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Post by stormymondays on Dec 22, 2019 8:39:54 GMT -6
I went into the pick rabbit hole very far this year. I have about a hundred different choices now. Got to get a Blue Chip, I have some similar offerings but it’s on my list.
The best “normal” pick I found is the Fender Tortuga, followed by the Dunlop Ultex.
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Post by stormymondays on Dec 21, 2019 16:53:28 GMT -6
A bit pricey if money’s tight ? The SSL is pricey. The Silver Bullet is a bargain at $500 more.
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Post by stormymondays on Dec 21, 2019 16:28:39 GMT -6
Silver Bullet and done.
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Post by stormymondays on Dec 18, 2019 7:08:48 GMT -6
I am interested but too lazy to demo it. I await your findings... I currently use Little Plate and Abbey Road Plates. They work well for me.
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Post by stormymondays on Dec 18, 2019 2:26:24 GMT -6
I was using it on the master fader with everything else. Same settings. Then bouncing the file and doing the invert on one of em in audacity. Stuff that is supposed to null always has. It's plainly obvious just by listening to the real time audio before any bouncing. Haven't really done any other tests. It's not one of those things where the difference is subtle and there's a need to do tons of testing. Any plugin on that session that is non-linear will cause the bounce to not null. Not surprised about that. To find out if the plugins are the same or not, you just need to put them on two tracks, phase invert one of them with whatever utility plugin comes with your DAW, and press play. No need to bounce. Anyway, null or not, for some reason they still don't sound the same to you on your session, and that is intriguing. Maybe a CPU issue?
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Post by stormymondays on Dec 14, 2019 9:26:24 GMT -6
Just put it in Latch mode, press play, make your moves and then switch it back to Read.
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Post by stormymondays on Dec 14, 2019 5:29:39 GMT -6
So just to be clear, how are you doing this? I understand you are taking one stereo file, importing it into two different tracks on an empty session and slapping one EQ on each track, with the same settings. Right? And then adding a phase invert plugin after the EQ on one track. And they don't null? It doesn't make much sense that some instruments null and some don't. If anything, it should be a range of frequencies.
What happens if the EQ is set flat?
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Post by stormymondays on Dec 14, 2019 2:19:58 GMT -6
I had a similar bad experience with Presonus and my FaderPort. I swore off Presonus forever!
As for VU meters, nothing beats VUTM by Klanghelm.
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Post by stormymondays on Dec 13, 2019 8:50:20 GMT -6
That’s weird. Softube even uses the demo video for the UAD versión as their plugin demo.
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Post by stormymondays on Dec 13, 2019 7:18:39 GMT -6
I compared it with the UAD version and it sounds a lot different. The native is much thinner sounding, more highs. I heard something about a missing transformer or something in the native. Supposed to be mentioned in some Tape Op review. Then I swapped both out and used the Noise Ash Need 31102 and liked that better. It's like that new PA Lindell console but maybe even better. It’s the same code. The only Tape Op review is for the UAD version. Have you done a null test?
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Post by stormymondays on Dec 11, 2019 15:37:50 GMT -6
The deal was too good to pass up, so I bit!
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Post by stormymondays on Dec 10, 2019 16:29:24 GMT -6
Where did you get that price?
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Post by stormymondays on Dec 7, 2019 2:43:55 GMT -6
I listened to several demos and comparisons and walked away happy enough with the Softibe plugs that I own. I think they sound good. The Summit sounds great to me. I preferred it to the Tubetech, which I didn’t buy. Softube rocks!
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Post by stormymondays on Dec 5, 2019 14:43:07 GMT -6
And to that, I'll add that -to my knowledge-, CVT is the only singing method that publishes peer reviewed studies on their research and findings. And it works! Well there you go! Exactly what I was curious about. I think you might have missed my reply to your question back then? Anyway, I'll paste it again for the benefit of the conversation They do their own research, on actual singers, with actual larynx cameras: cvtresearch.com/welcome/ They've been training singers for 14 years in their own facility and applying the scientific method (from empirical evidence to hypothesis and experiments to prove/disprove theories) to see what actually happens when you sing. Here's the site for the Complete Vocal Institute: completevocal.institute
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Post by stormymondays on Dec 5, 2019 13:31:19 GMT -6
And to that, I'll add that -to my knowledge-, CVT is the only singing method that publishes peer reviewed studies on their research and findings. And it works!
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Post by stormymondays on Dec 5, 2019 12:08:54 GMT -6
I wanted to like Illusion and Lustrous Plates, but didn't feel I needed them. I'm well served with Abbey Road Plates and Little Plate (and the 7H Plates as well!). So depending on your reverb use and the amount of reverb plugins that you own, I don't think they are essential.
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Post by stormymondays on Dec 5, 2019 11:26:30 GMT -6
By the way, for those of you that have Philips Hue systems, sometimes the power supply itself makes a high pitched noise. I think it’s called “coil whine”. I’ve had that happen on their new “play” model, only on some full power settings.
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Post by stormymondays on Dec 4, 2019 14:52:32 GMT -6
I can't NAME a record made at 16/44. Any record made on Pro Tools prior to 1997, when ProTools 24 was introduced, is 16/44.1. Any record made on Sony digital U-Matic (Sony PCM-1600, 1610, 1630), available in 1979. Bruce Springsteen's "The River" comes to mind. Not my favorite sonically. You could probably look up the Grammys for best engineered album for, say, 1990-1997 and they are almost guaranteed to be 16/44.1 recordings.
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Post by stormymondays on Dec 2, 2019 16:27:20 GMT -6
For home recording purposes, I've stayed-so far-at 16/44.1 I'm thinking the main benefit of 24/44.1, is totally avoiding the need of front end compression. Not sure if 24/48 is worth the difference on simple stuff. I may getting into more plugins, next year. So hoping 24/48 will be fine. Thanks again for your responses. BTW I have the nice-at my level-Cirrus Logic converters, in my Mackie Blackjack. Chris You should really go to 24-bit. So many advantages over 16-bit!
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Post by stormymondays on Dec 2, 2019 15:24:33 GMT -6
24/48 after a long time of 24/44.1. 48 might sound slightly better with plugins that don’t oversample.
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Post by stormymondays on Dec 2, 2019 12:39:03 GMT -6
Ok, the new test is here! www.dropbox.com/sh/cxf6tmd8dxqqdiv/AABFmY5_C0EsYgpTeafGobuHa?dl=0Here you can find: -Apple drum loop dry -Studio B Close (my initial test) -Stone Room (with full decay) -Autumn Leaves dry vocal (THANKS VINCENT!!!) -Sunset Chamber For the vocal test I left everything at zero: dry track from Vincent and returns. For the drum test I think I lowered the loop -6.2 dB.
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Post by stormymondays on Nov 30, 2019 7:52:03 GMT -6
I got an Alvarez baritone acoustic guitar. The combination of B-stock and Black Friday was too hard to pass up!
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Post by stormymondays on Nov 29, 2019 17:00:29 GMT -6
Digital I/O is AES.
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Post by stormymondays on Nov 29, 2019 13:44:35 GMT -6
Man, it's a good plugin. Making me question whether the money I have tied up in my Bricasti is worth it to me... If it makes you feel better, I bought the Bricasti after the plugin became indispensable for me. I haven't regretted the purchase yet!
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Post by stormymondays on Nov 29, 2019 13:13:24 GMT -6
Monday I might be able to run some more comparisons. I'll do the Deep Stone, and I also have some vocals from Vincent. I won't be able to patch it in analog though. I'll make sure to leave the full decay of whatever happens in the end of the track so you guys can listen to it. The decays are definitely a place where you can "hear the $$$$" BTW I didn't level match the reverb tracks, they are level matched "by default" (or so it seems to me!) because of the digital I/O.
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