it can get a bit muddy. Although Neumann offers a solution to that obviously.. Good, aren't they? I don't think it's that simple to say that, because the Genelec is "supposed" to be low distortion on paper, and sounds like the Lyd (according to you, I haven't heard it), then what I'm hearing in the Lyds must definitely not be due to distortion at all. So I'd disagree with you there, but it also doesn't really matter what the reason is. At the end of the day, like I said, I still hear a bit more highs in the Lyds than the 310s, when both are set flat, and that's having an impact on my decisions. As for the frequency switches on both monitors, I did mess around with both and ultimately decided that I liked both set flat. I may ultimately end up using one or more of said switches on whichever monitor I end up keeping, but that will be for a later day after I do some more in depth attempts at room correction. Speaking of room correction, I don't have Dirac or anything else like it, but I have become increasingly interested in giving something like this a try. I figured that, if I'm going to upgrade my monitors, I might as well go ahead and see what other kinds of improvements I can make. The Neumann sub is not on my buy list right now, but just knowing that the option does exist is something that weighed into my decision, in case I decided that the 310s we're bass shy but otherwise had enough things about them that I liked to still keep them. Right now, I'm pretty happy with the bass that the 310s are putting out, but I might get the Neumann sub eventually. We'll see. I'd agree that the bass drivers on the 310s do distort at louder volumes but, thankfully, it's at those louder volumes and not at the volumes I would typically monitor at. I can't say the same for the Lyds. I feel like the distortion comes on sooner at lower volumes on the Lyds.
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Post by Quint on Jul 28, 2022 11:38:01 GMT -6
Well, because I like to be super decisive I've added the ATC SCM25's, 45's, PSI A-23M, D&D 8C studio and the KH420's to the list. I'll be testing them at a different location and taking the two winners back to urr compare against the LYD's although unless someone specifically asks I'll forgo including them in the review. I'd be real curious about those ATCs. Actually, I'd be curious about all of these new candidates.
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Post by Quint on Jul 28, 2022 9:28:33 GMT -6
This is a double post in large part. I posted a lot of this in "gear you've acquired" but I wanted to start a separate thread to discuss the concept of vocal pedal boards. I've always wanted to do this because my particular voice can sound great when you know how to make it sound great but can be a bit much in other circumstances. For example, you know how there are some instruments or microphones that just take EQ or Compression well for some reason? That's my voice for compression. You can compress the crap out of it and it rarely feels over compressed. I have a pretty wide dynamic range and a style that ranges from "talky" to "belting", it can be tough on sound guys. Anyway, I took the plunge and tried it out for the first time last night. And it... was... awesome! Here's the copy of the post from the Gear You've Acquired thread for details on the chain. ______ Ok, been off the forum for a while but not for lack of acquiring stuff. Among other things which I will post later I also built a vocal pedal board for my new band. I'm excited about it because I just tried it out last night for our first show with a proper sound guy and stage and.... whoo boy, it was awesome! I was afraid the idea would kind of annoy sound people but this guy was super curious about the board and was basically like "we've got time, pull it out and let's see." In the end he felt like it made his job way easier, so that's good! Anyway... here's what I bought for it in order of signal chain. - EV RE420 to pair up with an EV RE510 I already had (two mics cuz I switch between guitar and piano/organ) - ART Dual Phantom - Radial Mix 2:1 (summed to one signal) - JHS Colour Box (wow, just wow) - FMR RNC (cheating, I already owned this...) - UAFX Golden Reverberator (also wow... tried a lot of reverb pedals on vocals and tried this one last cuz I was afraid I would be forced to buy it. And yep, blew away the competition for this use.) - Radial Key Largo (Keyboard mixer that also has FX send/return. I patch the UA through this. Overkill for this purpose but I also use it for other keyboard related things. Reason I'm putting my vocals through it is for the FX control and so the sound guy can have one easy knob to adjust the signal he's getting if needed.) So playing a mid-level venue (in terms of sound quality) last night with this chain felt like singing through some of the best live vocal mixes I've ever had. And I have a point of comparison cuz I've played this venue before. Getting a little grit from the JHS as well as a touch of HPF rolloff, then hitting the RNC hard, and with UA's reverb algorithms? It felt like sinking into a comfortable mattress at a 5 star hotel. That's the only way I can describe it. Reaching for difficult notes with a more studio like setup sort of felt like swimming in warm, shallow water. Like the mic/compressor was pushing back at me in a really pleasant way. Hard to describe. But it sounded great and felt great. I recommend this to anyone! Did you ever look into something like the TC Helicon?
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Post by Quint on Jul 28, 2022 8:36:25 GMT -6
By my way of thinking, I've come around to the idea that the "relaxed" nature of the 310 may actually be a good thing, at least for me. The relaxed nature kind of threw me at first, after having listened to the Lyds beforehand and my BM5As before that.
Both Dyns seem to have just a smidge more high end and sound a little more hi-fi or exciting compared to the 310. I imagine that's just the voicing of the Dyns. However, I also suspect that some of that excitement may be coming from distortion, as I feel like the 310s are giving me less distortion at the same dB levels, especially in the bass region, but also in the high end.
The thing is that I have felt at times in the past like I was mixing a little dark, and I'm thinking that may have at least been in part due to the Dyns telling me there were more highs there than maybe there actually were. So I've come around to the idea of the 310s giving me a little less high end (which may in fact actually be the more truly flat presentation), which would result in me adding in more highs in the mix so that I actually get the highs where I want them, as far as translation goes.
As for the bass region, the Lyds do sound muddier and less clear/defined in the lows, and I imagine that's because of the port versus the sealed cab on the 310s. That's also one of the first things that immediately leapt out when I put up the 310s after the Lyds.
In this case, it was the opposite of my first impression regarding the highs. At first, I preferred the highs on the Lyds because it was what I was used to and also because I do prefer a little more highs if I'm just listening to something and not mixing. However, when it came to the low end, I pretty quickly preferred the lows on the 310s. I could just more clearly hear the kick and bass. My views on the superiority of the 310s in the bass region have not changed even after a couple of weeks.
The bass region is always an area I've had a little trouble with. I'm sure some of that has always been, and continues to be, down to the room, but I also do think that I just couldn't hear the bass region as clearly I would like with my old Dyns. The Lyds are better in the lows than the BM5As, but I think the 310s are even better than that.
As for mid clarity, it's probably a wash for me. They both sound slightly different, but both offer some nice mid range clarity due to both being three ways, which is a definite upgrade over my old Dyns. That said, and maybe it's just all psychological, given my preference for soft domes in general, I "like the idea" of a soft dome mid on the 310 versus the cone mid on the Lyd. I mean the ATCs have soft dome mids and those are supposed to be best there is. I also do feel like I slightly prefer the sound/clarity of the mids on the 310s, but I could live with either.
Of note, I will say that I maybe slightly and specifically prefer distorted electric guitars on the Lyds, but it really makes me wonder if this doesn't come down to the mid driver on the Lyds adding their own distortion that I just so happen to like on an already distorted instrument? Sure it might sound good on a pure listening level, but is it accurate? I know I've read here and there where people have talked about not liking to mix guitars on the 310s and I'm beginning to suspect that it just comes down to the 310s being less distorted in the mids, and people just "thinking" that the 310s are inferior when, in fact, it may be that their other monitors are actually lying to them and adding in a potentially pleasant to listen to but ultimately counterproductive amount of distortion.
ATCs are notoriously low distortion and people complain about them lacking bass, but that also likely comes down to perception of bass due to lack of distortion and the higher distortion bass that people are used to on their other monitors. That distortion DOES make you think you're hearing more of something than is actually there. I suspect I'm experiencing a similar situation when it comes to presentation of distorted guitars on the mid driver of the Lyds versus the 310s. I think this is also backed up by my preference for acoustic guitars on the 310s versus the Lyds. Acoustic guitars are typically something that you wouldn't want to be very distorted, so it's interesting to me how my preference flip flops when talking about acoustics versus electrics.
Which again brings me back to the whole soft dome thing. I've always liked them and this just confirms that further. They tend to be relatively less distorted, at least in my experience, and I assume that's why ATC (and Neumann) chose soft domes for their mids.
As for the waveguide thing, I still like how the sweet spot on both Dyns announces to you that you are entering or exiting it. It's just a reassurance thing for me. That said, the waveguide on the 310 does seem to provide a wider sweet spot, so maybe it doesn't matter as much if you don't have as clearly a defined sweet spot if you never end up easily getting out of the larger sweet spot in the first place.
In any case, I'm definitely glad I made the move up to three ways. Given that I've had my previously stated issues with low end clarity and mixing a little too dark at times, that's why I'm leaning more and more towards the Neumann KH310s. I'll make my mind up for sure this week.
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Post by Quint on Jul 27, 2022 20:34:55 GMT -6
If/when I ever upgrade from the current monitors I'm still making a decision about, I'm pretty sure ATC will be at the top of my list.
$6.5k for SCM25s? Man, I'd have to think about it. Is that in the UK, I take it?
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Post by Quint on Jul 27, 2022 19:18:43 GMT -6
Check out the AEA Sessions on YouTube. All AEA ribbon, obviously. There was one session quite a few years ago with an artist named Jo Serrapere. I'm pretty sure the song, Stardust & Bromide, was released, as is. Matter of fact, I think that whole album was an all ribbon affair. The other AEA Sessions are good too. It definitely can give you an idea of what ribbons can do. Also, there's this discussion: gearspace.com/board/high-end/228151-all-ribbon-album.html#
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Post by Quint on Jul 27, 2022 11:57:48 GMT -6
The first vocal mic I ever swooned over, was the AEA 44. Wes Dooley knows "they got me" if/when I have a great room, and can justify it financially. Chris You know, whenever I think about the amount of money one can spend on vintage LDCs or, in some cases, the reissues of these mics, it always reminds me that there are quite a few modern day classic ribbons (or something like the Coles 4038 or Beyer M160, which never stopped being made) out there that, in my opinion, are every bit as good as the previously mentioned LDCs and, in the digital age, better in a lot of cases. Also, they're all generally cheaper too. AEA, Stager, Royer, Coles, Beyer....
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Post by Quint on Jul 27, 2022 9:32:52 GMT -6
Unfortunately I've just been offered a pair of SCM50's for 9K.. I'd love to take them off their hands but I'm really not sure they would work in a 14.5 X 13 X 8.5 room, I'm not even sure I could physically get them to fit. Can they be mounted horizontally and placed on a desk? I'd probably end up with some nasty reflections no? Thoughts, opinions? 50s here ... They do mount horizontal, you just need to move the tweeter to the alt mounting hole. As you say there will be some reflection issues with 8.5 ft ceiling and desk but can work depending on room treatment. I have mine vertical against back wall, about 7ft apart, and built kind of pseudo soffits for them. The 50s are amazing and will work in a space that size but the placement and treatment must be dialed in. They're very picky. You also may need subs depending on your usage. Best to try in your space first. They also take room correction well. I'd be curious to see what those pseudo soffits look like. I'm kicking around doing something similar myself.
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Post by Quint on Jul 26, 2022 16:57:02 GMT -6
What about the CAPI FC526-xfmr? I've always read how clean (and fast) that thing is? How would that compare to the 651? The CAPI and Aphex are different topologies, I realize, but I've just sort of been looking around at ideas for a relatively clean (tone and action) comp that could be used for vocals during tracking, and the CAPI has been on that short list for a while. This thread got me wondering how the two might compare. Well, they now have transformers...so they were really clean when I had one. And I loved it. Yet another piece of gear that suffered for my lust... I got this because it was $140... Are the newer 526s with the transformer noticeably less clean than the originals? Or maybe you haven't had a chance to try the newer 526s? And, wait, you sold your 526? Yeah, you only ever had great things to say about it, which in no small part is what put it on my radar in the first place. The cheap price for the 651 is part of the appeal, but maybe I should just go with the 526, per origin plan? Thoughts?
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Post by Quint on Jul 26, 2022 7:15:36 GMT -6
What about the CAPI FC526-xfmr? I've always read how clean (and fast) that thing is? How would that compare to the 651?
The CAPI and Aphex are different topologies, I realize, but I've just sort of been looking around at ideas for a relatively clean (tone and action) comp that could be used for vocals during tracking, and the CAPI has been on that short list for a while. This thread got me wondering how the two might compare.
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Post by Quint on Jul 25, 2022 10:47:31 GMT -6
Are there some new features, or did Drew just release a new instructional video, and that's it?
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