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Post by reddirt on Feb 1, 2019 23:11:04 GMT -6
Sorry if it's in previous posts, I havent seen it ; what price are we talking?
Cheers, Ross
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Post by reddirt on Feb 1, 2019 23:07:29 GMT -6
As someone alluded to before, isn't the 87/67 headbasket patented , if that's the case then it's not something able to be copied one for one.
And I'll day again that cheap bodies put me right off.
BeesNeez and Rode irrespective of what you think of the sound both make high quality proprietary bodies so it can be done.
Cheers, Ross
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Post by reddirt on Feb 1, 2019 15:26:17 GMT -6
Thanks for the replies guys.
Cheers, Ross
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Post by reddirt on Jan 31, 2019 17:21:51 GMT -6
Why couldn't we be talking more in the 2 - 3,000 bucks area and give yourselves a bit of wiggle room without compromise. If the mic is demonstrably superior to the 1,500 mics then those who value that will save and buy.
You may not have a frenzy on your hands but you'll probably have something that's able to be managed well , an enjoyable ride, reasonable profit and industry respect.
I note you say body quality doesn't have an effect on the sound ; I can't help thinking that it's resonance must carry to
some degree.
Cheers, Ross
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Post by reddirt on Jan 30, 2019 15:41:47 GMT -6
That's a fair question K Catt - it's not strictly a quality room such as these probably deserve but if they sound truly great and revealing at any and all levels then I'm happy - the focus mode appeals as does the deeper bottom than small nearfields which offers insight into the bottom end when required and obviates constant checking on cans or dicking around with subs.
I've had Event ASP8 ,Neumann kh120, Amphion 1 x15 over the years and they've all had aspects that didn't work for me and yes I'd prefer to get something way cheaper but these would appear to have most bases covered.
I work with mainly acoustic music with bass and drums as required (think America etc)
Other options I liked were Shape 50s which would need a sub and Eve SC 305 which I worry may sound too nice and not actually reveal .
Any other thoughs are greatly appreciated.
Cheers, Ross
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Post by reddirt on Jan 30, 2019 0:28:15 GMT -6
Hi guys, any thoughts negative or positive on these; my Aussie dealer is offering me a great price on a pair.
Great reviews on Tape Op, Mix on line, SOS etc but Ive been burnt by reviewers opinions before.
I live miles away from cities so can't check them out even though I was in both Melbourne and Sydney specifically for speaker listening recently; somehow these slipped through the net and I didn't hear them .
Heard the SM9s, Be Twins , Shape 50 (which were a nicely homogenous speaker), Shape 65 , Shape twins . I
liked the "sound" of the Be line. hence the heightened Trio interest.
Just chewing things over and looking for real world reports.
Cheers, Ross
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Post by reddirt on Jan 29, 2019 16:54:43 GMT -6
True about the reverb - cool on the slide but not so much on the vox although it works better for Keb than Taj- the performance however totally kicks any tech worries into touch for me.
Cheers, Ross
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Post by reddirt on Jan 27, 2019 18:47:24 GMT -6
Apart from the lovely honesty in the playing and the obvious camaraderie, the sound of the library is perfect.
Cheers
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Post by reddirt on Jan 26, 2019 17:36:39 GMT -6
Bump - no takers?
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Post by reddirt on Jan 26, 2019 3:31:13 GMT -6
Anybody got any useful knowledge of the Eve Audio line.
I briefly heard the SC 207, SC 305, Sc307 in , Melbourne last week and of all the speakers I listened to the Eve range sounded great however the nagging thought is they may be too smooth and might not present mix issues as clearly as required.
Cheers guys, Ross
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Post by reddirt on Jan 23, 2019 16:44:51 GMT -6
It'll be recorded to multi-track and post produced so short of bad performance , it should be a good mix and sound this good .
Cheers, Ross
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Post by reddirt on Jan 8, 2019 15:21:24 GMT -6
Adams new range may well be worth a look - S3V I think it may be called .somewhere around your budget in the States I imagine. All I read says they've put a lot into the new range to win back sceptics.
Not to derail but hopefully my experience may in some way assist. Sold my Amphion 1 x 15 and took a big hit but they just weren't for me - bought on rep without hearing as I live 1500 miles away from stores.
Am interested how I have been swayed by perceived internet vibe against Adam and dismissed them until I heard the A7X ( first Adam experience) alongside Shape 50s in Sydney last week. Two sides of a coin. Adams - revealing and fun ; Shape 50s - more mellow yet a homogenous complete sound.
Led me to want to hear Adam's best new nearfield the S2V which I'll do when visiting Melbourne next week.
What i do know from my experience is there's several ways to skin the cat and someone else's experience may not necessarily be yours; take your time, trust your own ears and if at all possible get to use in your own environment for a reasonable period. (But you know all that, right?)
Cheers, Ross
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Post by reddirt on Dec 21, 2018 23:54:38 GMT -6
So cool that you won what is no doubt a great mic, John. I look forward to the next model announced.
Love the fact that the bodies are really gutsy and not cheap metal.
For any new release may I suggest you guys keep that quality of the body and also make sure any shock mounts actually grasp the mic with a threaded ring a la Neumann / Gefell etc so the mic can be operated upside down with confidence.
The fact that many knock offs use crap bodies and shock mounts that are hard to use as well as unreliable is an Achilles heel IMO.
Haven't used the Heisermann mic but my experience with their Stam sa87 cap and the apparent body metal qualty leads me to speculate that short of the real thing I'd be surprised if anyone does it better.
Cheers, Ross
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Post by reddirt on Dec 20, 2018 2:50:53 GMT -6
These are all very useful and dynamite suggestions but at the risk of appearing to be a self interested arse pain, I feel they could obscure the point of my previous post i.e playing ability is the single biggest determinant in how useable a sound is.
I'm not truly au fait with John's ability on bass but know his vocal and songwriting to be top drawer so maybe his standards are writing a cheque that his bass playing abilities can't quite cash at the moment. I don't know, I'm just throwing it out there to pull us back from (as we often do) throwing money at an issue that may just need more work. Is there any merit in thinking this way John.
Cheers, Ross
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Post by reddirt on Dec 19, 2018 15:09:27 GMT -6
Before you even get into the recording side John, what do you actally sound like through a good amp? It's stating the obvious but most of your sound is in your fingers - how you play. James Jamerson played with one finger but had touch for days.
It's difficult to get that clarity if it's not being made at the source.
Many all rounders think of bass as 'no worries it's not that hard' but balk at the hurdle you are discussing.
You may need to start aside some daily practice to get the relaxed strength in your fingers.
Also , picks can be very good- McCartney used them - Penny Lane anyone?; I know of a guy who used felt picks dipped in some kind of resin to make them harder but not too hard.
Go well, Cheers, Ross
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Post by reddirt on Dec 10, 2018 20:24:51 GMT -6
Any thoughts for the newish Genelec 'The One' models?
Cheers, Ross
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Post by reddirt on Dec 4, 2018 18:45:14 GMT -6
Have had great experience with the Heisermann capsule in my Stam 87 - shot it out against my cmv 563 (new model with a great Bowie tube), BeesNeez Arabella and a km 84 in a one mic to cover vocals/acoustic last night Different performance ,same song , 18" off to the side a little into a BAE 1073mp and it came out the best in smoothness across the range and lack of sibilance.
Of course that also says a lot about Josh's mic too.
Cheers, Ross
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Post by reddirt on Nov 18, 2018 22:43:27 GMT -6
Hey Doc, very complete and so tidy- big congrats.The tight bass playing is one of those things you've either got or you haven't and no amount of tweaking is going to achieve it. Having said that, what comp and eq did you use on the bass - I'm picking not much as so much is in the fingers, right?
Cheers, Ross
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Post by reddirt on Nov 10, 2018 16:59:31 GMT -6
Sounds like it's the apollo-f your eye
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Post by reddirt on Nov 9, 2018 17:47:51 GMT -6
I haven't listened but just the fact they're not in exactly the same spot could easily account for those marginal response differences.
Cheers , Ross
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Post by reddirt on Nov 8, 2018 0:28:49 GMT -6
If they nailed it , there'll be a lot of sleepless nights....
The relab wasn't totally there for me nor the 224 and the lex bundle is not really floating it for me either so this new release is interesting for sure.
Cheers, Ross
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Post by reddirt on Oct 28, 2018 20:41:40 GMT -6
What the world needs is a reissue
And then we could fill forums deliberating if it's as good as original.
Cheers, Ross
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Post by reddirt on Oct 27, 2018 18:23:39 GMT -6
My take FWIW after owning a pair and using those same for years prior to owning is that they are a great universal mic but they won't cut your lunch or do your washing etc. i.e. there are others that will do the same or better sometimes and that may be a Soyuz in some situations although I have not used a Soyuz.
The prevailing opinion is they are the Grand Poo Bah on acoustic but again it's instrument dependant e g my Stan 87 is it's equal, at least on a great Maton I'm recording at the mo.
As to you John, I'm sure one of our fellow board participants with a known great 84 would lend you one for a few days to mollify your worries. (I'm in Australia so its impractical to be me).
Cheers,Ross
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Post by reddirt on Oct 14, 2018 14:01:51 GMT -6
Just flip it in the DAW (if it's not worrying while record monitoring).
Cheers, Ross
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Post by reddirt on Oct 13, 2018 21:00:56 GMT -6
I own an SA87 and haven't compared directly to a Neumann or 67 but like it in its own right. Well worth the price of admission as a workhorse and a definite step above the Rode, Studio Projects etc level. It is in seious competition with my km 84 if that helps.
Cheers, Ross
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