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Post by stormymondays on Jun 26, 2019 11:39:53 GMT -6
I think you run a great forum! EDIT: the forum is great because you do a great job moderating it. I have been a forum admin, I know how it goes
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Post by stormymondays on Jun 25, 2019 7:57:26 GMT -6
How are sunglass bags going to cover my big tube mics? You stitch two of them together.
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Post by stormymondays on Jun 24, 2019 2:50:10 GMT -6
That’s pretty cool, I hadn’t thought to measure preamps...
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Post by stormymondays on Jun 23, 2019 2:21:51 GMT -6
Me too. Microfiber is breathable and leaves no residues.
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Post by stormymondays on Jun 22, 2019 2:01:05 GMT -6
This is a genius idea! Which tubes on the 2A side?
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Post by stormymondays on Jun 21, 2019 14:48:32 GMT -6
I have some custom GIK gobos, great stuff. I just had them make a shorter version of their folding vocal panel.
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Post by stormymondays on Jun 18, 2019 12:48:44 GMT -6
Laptop here, plus a miniature screen dedicated to Console 1. I love that people can’t stare at waveforms when listening to playbacks. Editing sucks which means I try to get people to play things correctly :-)
If I could have some kind of stowaway screen that I could use when clients are not in, I might get one. However, my studio build doesn’t allow for that.
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Post by stormymondays on Jun 16, 2019 16:16:05 GMT -6
Thanks for the tip! That’s a pretty big endorsement!
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Post by stormymondays on Jun 16, 2019 9:06:03 GMT -6
I can tell you from my first-hand experience that Tim Young at Metropolis has been using digital limiting since 1998 (at least!). On my last visit he was using Fabfilter, after decades with the TC system.
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Post by stormymondays on Jun 16, 2019 7:51:08 GMT -6
OTB: TK Audio SSL style comp > Black Box Analog HG-2 ITB: Slate VTM Sometimes I’ll have an EQ after the comp: Retro 2A3 or Hammer 2. I bought the Hammer for this but it’s so good on vocals and anything that needs some hammering that it’s not part of the chain yet. I still need to try the Chromas and EM-PEQ on 2-buss.
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Post by stormymondays on Jun 7, 2019 10:28:04 GMT -6
The DPA works with phantom power and I got adaptors for Sony wireless transmitters which I haven't tried yet. So they should work with plug in power too, I suppose with a reduced dynamic range. I won't see my video guy for at least a week so can't try them.
EDIT: Just looked it up.
Power supply With DAD6001-BC/DAD6024/DAD4099: 48 V phantom power ±4 V for full performance.
For wireless systems: Min. 5 V through DPA adapter (SC4063 min. 3 V).
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Post by stormymondays on Jun 7, 2019 9:59:42 GMT -6
My advice is "buy right, buy once": DPA 4060. I just got a pair for a project but I'm planning to use it on anything and everything!
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Post by stormymondays on Jun 7, 2019 5:01:08 GMT -6
Bought it!
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Post by stormymondays on Jun 6, 2019 9:20:13 GMT -6
Yep. This beginning of this video shows how Q Clone follows the hardware EQ settings and changes. On sale for $24.50. I might bite! www.waves.com/plugins/q-clone
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Post by stormymondays on Jun 6, 2019 7:59:20 GMT -6
There's a pretty good Softube sale going on: www.softube.com/products#/I've demoed the Softube Grand Channel which is more than 50% off and it's an instant buy! www.softube.com/grandchannel#/I know it's a bit of a cliche but it feels/sounds like a hardware unit. The LA-2A style compression is fantastic on vocals, and the EQ is really sweet. I've even used the EQ for pseudo-mastering - it's that good. I can also use it inside my Console 1 which makes it even better.
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Post by stormymondays on Jun 3, 2019 7:15:08 GMT -6
I have one of those too, it's lovely. I should have gotten a pair!
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Post by stormymondays on Jun 2, 2019 15:01:14 GMT -6
I'm getting into UAD! The Capitol Chambers release had me on the fence, and the Puremix offer for the Analog Classics Pro Bundle kinda sealed the deal. Supposedly I was already "all set" with the digital part of my studio... What are your favorite UAD plugins and why?
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Post by stormymondays on Jun 2, 2019 4:43:09 GMT -6
After messing with this for a while, yeah, it’s pretty awesome. Do coupons not work with the 4 for $399? Thinking about getting Cap Chambers, API EQ’s (they’re really good), CL1B II and maybe Vertigo comp/33609/Lex 480/Distressor So - what would be your buying recommendations for someone that has zero UAD? If I jump in and buy a Satellite Octo, I'd be getting the Puremix offer for the Analog Classics Pro Bundle and buying the 4 for $399 bundle. Supposedly I was already "all set" with the digital part of my studio. Shall we start a new thread about current favorite UAD plugins?
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Post by stormymondays on Jun 2, 2019 3:01:02 GMT -6
Yes, I got that offer too. Very tempting. I wonder what would be the essential/best plugins to get on top of that, besides the CC. Maybe I need to do it!
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Post by stormymondays on Jun 1, 2019 9:23:22 GMT -6
Love the color! How big are they? Do let us know how you like them.
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Post by stormymondays on May 31, 2019 9:24:35 GMT -6
I can't jump in right now but I did seriously consider getting a Satellite and entering the UAD world. Maybe for the next sale, whenever it happens...
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Post by stormymondays on May 31, 2019 0:16:01 GMT -6
If you record clients, I think the EMI and Abbey Road logos on the Chandler are a valuable part of the mic. They will inspire and instill confidence in the client.
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Post by stormymondays on May 30, 2019 10:59:07 GMT -6
The V44s is definitely not harsh on overheads. Very detailed, sweet high end.
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Post by stormymondays on May 30, 2019 1:35:04 GMT -6
Sorry to disappoint you but it takes a LOT of mic to beat the JZ V67, which was my main mic. In my case, I had to step up to a U67 reissue. The Soyuz would beat it too if you don’t mind a brighter sound (but not too much).
I’d be surprised if you found something in the $1,500 range that beats it. I totally understand why you want multipattern though.
A complementary mic (and affordable) would be the Vanguard tube mic.
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Post by stormymondays on May 29, 2019 7:31:37 GMT -6
Martin - BECAUSE of the problems / issues you've mentioned : Big, HD boom mic stands positioned in a "T" formation, with multiple packing blankets hung on them. Forming a "large" reflection filter, small room, deadened area, etc. within them. You can even leave "open" spaces to help liven things up and allow room to "enter" the mini-dead-room. Personally, I'd start with a large triangular area big enough for the artist / mic and form 3 vertical "walls" hung from the boom stands which are in a "t" configuration. The blankets should be 2 feet or so above "head/speaking" level, and do not necessarily need to go all the way to the floor - but at least 2-3 feet below the head. I'll even do this in larger proper studio's sometimes to alleviate the "too much reverberant room" syndrome. This will do a LOT to calm down the "room tone" of the room, although it will not get rid of traffic noise, horns, etc.. Then, a dynamic mic. From what I can tell, your SM58 is probably the best bet, although I'd try for an RE20 or SM7 if possible. Not the most elegant, but it will solve a myriad of problems that a condenser will bring into the equation. So....3-4 "walls", no ceiling to the "room", no "floor" to the "room", but put down carpet. This technique has been used effectively in studio's for decades. Oh, and yeah, close your windows. If it's noisy in your apartment, there is nothing short of complete studio isolation techniques (i.e. no windows, multiple layers of drywall, dual walls, etc.) that will rid the external city noise from getting in. Although a dynamic mic is your best bet there. Just do this and solve all your problems. Remember this goes behind the back of the talent, not in front of them.
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