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Post by reddirt on Sept 20, 2018 17:20:23 GMT -6
FWIW Joshua, this board has been the source of a lot of good will, advertising and hence sales for you.
By and large we love your gear but when we've had money tied up as deposits for ever lengthening ETAs while more product is being added to your inventory without completing our orders first then we're bound to "complain".
I don't want this to devolve into a shallow shit fight but I reckon I speak for a few here when I say you need to be totally understanding of the customer and even if you feel a little maligned, 'cop it sweet'.
And yes I am am looking to buy an SA-2A in the future!
Cheers, Ross
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Post by reddirt on Sept 14, 2018 17:14:57 GMT -6
Yep just switch the pins on the XLR cable or more easily use the polarity switch on the pre if it has it or as a last resort because you can't audition in real-time, invert in the DAW.
I've an SA 87;which I like a lot and it has reverse polarity relative to my km 84 so it can be a trap for young players.
Cheers, Ross
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Post by reddirt on Sept 14, 2018 17:11:56 GMT -6
Check out Rob Squire in Adelaide Australia , he custom made mine
Which he's since gone on to produce with mods such as VU meters on board.
He's a bit of a legend over here
and great to deal with.
Not sure of the exact address as
I'm doing this on my phone but his business is Proharmonic so Google will get it.
Cheers, Ross
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Post by reddirt on Sept 14, 2018 17:03:32 GMT -6
Yep just switch the pins on the XLR cable or more easily use the polarity switch on the pre if it has it or as a last resort because you can't audition in real-time, invert in the DAW.
I've an SA 87;which I like a lot and it has reverse polarity relative to my km 84 so it can be a trap for young players.
Cheers, Ross
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Post by reddirt on Sept 9, 2018 15:59:31 GMT -6
Thinking of new monitors and after the initial high praise for the Shape release wondering what you're all thinking now particularly regarding the Shape Twins.
Cheers, Ross
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Post by reddirt on Sept 7, 2018 1:37:01 GMT -6
I have an eb bought new in 1985.
It's truly a quality mic with a lot of reach. I also have a 84 and they are definitely different. While the 84 could be called more truthful , the 451 is very tasty with a big bottom and very sweet even if a bit over done highs.
A bit like a great creme caramel desert if that's any use to you.
It works great on the things an 84 works well on with just a different but very valid flavour. I've cut a full album on vocals whic sound great.
Sorry, I can't speak for the new one.
Cheers, Ross
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Post by reddirt on Jul 21, 2018 18:36:36 GMT -6
The fig 8 thing can really work but on a recording I did last week I wasn't happy with the bleed because the performer was moving in and out of the nulls. One well placed ribbon with a clean pre could be the ticket
and excite the sense of reality; If you want to be able to have reverb/delay etc on the vox independent of the guitar, record the vox concurrently on a separate track with a 58 ( clos-ish to the mouth) or similar and use that to feed the reverb etc.
Another benefit can also sometimes be that it gives the artist a mic to work to.
Cheers, Ross
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Post by reddirt on Jul 17, 2018 21:52:13 GMT -6
Enjoy Italy Tim, I've just come back and it's superb
Cheers, Ross
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Post by reddirt on Jul 17, 2018 21:47:18 GMT -6
Just to clarify: the session was playing fine on my set up when I recorded her. I exported the consolidated files to her usb for her to use. The next day when I went into the original session, the files were twice the original physical length on the timeline -7:00 mins as opposed to the 3:30 of the day before. (Not just a 3:30 playing back at half speed) Upon checking, they'd exported to her thumb drive incorrectly also.
Cheers, Ross
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Post by reddirt on Jul 17, 2018 15:30:17 GMT -6
Anyone know what I've done and how to resolve. I recorded a client. and all was good, gave them their files on USB and the next day opened the session to find it is all twice the length ie 7 mins on the timeline as opposed to 3:30. It's playing back at low pitch and the client s files are as well when imported into a new project from the usb so it's something I did between finishing and exporting to his usb.And yes the sample rates are correct etc.
The important point to note here is it appears to have saved the files at double the length of actual time they were recorded at. Any ideas
Cheers, Ross
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Post by reddirt on Jun 14, 2018 22:31:50 GMT -6
Cheers Deni
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Post by reddirt on Jun 13, 2018 2:39:07 GMT -6
Hi Deni, apart from the increased output, what is the advantage of going for the phantom version assuming my pres are up to the task?
Cheers, Ross
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UA Apollo
Jun 13, 2018 2:28:31 GMT -6
via mobile
Post by reddirt on Jun 13, 2018 2:28:31 GMT -6
No mention of Prism or Metric Halo in any of these discussions - just throwing it out there.
Cheers, Ross
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Post by reddirt on Jun 4, 2018 22:00:31 GMT -6
Absolutely keen to hear the thoughts on the 67 and 2a
Go you good things!
Cheers, Ross
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Post by reddirt on May 31, 2018 13:47:08 GMT -6
Wow, what a great lot of replies; not sure where its left me but there's sure heaps to chew over. I appreciate your efforts fellas.
Cheers, Ross
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Post by reddirt on May 30, 2018 10:06:23 GMT -6
G'day guys, my newest desire is for a stereo (blumlein) mic to get sources in an easy, no fuss, phase coherent way. Pianos, acoustics , overheads etc ,as much as possible keeping it real; less edge but enjoying the space as well.
Thinking of the AEA ;is that in your experience an excellent option and are there others I should consider?
Cheers, Ross
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Post by reddirt on May 22, 2018 8:48:48 GMT -6
Your point about aggression is what irks me too. I've followed your mic travails from years back and if it works for you now, I'll raise a glass to that!
Personally and at the risk of starting a crazy argument -please don't folks - it's just my impression, ,one of the best vocal sounds ( widest / smoothest / easiest to deal with) I've ever achieved was with an 80s 451 EB through a Yamaha RM 804 onto a Tascam 38.
Analogue tape coupled with the recessed 451 mids worked as a system but you wouldn't have put money on it until you heard it given the supposed lo- fi quality of the eqpt.
Now my best is a Beesneez Arabella or km 84 or 451 or cmv 563 with a Bowie tube or Stamp 87 into a BAE 1073mp into an MH ULN-2 depending on the artist; I'm always changing mics trying to mitigate that upper mid attack without killing definition.
It's a black art for sure.....
Cheers, Ross
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Post by reddirt on May 22, 2018 6:30:28 GMT -6
Sounds very good with no obvious issues John, then again at that price you would expect that and IMO there are other mics that also would handle that piece just as well in their own way.
So what makes it worth it as opposed to others? - it really comes down to using it in your own environment and finding that it does what you need with grace; you don't need to fight with it to fix it's imperfections and it sits in the track and sounds like a record.
Spending time with a mic is so necessary to know if it's right for you, folks.
Cheers Ross
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Post by reddirt on Apr 22, 2018 19:02:45 GMT -6
'Cos you don't really need it?
Cheers, Ross
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Post by reddirt on Mar 30, 2018 20:56:00 GMT -6
I'll probably go down the same route as you when the inevitable happens J K.
I don't hear anyone complaining about fan noise on i-macs so I guess it's not an issue?
Cheers, Ross
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Post by reddirt on Mar 30, 2018 16:02:32 GMT -6
Geez Roundbadge, Neumann should be giving you a cut 'cause you've just sold a few for them
Cheers, Ross
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Post by reddirt on Mar 25, 2018 20:03:38 GMT -6
202s are dynamic if I remember right; great mic with a double capsule set up which can die over time
Were used a lot in BBC/ ABC / NZBC
Cheers, Ross
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Post by reddirt on Mar 25, 2018 20:00:20 GMT -6
Geez M57 , cut yourself some slack - it's really, really good - your pitch is great , you have similar sound to the guy in Prefab Sprout FWIW.
Keep at it man.
Cheers, Ross
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Post by reddirt on Mar 25, 2018 19:40:17 GMT -6
No love for the Stam?
Cheers
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Post by reddirt on Mar 24, 2018 18:42:09 GMT -6
In Wiz's example, the phase integrity is a huge bonus; it does require a mic with good pull i.e. can be positioned some way off the source and still sound great so the Chandler ( which I've never used ) or something of similar quality could be a good option . In that instance I would also put a sm 58 up close but off to the side of the vocalist so you can use that as a reverb send if required at mix.
The bonus of this purchase is it's a mic you'll probably never question and have forever.
Normally I would run fig 8 on both guitar and vox so 2 quality mics that sound great on their respective source without immediately adding eq. I've had good success with a Beesneez Arabella on vox and a Blue woodpecker on guitar with the last soloist I worked with.
Cheers, Ross
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