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Post by johneppstein on Apr 30, 2024 12:32:19 GMT -6
Yes, we are currently being invaded by AI, and probably that's the end of the music business as we have known it, as with all the other arts.
Yes, we are now officially "obsolete", as we need to be paid.
It's primitive now, but wait a minute.....
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Post by johneppstein on Apr 30, 2024 11:55:04 GMT -6
Alright, then I was thinking correctly, but still not completely understandable the difference between normal pad and lower gain and -10db pad, but higher gain. If see that db-lever is overshooting the red lines, then I just make the gain lower by those same 10db :thinking: Well, going to try to find some articles and read A PAD is exactly what it sounds like - it's a passive resisive network that reduces the signal level by a set (usually) amount so you don't overdrive the front end of your preamp. Your gain control is later in the circuit and cannot do anything about distorting the first stage of the preamp. A well designed pad should not affect the tone of the signal, just the volume level.
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Post by johneppstein on Apr 30, 2024 10:46:44 GMT -6
Ironically against usual convention I've started using LDC's for guitars and SDC's for vocals. You just can't beat a U67 on acoustic, don't even mind a 251.. I believe a lot of the Motown vocal stuff was done with Neumann SDCs. I seem to remember years ago the Bob Ohlson said that, maybe they were KM54 or 56... KM84s and (IIRC) 86s.The 86 is the side adress version. It contains 2 x 84 capsules and is multipattern.
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Post by johneppstein on Apr 30, 2024 10:45:31 GMT -6
Good choice, I'm a big fan of my 013's. They are very natural sounding, beautiful mics. I suggest for closer micing such as guitar, checking out the -10db pads they come with. For me, it was a big improvement. For drum OH's, I haven't tried using the pads yet. What is exactly the usage of -10pad? For example on my Audtio Interface - Phantom power - set 30db gain on mic. And if I equip -10db pad it should be more silent, so I will have to increate the gain i.e. from 30db to 40db or does it work differently? The pad is for when your source is too hot and you need to knock it down to avoid distortion.
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Post by johneppstein on Apr 30, 2024 10:34:36 GMT -6
Hello guys, I'm new in audio recording world same as on this forum, so if you feel that I'm saying stupid things - it is Right now I'm learning fingerstlyle with percussion Just an example (please delete if not allowed) and having Sennheiser MK4 mic with RME Babyface pro fs interface. I saw a lot of reviews, videos, comparisons (also in this forum) and found 3 most interesting mics for me. 1) Soyuz 013 Fet (600$) 2) Neumann km184(670$) 3) Austrian Audio cc8 (mono 450$, pair 830$) Everyone tells that its better to use cheap pair, but in stereo, but as I'm new here I just want to buy something, which I will use forever or sell at by not loosing to much. Also I read that stereo could be overcomplicated for people without experience. And so far I'm tending to buy mic 1 or 2 as mono and in the future (if needed) just add another, but here another problem = matched/unmatched topic "shouting aaaa". Also I saw topics that its not necessary needed to use 2 same mics for stereo. I could probably take my MK4 and add i.e. one Souyz or Neumann and experiment with that. it would be really nice if you could correct my thoughts, which I learned for the past days and a lot of reading hours. and would be great if (based on YT example) tell me which mic would fit best here? Precise and bright neumann, warm and full Soyuz, or something between -> AA cc8? And in case stereo matched and same pair needed I would go for that 830$, but it's a bit to much for me. Otherwise I can buy one of these and add same one, for example in "xx months". P.S. Probably it is also very important to consider - I live in a Maisonette apartment type, which doesnt have doors, only ladder behind me. I treated my living room part as much as possible, bass traps, acoustic panels, carpet, big sofa etc and it works pretty well for music listening, but I think it will never be perfect for recordings, just unpossible to do by not spending thousands of $ Thank you for any advise! If you want a mioc to use forever, save your pennies for a Neumann KM84, NOT a 184.The 184 has a presence peak that makes the mic less usable, you can always add highs to a 84, but you can't get the smoothnes of an 84 out of the 184. A KM84 may be expensive, but you will always be able to get your money back out, even turn a profit. My first one cost me $1,000. By the time i got the second they were up to $2,000. Beware of counterfeits. Get the insides inspected before you buy.
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Post by johneppstein on Apr 30, 2024 10:00:35 GMT -6
M88 all the way. I have two that I use often while the RE20 is cool once in a while on things. Only bought cuz it was cheap ($200) The only problem wiyh the M88 is that the diaphragm is a bit fragile, and over time develops problems. I have 2 M88s and at least one RE20. I like both, but since I like the m88 fror vocals I usually use the RE20 on the beater mic for kick, with a Heiserman U47 FET on the outside.
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Post by johneppstein on Apr 30, 2024 9:42:17 GMT -6
I would be very interested in how others on here,with far more experience of these things, Mic a 4x12. Here is my journey… I bought a Neve DPX to track through… I tired a SM57 and while perfectly OK didn’t really satisfy me….After some research and discussion last week I bought a Beyer M88…It’s far more satisfying but I did have to watch the distance from the speaker cloth and brought the M88 about 3inches back…as I was getting issues with the proximity effect. Sound good to my ears…job done…but I like to learn and tinker and was just wondering your approach when mic-ing up a 4x12? cheers for any input… The same way I'd mic any cab - select the best sounding speaker and mic it from the edge (roughly), pointed at the dust cap to get an even pickup.
I don't use more than one mic because it gets phasey. I'll use either a 57 or 545 (copper VC), or a Beyer M88 or M201 if they're available.
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Post by johneppstein on Mar 19, 2024 10:42:16 GMT -6
How do you find the opto? I have an Opto. It lives on my vocal feed. IMO it's probably the best LA2A out there, worth far more than they ask for it.
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Post by johneppstein on Feb 26, 2024 17:16:41 GMT -6
opr /Mark I wasn’t suggesting anything negative or questionable about the quality of your work, just that I didn’t know the business name. Takes a lot of knowledge and judgement to recreate a classic Mike and I acknowledge and respect that. My suggestion would just be a means to have a respected 2nd party do a thorough and objective assessment of the Mike, which, I believe, would be to your benefit! Thanks for your suggestions Kcatthedog I appreciate it and I completely understand what you were saying, A lot people ask me to send mics for their assessment but I'd prefer to send the mic to a person who has the intention of buying it.
Having said that I'll be getting some sound samples happening soon.
Also I have a 7 day no questions asked return policy so if anyone were to buy and not be happy they can return it for a refund. minus Paypal fee(if used) and shipping costs.(No restocking fees or or other fine print hidden costs) or I can tailor the sound for them the 67 has a feedback EQ network that allows for the top end to be adjusted allowing for more or less HF roll off. The standard tuning is the baseline.
Anyhow It's much better to try in your own setup and on your own voice as that way you'll know immediately weather the mic is for you. In the development phase I've measured and tested this mic up against Vintage OG's and definitely It holds it's own I certainly wouldn't put it out if it didn't cut the mustard.
seven Days is better than nothing, but is not enough for many studios. 30 days would be much better.
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Post by johneppstein on Feb 24, 2024 9:49:39 GMT -6
A motor can still be functional and not function well. While severe wow and flutter/pitch bending can be cool on some things, it's not necessarily something you want on everything. I'm sure problems may have been fewer and farther between in years past, but it's been almost 35 years since the last one was produced and I think over time, its only natural for anything with moving parts to start showing signs of wear and tear. Besides mine, I know of at least 3 others that friends had or were in studios I worked out of that had to have the motors serviced. Of course the motor can have problems but I'd first replace the pinch rollers, tape tension spring, felts, tape, lubricate everything that needs to be lubricated after cleaning, check the tape tension, recap PSU etc... If those won't fix the wow and flutter then it could be the motor. But as you wrote that you've repaired Space Echoes I'm sure you know all of this. Hopefully you'll find time to fix yours soon! If people don't treat the motor well and just neglect it in some place that is less than clean any electric motoor can be made to malfunction. That isn't the motor's fault, it's the owner's. Just like driving a car until it throws a rod or bogs down from using cheap gas and oil. Mechanical devices MUST be maintained properly, Space echo motors are no exception,. although they are a good deal more durable than those used in many other tape echoes.
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Post by johneppstein on Feb 23, 2024 15:42:26 GMT -6
The EF-X3 is just a blast to use. It's pretty clean, especially using the balanced input. The instrument input goes through an Echoplex-ish input which can be overdriven. The echo sound itself isn't as colored, and the motor is very stable. My favorite way to use it is to pre-treat the input signal for extra vibe, and connect some kind of modulation source to the motor speed CV input. I'm tempted to try the new Boss BP-1w preamp/boost pedal in front of it recently. The 201 has such a useful sound still. How many playback heads?
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Post by johneppstein on Feb 19, 2024 9:42:00 GMT -6
I had 2 of these as well as an Echoplex back in the day and I couldn't WAIT to replace them with something quieter, more versatile, and didn't require cleaning tape heads and replacing worn out tapes. I had both a 101 and a 201. What is it with these things that everyone is willing to pay stupid money for them? I don't get it. I bought the Echoplex new in 1974 and sold it just a few years ago. It still worked but needed a new tape. It sat unused in a closet for decades. When digital delays and reverbs came out I was in heaven. Not going back, EVER! Replacing a worn out Space Echo tape is easy as hell. It's in a damn CARTRIDGE fer chissakle! None of the nonsense you need to go through with other tape echoes. And they're pretty quiet, as tape machines go.
Kids these days are SOOooo lazy!
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Post by johneppstein on Feb 12, 2024 11:36:33 GMT -6
What is it that it does for you? Is it a saturation thing a size thing or something else? I know about the modulation effect of tape echos having had some forever but that's nothing I can't do with about any delay plugin out there. They have "A Sound" that you can't get elsewhere. No, it's not saturation, it's tape! and unlike other echoes Space Echos used a fairly long loop that didn't constantly rub against itself, so tape didn't wear like it did in an Echoplex. And there's the multiple playback heads, available singly or in combinations, The only other echo that was in the same class was the Korg Stage Echo, whjich used the same technology. (and cost a bit more...)
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Post by johneppstein on Feb 7, 2024 10:47:33 GMT -6
Oh OK. I get the context now. How much do you guys think of the "Curator Role" approach now? (so much music out there now vs. Past) Like hosting shows for people ACTUALLY into learning about Genre(s)/History/Stories/etc? Chris Thaty wound be aqn interesting plan but for one problem - The vast bulk of the audience is not really interested in "Curator Shows" unless the subject is already hugely famous. People aren't much interested in learning about things the don't already have some interest in.
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Post by johneppstein on Feb 7, 2024 9:34:01 GMT -6
People do LOVE engaging music as a foreground experience where they aren't doing anything else. They just don't get that experience very often today. Exactly! When I was 16 (44 years ago) music was the center of our youth culture. We gathered at each others houses around the record player and listened endlessly to the bands we loved and followed. Forward 44 years and I watch what music means to my 18 and 21 year old son's and it's generally background noise whilst they are playing video games, watching Youtube tomfoolery and on socail media. It's a very obvious shift in importance and focus to youth culture, they will then take that attitude to music through to their adult lives. My hero's were super star musicians from the bands I loved. Their hero's are Youtubers, social media "influencers" and Youtube comedians/pranksters. All of whom are pretty useless and often destructive. There is no real art there. Our culture is being activrely destroyed for the benefit of the tech business.
This could probably be corrected through careful legislation, but the odds of that happening are about nil
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Post by johneppstein on Feb 7, 2024 9:21:11 GMT -6
Back then, even the shittiest label had to invest money back into music. Now streaming turns a big part of the profits to computer companies that don't give a rat's arse about musicicans. So what happenes if you bleed and bleed? Have a guess. I try to explain that to people that tell me streaming is soo good. Well, watch the path you're following, it might not lead to a place you wanted to be. What a blessing we get to pay Spotify et al 30 cents of every dollar made for using my music without my consent. And Spotify does f* all to promote music for their 30 cents. That's not the music industry. That's Big Tech raping the corpse of music.
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Post by johneppstein on Feb 7, 2024 9:15:58 GMT -6
Exactly! When I was 16 (44 years ago) music was the center of our youth culture. We gathered at each others houses around the record player and listened endlessly to the bands we loved and followed. Forward 44 years and I watch what music means to my 18 and 21 year old son's and it's generally background noise whilst they are playing video games, watching Youtube tomfoolery and on socail media. It's a very obvious shift in importance and focus to youth culture, they will then take that attitude to music through to their adult lives. My hero's were super star musicians from the bands I loved. Their hero's are Youtubers, social media "influencers" and Youtube comedians/pranksters. I don't want to "like" this, because I actually hate it -- but it's true all too often. Music is no longer the center of youth culture. You're missing the point. The point is that there is no longer much new music that is saleable, without financial backing.
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Post by johneppstein on Feb 7, 2024 9:12:35 GMT -6
At least musicians will go back to making music for the right reasons - cause they love it. The people (musicians, engineers, producers) chasing the charts / hits / success etc are doomed. This is a good thing IMO Even though I have worked with many successful artists, most of my work is done with people who love to make music, they don't expect to make a living from it. The ones that do often teach music as a job - others have a completely unrelated job for income. They tour, do great gigs locally and internationally, record great music, make some merch, and have enough fans to cover expenses, and have a great time making albums and performing, and if all goes well, have some cash left over to inject into the next album. Success is viewed through a realistic lens. "Realistic" lens?
So you say not being able to support yourself with your art is a GOOD thing?
Speaking as a broke musician, I don't think so. Not at all.
Nearly all the great music of the last sentury was probuced courtesy of the music industry. It would not have happened otherwise. The Beatles would have spent their carrers in the Cavern Club. the lesser artists would never have seen the light of day.
And if you have to work some menial day job to pay your bills and to eat you're not going to have much, if any time to work on your music - it doesn't just happen automatically, you know.
Success IS viewed through a realistic lens, but you lens is so far out of focus as to be useless.
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Post by johneppstein on Feb 3, 2024 12:41:49 GMT -6
When I'll tell my mum (93) about the woes of the industry I went into at 18 she reminds me about her youth. My parents rocked the night way (well till 10.30pm) to the sound of Dance Bands in Dance Halls run by Mecca. She said, so fantastic was the sound of a Dance Band (Big band) in full swing that they and the musicians thought .... This is going to last forever! Evolution driven by technology and fashion saw that prophecy turn to dust. Then came Rock 'n' Roll .... I stood in fields and stadiums at 20 watching Zepp, Rush, Genesis complex LOUD amazing music, so fantastic was the sound, I thought and the musicians thought .... This is going to last forever! Evolution driven by technology and fashion saw that prophecy turn to dust. Rinse and repeat. And erven that is being threatened by the onslaught of AI.
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Post by johneppstein on Jan 20, 2024 14:35:07 GMT -6
Given that use case, I would totally try an EV RE 10/11/15/16. All essentially the same mic. The RE11 has been the easiest to find for me the past couple years. Cardioid, no proximity effect, no big vocal boost, no pinch at 1-2k, unobtrusive on camera. Done. Man, it really sounds like those vintage EVs might be the best option out there. I love the sound of an RE15 but prices have really jumped on those in recent years. Mark, honest question for you or anybody else who can answer...why don't they (EV, or anybody else) make dynamic mics that are voiced like those anymore? Becuse in many ways they're not the same company aned also because thery don't make many (or any?) mics is the US anymore?
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Post by johneppstein on Dec 26, 2023 12:02:45 GMT -6
facebook. Im in a ton of really good audio pages/forums on facebook. Only reason I still have it honestly at this point.
I'm not welcomed there.
You see, I was given a great responsibility when I was in the service because of my advanced scientific decision making and ethical grounding that was part of a great protection system for the people of the United States. So people connected to a certain secrete society that spans into the world leaders and politicians attack, slander, and ban me even without provocation once they find out who I am. I'm sure over time, after these last few things that will come to pass, it will be better for me. Some are still shocked on how their leader bend to my requests at the top. When they are ordered to do the psychological warfare to me. This is not only limited to online. I notice GS is a British Empire corporate entity and what I experienced there may be a product of the current world events. Even though I started to alter things for the US because of other's unethical scientific things.
Needless to say, my dark mirror opposite of me of that responsibility will not prevail, and I would like to fix everything. But unfortunately. I'm out numbered and the secrete society people purposely don't want me to cross into the political realm to accomplish this. Their new world order agencies erased my existence, and my files ended up in both of the "leader's" houses. Some of the politicians know who I am and they came to my defense and go forward with my suggestions to them. Because they served too in the armed services and knew of my existence.
My life has been so crazy. And it never really dawned to me until recently why some of the good agents referred to me as "Captain America" until I picked up one of those comic books and it showed so many parallels existed between me and a fictional character made decades before I was born.
There is a few things I can say to the people of the US. I was their protector of certain matters in a special group of people and I'm the one who is preventing them to use their weapon of bioterrorism: "the mask". Because I know it would do the same thing here in the US, that is causing a certain plague of pneumonia with the unethical groups' co-wager, China.
The thing about Farcebook is that almost no one there spells the name properly.
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Post by johneppstein on Dec 24, 2023 10:21:02 GMT -6
Was (as often) partly kidding. But the truth is, the "signal to noise" ratio is higher here versus GS. There are some super cool members, that mainly/entirely post there of course. But more relaxed here. Sometimes I think from the "Junior" Pack level like me... To the Big Dogs that hang at these Forums... We're sorta a Support Group for all us fellow Gearheads. The Low Tech to High, etc. Mainstream people "just don't understand". LOL! Chris I disagree about the S/N.
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Post by johneppstein on Dec 24, 2023 10:13:34 GMT -6
Lovely. so now one can be a "recording engineer" without really knowing anything at all! Just what we all need.... It's what the vast majority of new 'recording engineers' are already doing anyhow... they have no idea what they're doing, but watch youtube instructional videos for a couple of hours and think they know it all. And we need MORE of that?
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Post by johneppstein on Dec 24, 2023 10:08:21 GMT -6
Lovely. so now one can be a "recording engineer" without really knowing anything at all! Just what we all need.... You obviously didn't watch the video Why should I? I need an AI reverb like I need a hole in my head. And I don't need an AI 'saving"me time - As far as I can see many or most AI made choices are not what I want. Damn thing can't even do a spell check right, let alone a reverb - or anything else audio.
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Post by johneppstein on Dec 24, 2023 10:04:13 GMT -6
Mary Cristness abs a crunchy New Year to all!
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