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Post by stormymondays on Jul 5, 2020 16:36:20 GMT -6
I just looked up specs. The line inputs take +20.2 dBu and the mic inputs +25dBu (padded). That is quite capable I think! Maybe you have a gain staging problem and not a converter problem?
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Post by stormymondays on Jul 5, 2020 16:23:59 GMT -6
What’s exactly the headroom problem you have? They won’t take hot analog signals?
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Post by stormymondays on Jul 2, 2020 14:02:15 GMT -6
Got Phoenixverb but I find the interface not pleasant to use and it's got way too many presets. Granted, I'm sure I could use it as my only reverb for a whole project and it would be good, but I'm spoiled with reverbs and I'm not reaching for this one.
Is there any preset/style that really knocks your socks off and is a must-use?
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Post by stormymondays on Jul 2, 2020 11:51:06 GMT -6
For some reason I had totally ignored this plugin. It's on sale (half off) so I read a bit about it, got excited, and downloaded the demo. OMG!!!!!!!! All I could think of is "this is cheating". Instant everything! Now I need to know: where do you use it? Which settings? I know Paul Frindle advises 100% effect, 50% curve, no 0 clip. Is there any DOWNside to it? I'm sure it can be overdone, but it's hard to find something that doesn't sound better with it. Come on, spill the beans for me...
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Post by stormymondays on Jul 1, 2020 7:58:38 GMT -6
I’ve seen some random reports where spikes were happening with laptops that had an external monitor connected, so there might be something there.
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Post by stormymondays on Jun 28, 2020 13:17:33 GMT -6
Bumping up this topic that I wanted to research. I have a few pieces that might need to be terminated: 1176 clone, Heritage TT73 (edit: it's factory terminated), Tree Audio The Branch II. I don’t have an oscilloscope - is this the moment to get one and learn how to work it? Is there something that I could patch on my patchbay (TRS) to add the 600 ohm termination? Is there something I could listen for, or is the oscilloscope required?
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Post by stormymondays on Jun 28, 2020 11:05:21 GMT -6
Nice. Very curious to hear about how that Vanguard V44S works out. Fantastic on overhead! I’m partial to XY micing so it gets the job done beautifully.
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Post by stormymondays on Jun 24, 2020 16:21:52 GMT -6
M201 and occasionally KM84. No bottom mic.
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Post by stormymondays on Jun 21, 2020 16:13:59 GMT -6
I’ve been waiting for this! $29
Got some very strong recommendations from members here if I remember correctly.
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Post by stormymondays on Jun 17, 2020 16:36:06 GMT -6
Sometimes I go months without turning it on. I also go more than a year without oiling it. It’s in a climate controlled studio though.
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Post by stormymondays on Jun 4, 2020 16:44:16 GMT -6
GAP Comp-3A on electric guitars is almost always better than not I sometimes get lazy and don’t patch it, then decide to try it, and I’m glad I did. It works for acoustic guitars too!
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Post by stormymondays on Jun 1, 2020 16:40:11 GMT -6
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Post by stormymondays on Apr 6, 2020 10:33:40 GMT -6
Are you familiar with the so-called "Spanish Flu" and its origin? As you can see, yes, this thread can go south fast. There's plenty of negativity around, I don't think this forum needs to partake on it.
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Post by stormymondays on Apr 6, 2020 5:08:14 GMT -6
The last time I had some patience for a preamp shootout I tried these on acoustic guitar: Tree Audio The Branch II, DAV BG 2, LTL Chroma (N mode), GAP MkIII (Carnhill). There was no clear winner! I was expecting the GAP to land squarely on the last position but not.
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Post by stormymondays on Apr 6, 2020 3:54:43 GMT -6
I’m sure someone can confirm or deny this but I read a long while ago that it’s plainly impossible not to use parts made in China because there are no US companies making resistors and capacitors anymore, or at least not the most needed/common ones.
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Post by stormymondays on Apr 6, 2020 3:49:56 GMT -6
I recently bought a pre owned Golden Age Pre73 MK3 version, the one with the Carnhills in and out. That's one really colored sucka. It doesn't do clean, but that's what I like about it. If it doesn’t do clean, it might be broken. I’ve chosen it over a DAV for acoustic guitar in a few occasions.
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Post by stormymondays on Apr 5, 2020 12:53:29 GMT -6
So, for the sake of definitions, a mic can increase sibilance in two ways:
-A cheap design that has resonances in the sibilance area. i.e. it actually creates extra sibilant sounds. This is probably not singer-dependent. -A good design that happens to emphasize the upper midrange in the same area that your particular "s" sounds are. This is certainly singer-dependent.
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Post by stormymondays on Apr 5, 2020 10:41:52 GMT -6
The output is just the output. The gain comes from the Pentode and Triode knobs. The hardware is just fantastic, I can’t think of mixing without it.
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Post by stormymondays on Apr 5, 2020 3:19:33 GMT -6
IMO a mic that captures existing sibilance is not a sibilant mic. It’s an accurate mic. A sibilant mic will create sibilance due to mechanical flaws in its design, or at least that’s what I always read.
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Post by stormymondays on Apr 2, 2020 15:08:07 GMT -6
Here's a pretty thorough overview: www.soundonsound.com/techniques/gain-staging-your-daw-softwareI follow that same approach. I gain stage everything as per the most usual analog specs, with 0VU = +4dBU. All our precious analog gear was designed around these levels, and as Al Schmitt said about the VU meter, "it's red for a f****n' reason". So the analog part is easy if you have some reliable VU meters in the gear. Now, in a hybrid studio most of us have the problem of semi-pro converters where +4dBU can equal MANY different levels. The most "analog-like" level conversion would mean that a +4dBU analog signal would create a -20dBFS digital reading at the DAW. Most of the converters we RGO members use don't do that. I'm pretty sure that Avid Pro Tools gear does, though. My RME Fireface 802, on the correct setting, has +4dBU=-15dBFS, which is not too bad. I've chosen -18dBFS=0VU myself in the daw. Thus, I tend to record with levels from -18 to -10 and don't sweat it. Then for mixdown I put a VU meter first (Klanghelm), do my trims analog style, pull all the faders down -5dB and I essentially have a correct starting point. Since my monitoring is also calibrated, I'm never worrying about level from that point on, mixing or overdubbing. I'll also point out that as several posters have said, there is no reason to record hot with 24-bit converters, and it's easy enough to do the experiment yourself if you don't believe it. There is no noise penalty in adding 10 dB of digital gain in the box, at all. Hope that helps!
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Post by stormymondays on Mar 31, 2020 4:01:47 GMT -6
Yeah the lows on the basic pre73 are definitely muddy, I wouldn't use it on any critical bass source and it also can't overdrive for shit. I'd be happy to do a whole record only with the basic pre73 for every source, including overdriven stuff. Go figure!!!
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Post by stormymondays on Mar 30, 2020 17:12:45 GMT -6
@gearlust I think the importance of the EQ has been magnified. No design flaw, just that inductors are susceptible to interference.
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Post by stormymondays on Mar 30, 2020 14:23:35 GMT -6
Unfortunately I won't be able to test them side by side, sold the kit to partially fund the Heritage. But I "know" the sound.
About the EQ: I got the 73 one and inserted it. I kept it in the circuit just out of respect for the hearsay that it's only a complete 73 if it's got the EQ. It performed as advertised. One thing though, the inductors in the EQ are sensitive to EMI, so it had to be carefully placed.
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Post by stormymondays on Mar 30, 2020 14:22:34 GMT -6
Here's a 635 vid just for the sake of it!
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Post by stormymondays on Mar 30, 2020 14:19:15 GMT -6
Pre 73 MkIII and they I did the Carnhill upgrade, which made a small but noticeable improvement in the low end. Plus I got the EQ module to have the complete circuit. The EQ was cool but I've come to realize I don't like to EQ on the way in.
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