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Post by ChaseUTB on Jan 2, 2021 7:20:17 GMT -6
Here's why I want it. I'm REALLY digging the Slate VSX headphones. I wasn't going to dive into those, maybe Steven cried "virtual" one too many times, despite always wanting what it does, but my wife gifted me just about the exact price of them for my birthday, so I went ahead. They're terrific. The stereo soundfield is totally authentic. You can make valid mix decisions with them, and reference many playback systems without taking them off. Plus, at this point I do not want to listen to normal headphones again for pleasure. I've got the AU plugin across Rogue Amoeba's Audio Hijack and Spotify and Apple Music go through the VSX all the time. Same with Digital Performer of course. What I want to do is use it with audio sending into the DAW. I want to listen to my voice, for instance, as well as DAW playback, while I record as if I was sitting in the control room of Archon Studios. I'd have to have the VSX plugin run on an audio interface for low latency monitoring. I think I could make better decisions about mic pre drive, eq and compression with the VSX than I can with normal cans going in. But I can't figure out how to do it. An interface that could use AU or VST plugs including PACE protected ones before it went to a computer would be something people might want. I want it anyway. How cool! Email Slate ASAP. I’m sure he either hasn’t thought of this & would love to implement or is half way thru implementation & u can Beta test. Maybe a check for you as well if he hasn’t thought of this idea to have VSX implemented real time via daw recording & cue mix ( if I understand your wants correctly )
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Post by ChaseUTB on Jan 2, 2021 7:13:27 GMT -6
Neumann replaced a lot of VF14m w/ nuvistor tubes which I believe were triode where the VF14m was a steel tube pentode wired as a triode to achieve XYZ ( above my pay grade ) Prob lower noise & improve headroom + dynamics ( maybe it’s similar w/ cancelling noise like balanced vs unbalanced cables lol )
The Flea tube is made by Andreas Grosser called EF ER 12. & That & the Tfunk are tubes in some type of encapsulation to appear like VF14m. None of them are real VF14M & dont run the same bias voltage? .
Flea has been caught multiple times swapping these EF12 ERs into ppl’s mics but telling them they are getting steel tube EF12s 🥴
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Post by ChaseUTB on Jan 1, 2021 2:51:19 GMT -6
My 2020 summed in one pic. It was worth every penny and long nights. Now waiting for my new room to be build and all this will be re-racked flushed Into a wall. Do you have issues with sample accurate HW inserts if you use Pro Tools? How well do the 4 UAD Apollos work & record together? How do they all connect and communicate?? That wall of gear is legendary! Happy that you had a busy year & were able to invest back into your business & passion!
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Post by ChaseUTB on Jan 1, 2021 2:47:54 GMT -6
Seeing as I maybe going full fledged into PT Carbon or HDX I need to get acquainted b/c I know PA is one of the few that offers AAX DSP.
Thanks for all the great suggestions!
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Post by ChaseUTB on Dec 31, 2020 18:38:56 GMT -6
Ok, so I did a thing . . . a comparison video/recording session of the Heiserman 47 tube microphone with each of the HK47 and HM7 capsules against a U67 with a Telefunken EF806S tube in it. The talent singing is Canadian up and coming pop singer Peter Fewer. In the vein of Sean Mendes, Ed Sheeran and similar. Each recording/video is as unprocessed as possible, and I will send the raw vocal files to anyone who really wants them, they are also available from Matt Mitchell at Heiserman. First up: Heiserman 47 mic M7 capsule into a vintage Focusrite Red 6 preamp. No EQ, no Compression. Second: Heiserman 47 mic K47 capsule into another Focusrite Red6 pre, no EQ, no compression. Third, control video: Neumann U67 EF806S tube into another Focusrite Red6 pre, no EQ, no compression. I prefer the 47 then M7 then 67 on this voice from these videos. I could use and work w any & YouTube lossy encoding should sound more vintage right lol Aside from that, the talent is good & each mic highlights something different in the vocal imo
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Post by ChaseUTB on Dec 31, 2020 18:20:16 GMT -6
And one more thang... IMHO the U47, particularly with the K47 capsule, is way WAY underated for Modern Hip Hop/R&B/Rap/Pop. The usual suspects are usually emphasized. Ala Sony C800G/Ref C/U87ai. And-of course Ward's favorite. (Drum machine drumroll please)... The mighty SM7! But as I re-listen to old/new recordings done on a quality U47 style tube mic... IMHO that kind of mic, is equally suitable. And you try to get the "Kids" (under 40) to believe that. Chris I don't want those idiots to know. The last thing I need or want is to have prices driven up further.
In fact, they should listen here - THE SM7B IS THE BEST HIP-HOP VOCAL MIC!
There, that should do it.....
BTW, what's the point of using a great mic like a U47 if you're just going to Ottotune the crap out of it?
I use a M7 blue line FET transformer coupled output mic for half & u87ai for half ( commercial studio & don’t bring my mics ) Most “ rap “ quoted loosely cuz it’s more melodic than rapping (Rod Wave, Kevin Gates etc ) the artists use AT to Enhance the delivery & emotion of the vocal & use the AT to transition into higher ranges. Compression & AT can really bring out expression & help you understand the feeling. Ppl who can actually sing, they sound even better thru AT cuz they know how to manipulate their throat & formant & tones plus slide thru the scales melodically where AT is providing an “ icing “ in the already great cake. Ex: T pain, Mariah Carey, Xtina, JT. Hell I’m sure Celine Dion has used AT / Melodyne for correction before.
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Post by ChaseUTB on Dec 31, 2020 17:50:12 GMT -6
Yeah, I’ll second that. My H47 gets used constantly. It just works. Do you use it more than your Upton 251? I remember that was your fave mic ever at one point!
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Post by ChaseUTB on Dec 31, 2020 17:42:56 GMT -6
How expensive is this mic? Ballpark? Are we talking T funk USA ( $10k ) or Upton ( $4500 ) pricing or better ?? Let’s hear this beautiful mic I’m excited for your company, Congrats on a new product release!
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Post by ChaseUTB on Dec 31, 2020 17:28:59 GMT -6
The purple site going crazy over this plugin! Very long thread over there, surprised there is not more discussion here
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Post by ChaseUTB on Dec 31, 2020 4:18:39 GMT -6
As always these kind of discussions get out of control. To my ears most of the newer plugins are lightyears ahead of what we had 10 to 15 years ago. Yes, I remember when all I had was Waves gold and thought it was amazing. I love R comp, R channel, RVox, RVerb, L1, L2, Q10, H Delay. Gold also has H Comp, V Comp, VEQ3, TrueVerb, Vitamin, Sibilance,, . 95% of major studios in ATL still uses Waves just how big of a version varies but Gold is no slouch. I could do mixes fine w Gold all day even if the plugs don’t match what they emulate or if they alias fold back w/e Dan talks about a lot If it sounds good it is good but that’s always a fine line as well
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Post by ChaseUTB on Dec 31, 2020 4:07:16 GMT -6
$199 right now on time projects website. Interesting their other plugs are 32 bit & $29.99. Watched the samples video where they put the plug to work and it stays pretty solid even w decent GR & sounds good doing so.
I’m more interested in the GYBBE transformer emu thing. How subtle is it or is it noticeable depending on the program material?
The GR meter threw me off, will take a little while to adjust. Not sure if this is worth $200 when Kotelnikov GE is $50 & the free one is already awesome in precise.
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Post by ChaseUTB on Dec 30, 2020 20:41:54 GMT -6
Ok this is great posts thanks for the thorough answers drbill thirdeye 112 going each way sheesh. Do all the HD I/Os interfaces connect via digilink or another way? If digilink is there a master unit w/ Digilink outputs? Or does one HD I/O plug into the next? The 64 I/O w/ SSL was mapped/ assigned similar to third eye’s w/ dedicated AD & DA for each step of the recording, monitoring, & mixing process.
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Post by ChaseUTB on Dec 30, 2020 20:25:03 GMT -6
Interesting most felt like me about the overuse of Black Box, his clipping plugins & clipping gain staging. Also I didn’t hear him mention the “ Brauerizing “ ( 4 way color parallel bussing )
Surprised he couldn’t explain what he was doing w/ certain plugins. Every time he A/B’s his or the B is way louder.
Seems to MB a “ mix “ is having Fernando do all editing, stripping, grouping, initial gain staging, balancing, filtering then routing. Then mapping to to the SSL ch faders at unity & inserts on the subgroups where MB can ride the faders & “ mix “ adding Ch eq & comp or inserts to already well balanced tracks.
Except but now he is an Avid mix control & hitting the channel harder in PT does nothing like it would on his SSL w Analog gear no matter how many BX SSL9K he stacked on the mix.
His mix mojo is quite different w/ the HW & SSL vs ITB which may or may not have to do with the quality of what he is being sent & how & where it was recorded.
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Nashville
Dec 30, 2020 19:16:50 GMT -6
via mobile
Post by ChaseUTB on Dec 30, 2020 19:16:50 GMT -6
Wow on first watch that vid is crazy. On second watch That video, if not edited, the officers seem to expect it. Maybe they are well trained but they didn’t even flinch and half the block just got destroyed.
How did they know they weren’t too close to the explosion?
Had that bomb been any bigger half those officers could have faced serious life threatening injuries. Happy that was not the outcome.
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Post by ChaseUTB on Dec 30, 2020 18:57:50 GMT -6
Do you have my correct address I’ll take care of it real nice 👍 You said Happy New Years right? Lol Looks like a vintage one but I couldn’t prob pick the difference aside from headbaskets visually or tubes ( maybe ) lol. Has anyone compared this mic to other versions/ builds or is this brand new? Looking forward to hearing more about it.
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Post by ChaseUTB on Dec 30, 2020 18:48:25 GMT -6
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Post by ChaseUTB on Dec 30, 2020 18:47:19 GMT -6
Im working towards growing my capabilities + I may be working at a new studio that will have Ultimate. So w/ everything that comes w/ copying & converting sessions from PT ULT to PT native it’s prob worth it for time & peace of mind to go PT ULT.
Then use an Avid HW Carbon or HD I/O to get the most out of the SW b/c idk if a 3rd party interface like Lynx does. Just don’t see myself needing 8 pres in the Carbon so that’s makes HDX w HD IO or a Lynx more attractive if Lynx can do everything an HD IO can.
The MTRX studio looks nice $5k, 2 pre, di, xlr ins, 16i/o ADAT 16 x 16 i/o on 2 dsub, 64 I/o Dante. Idk if I would use it to its full potential but it may be a good piece to grow with since it has more I/O esp analog I/O
The yearly for updates for both PT’s is a lot. It’s a write off but I still feel I’m being extorted lol .
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Post by ChaseUTB on Dec 30, 2020 18:43:06 GMT -6
drbill do you still have the HD I/O & HDX plug? A few years ago if I remember you were getting new HD IO interfaces & HDX cards for 30-50% less than retail. Was thinking about going to a 8x8 w HDX but it’s still 7000 at Sweetwater. They will have stock til 2030 at that price. I'm running HDX2 - 112 I/o with mostly HD I/o's and a 192 or two. Wow! 112 I/O sheesh is that 56 ins and outs equally? What PT version are you on w/ the I/O setup? Do you ever have any issues w/ the SW & HW or it’s solid & stable? Think the biggest I have seen was 64 or 66 I/o for the 48 ch SSL w/ PT HD in Tree Sound Studio + the monitor DA.
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Post by ChaseUTB on Dec 30, 2020 18:07:21 GMT -6
Congrats 🎊 I am happy for you 👏 The Carbon looks great. How is the sound quality? What interface did the Carbon replace? Please post comparison between Carbon & previous interface & the preamps quality. I don’t like the SF Apollo preamps. I know they’re designed to be clean & plugins provide “ character “ but they are stale & lifeless to me compared to my standalone HW pres. The Avid Omni preamps were useable / better imo than SF Apollo. I want the PT Carbon in a 2 or 4 preamp version with a tad more I/o + 2 mon outs to avoid a separate monitor controller. That’s why the Lynx N looks best for me cuz the I/ O & pres are configureable. Carbon has control for 3 monitor pairs, the dedicated TRS plus outs 1-4 on the DSUB. Existing interface in the studio is a MOTU 16A, which will still be used for 16 i/o over ADAT with Carbon, should be interesting comparing the two. Set up a 24 track template with a Brainworx SSL 9000 J on each channel using 7 of the 8 DSP, looking forward to tracking through the set-up. Wow I watched both videos on Carbon and clearly missed that lol So are all 3 level matches & controllable mon outputs via software & front panel or just SW? Either way that’s great news! Excited to hear what you think of the sound quality. Idk if it’s me but I would be a little nervous running multiple interfaces. So if you clock the Motu off the Carbon & you record 24 inputs will they all be sample accurate aligned in Pro Tools edit window? Is there any other process needed for sample accurate recording thru both interfaces?
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Post by ChaseUTB on Dec 30, 2020 17:47:15 GMT -6
I bet your Flea 47 sounds amazing with the Thiersch Blue Line PVC M7 capsule. My experience w/ the Blue line capsule is great. My blue line capsule is in a custom FET transformer coupled output mic that sounds larger than life thru my RTZ Audio 9762 Dual. Mic even sounds good going in an Apollo interface pre. Yeah, i really like the sound of the Blue line M7 , is just my voice that is very soft , and has a bump in 200hz , and for pop style i always have to cut in 200hz and boost mids at 1.6khz. With the K47 its a little bit more easy to make my voice fit it in the mix. But as Timcampell says , sometimes i reach for the M7 to have that vintage flavor. I definitely keep them both for sure , alongside with my Shure Sm7b that i also love Interesting that you are having to boost your mids on an M7 but again you said you voice is soft. Mine used to be more deep when I smoked but it’s still considered baritone now esp when rapping. What preamp are you using? My RTZ would be considered Neve Esque. If you are using something clean for pop I could see why I cut the 1-2kHz sometimes & you boost the 1.6 kHz. My RTZ I like around 40 dialing back the output to about 3-4 o clock so it adds some grit when you get on it can really help cut thru busy modern music tracks.
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Post by ChaseUTB on Dec 28, 2020 2:54:09 GMT -6
Very interesting! I watched most. Start vid around 16:00 min mark. What do y’all think? Impressive results considering source files: 2 trk instrumental stereo & reverb Lead Vox mono. Been working ( polishing _____ ) w 2 trk MP3 YouTube beats all the time & have to do similar steps as MB did. Proud of my skill set Now if I can just charge what he does & be booked up like him My thoughts: Black Box plugin on everything lol.. Almost ever BX 9000 J clipped, almost every track clipped. Def hearing artifacts at times. Is there a Fernando plugin Seemed Fernando did all the heavy lifting & grunt work, hope he was credited sheesh!
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Post by ChaseUTB on Dec 28, 2020 2:39:03 GMT -6
Nice bout to check this out. This plug was mentioned a few times in other plugin threads. Say it ain’t so, Plugin Alliance doing the waves $29 sales method I thought PA just switched to ultimate subscription? Aside from this plugin which others stand out in the Plugin Alliance collection?
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Post by ChaseUTB on Dec 28, 2020 2:30:04 GMT -6
If the iTunes Player on Mac you can kind of customize the layout window. U can shrink it to a transport player but It’s more of a CD player lthan PT or LPX transport. This is on my MBP running older ITunes 12. Xx on El Cap.
I haven’t found a way on iPad / iPhones other than selecting the file where it takes up the whole phone screen but it the same type of CD player control.
Side note / Slight OT: I would like the ITunes Store to offer HQ Wav for purchase instead of Apple Digital Masters AAC’s or non ADM AACs. To be an Apple Digital Master the source file has to be 24 bit or 32 bit, 44.1-192kHz file. No up sampled files. No 16 bit files upped to 24 bit. ADM recommends using 24 bit 96 kHz source files w/ 1 dB of headroom for best encoding results. (-1.0 dbfs peak )
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Post by ChaseUTB on Dec 28, 2020 1:59:59 GMT -6
I really like Tidal.MQA streaming[Master Quality Audio]mainly because it sonically blows away iTunes and shitafy Is that w/ the same playback files? Meaning comparing 24 bit Wav on each platform? I think some DSP you have to buy the ability to stream HQ Wav. Always heard lots of ppl recommend Tidal! Is there anywhere to buy actual HQ wavs the ME made/ printed/ captured w/o DSP encoding?
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Post by ChaseUTB on Dec 28, 2020 1:48:54 GMT -6
Lots of good info thank y’all! CPU power / buffer has been a big topic w/ Acoustica. Would I be able to run the Pink & Purple plugins on tracks or would I need to use them on Auxes & busses? I’m on a 2012 2.6gHz i7 MBP w / 16GB Ram & 850 Samsung SSD. Audio drive is OWC 3TB 720RPM HD dan thanks for the suggestions! I want to invest in good sounding tools that improve my workflow & efficiency. UAD sounds great & so does a free plugin like Kotelnikov from Tokyo Dawn Records/ Labs. I need to buy the GE ASAP cuz the free version smokes the expensive UAD Vertigo VSC-2 ( Softube coding? ) which I like. The VSC-2 even w/ a 90 Hz HPF will choke the low end & collapses/ weakens the in your face vocal like a waves SSL bus comp unless the release is fast or auto ime.
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