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Post by stormymondays on May 28, 2019 7:11:59 GMT -6
I have two opposing concepts:
1. I do all my "demos" with guitar and vocal only, on my iPhone, with the built-in mic. Usually they are the parts of the song and the phone is the sketchpad. That and an actual pen and paper notebook. Maybe, just maybe I'll record a complete run-through of the song, but that's rare. These are meant to never be useable on a record.
2. If I'm using the studio equipment, I never record anything that can't be used on a record. That means getting the right mic/pre, levels, etc.
So it's either sketchpad or record, with nothing in-between.
Then I record the songs with the band, with at least drums+bass+guitar+guide vocal. Drums are always keepers, bass 90%, and maybe some guitar ideas. I prefer to do vocals by themselves.
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Post by stormymondays on May 28, 2019 6:56:10 GMT -6
I think this is quite impressive:
It would be great to have a 57 next to it for comparison though...
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Post by stormymondays on May 23, 2019 16:10:25 GMT -6
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Post by stormymondays on May 23, 2019 1:36:25 GMT -6
Not to be that guy, but how does it compare to the Waves AR Chambers? AR Chambers is pretty unusable for me. I want to like it but it just sounds weird and cheap every time I put it on. I much prefer the stock Logic reverbs for chambers. Really? For me it was a “shut up and take my money” proposition. So many great sounds to be found. Definitely retro though!
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Post by stormymondays on May 22, 2019 14:01:07 GMT -6
If you can score a Bricasti for anywhere near $1k, that would be a killer deal! ...unless you really meant a Bircasti, assuming that'd be the Behringer knock-off version... And how many times over can you use it? Let me fire that question back at you How many instances of this can I run in a Quad? I do own a Bricasti though...
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Post by stormymondays on May 22, 2019 12:51:13 GMT -6
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Post by stormymondays on May 22, 2019 3:15:11 GMT -6
Thats almost reason enough to get some UAD stuff. I think it might come to a around 1,000 bucks. A Satellite Quad and the plugin. I'm thinking about it...
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Post by stormymondays on May 21, 2019 12:22:45 GMT -6
I put Slate VTM on every track including the 2-buss at the beginning of every mix. I’m “trusting the force” and building a digital “analog studio”. Works for me. If you start second guessing yourself or fiddling with it, you can easily get lost.
Every track also has a console sim, it used to be Slate until I bought Console 1. And I mix hybrid with quite a few external comps and EQ, plus a Black Box Analog on the 2-buss, SSL style comp, etc.
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Post by stormymondays on May 19, 2019 15:13:02 GMT -6
It also won’t fix bass overhang from ported designs. However, I get the idea behind the question: with Sonarworks, I have lost any desire to get new monitors. My mixes translate all the time, I jump into the car and I never want to fix the mix. However, this is on a professionally designed and treated room, after many tests for speaker position vs wall interference vs sweet spot position. Sonarworks gave me the last 5-10%. Where'd your speakers wind up as far as positioning in your room for best result? I did that tuning by ear and aided by a cheap SPL meter, using the sine tone sequence from Mike Senior's "Mixing Secrets For The Small Studio" book: www.cambridge-mt.com/ms-ch1.htmI tried distances from 1m to 5cm, and that's where they ended up, only 5cm away. If the monitors are rear ported then they can't get as close. I did this twice, first when I had Yamaha HS8 (rear ported), and then with my APS Aeon, which are front ported. They are right next to my big bass traps and have absorption behind them. All that was before Sonarworks. When I got Sonarworks I could see I had done a pretty good job with positioning. I think this is possibly the best guide about Speaker-Boundary Interference Response (SBIR): arqen.com/acoustics-101/speaker-placement-boundary-interference/The Genelec guide is pretty good too, I see it's been updated: www.genelec.com/sites/default/files/media/Studio%20monitors/Catalogues/monitor_setup_guide_2017.pdfTheir old guide recommended a distance between 5cm and 1m. The new one recommends 5-60cm.
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Post by stormymondays on May 19, 2019 3:36:55 GMT -6
I’m onboard for the European voltage version.
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Post by stormymondays on May 18, 2019 16:26:28 GMT -6
So no one noticed the cheap Chinese pop filter on the U47? 😄
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Post by stormymondays on May 18, 2019 3:31:42 GMT -6
I thoroughly enjoyed this:
The music is fantastic, if course, and I think it’s great to see the setup, mic technique, etc.
See if you can spot the cheapest piece of gear used on the most expensive one!!!
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Post by stormymondays on May 18, 2019 2:11:30 GMT -6
It also won’t fix bass overhang from ported designs. However, I get the idea behind the question: with Sonarworks, I have lost any desire to get new monitors. My mixes translate all the time, I jump into the car and I never want to fix the mix. However, this is on a professionally designed and treated room, after many tests for speaker position vs wall interference vs sweet spot position. Sonarworks gave me the last 5-10%.
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Post by stormymondays on May 12, 2019 3:54:55 GMT -6
How can I apply for beta testing? I don’t have an account at “the other place” anymore.
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Post by stormymondays on May 12, 2019 3:53:46 GMT -6
My starting point is usually to get a full drum sound from the OH, and then supplement with the close mics. That means I eq the OH as if they were my only drum mic, for the best sound I can possibly get out of them. Boost the lows and highs, cut boxy midday, etc.
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Post by stormymondays on May 11, 2019 8:49:39 GMT -6
The TK also has a HPF for the sidechain.
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Post by stormymondays on May 10, 2019 16:47:56 GMT -6
Another vote for the Drawmer 1968. I have it parked on drum buss but it feels like it could do anything I want it to. It’s also dual mono if you don’t want stereo link.
The TK Audio SSL-style compressor is fantastic and it has parallel built-in, though I never feel the need to use it.
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Post by stormymondays on May 9, 2019 8:41:50 GMT -6
Ok, I'll be the fly on the ointment. I just recorded some brushes with a KM84 on snare and I didn't like it. The sound of the brushes was phasey. I probably should have tried a few different mic positions, but the sound was great in the overheads and front of kit, so I decided not to use the mic. Having said that, I think it's the only time I didn't love the KM84!
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Post by stormymondays on May 9, 2019 1:40:56 GMT -6
To me this seems a simple fix, it would be good to have a simple mod that has a faster attack time: no need for ongoing debate ? Actually, no. a HUGE part of what makes an 1176 a 1176 is specifically its superfast and well documented attack time. It doesn't need to have a faster attack time or a slower attack time. The attack needs to be 20 microseconds (fastest) to 800 microseconds (slowest), or then it's simply not an 1176. By the way, it's the same with VU meters. There are no "slow" VU meters. They either meet the specs, or they are not a VU meter. They might have a nice bouncing needle, yes, but that's all. There's a reason that stuff is expensive.
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Post by stormymondays on May 9, 2019 0:13:00 GMT -6
So the UREI rev A is defective and it’s published specs have always been wrong? Now that’s funny.
The original manual is still available online, search for it. The people who invented it really knew what they were doing. It was designed with incredibly short attack times for a reason.
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Post by stormymondays on May 4, 2019 12:17:10 GMT -6
Very good info, thanks. I wonder if the Waves Abbey Road plates and chambers include the filtering. Gotta revise the manuals.
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Post by stormymondays on May 4, 2019 10:32:34 GMT -6
Seems kind of embarrassing to share compared to some of the acquisitions posted here, but I’m really excited about the new Vertigo Compressor and Eq plugins I just got. Just beautiful. Also the Rule Tec Pultec plug-in is FANTASTIC as is the PSP E27. Definitely check them out! I was looking for a “go-to” Pultec plug-in, the Rule Tec seems to be very well liked, and the price is great!
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Post by stormymondays on May 4, 2019 3:55:12 GMT -6
I didn't want to hijack the ongoing thread about hardware/plugin reverb so I thought I'd open this one.
Do you filter your reverb sends or returns? All the time? On drums only? On specific reverbs only? Why send or return?
And for the "old school" guys:
In the era where real chambers and plates were used, were all reverb sends/returns filtered as a matter of course? (or are they now?)
I used to follow standard advice and filter the sends, but I made a special case for the Bricasti "Studio Close B", which I treat as part of the sound and slap on the mix as early as possible. I leave it full range and make my mixing decisions with it on. I wonder if this workflow would end up clouding up my mix.
I'm also having a bit of a hard time finding my go-to snare plate sound, and I can see where filtering is very useful here, but I'm never sure how far to filter!
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Post by stormymondays on May 3, 2019 13:52:59 GMT -6
Just a few examples. Maybe I'm crazy...and I'm mis-remembering my 1176 experience. Although the UAD 1176 will not allow the same spike through. This was the first vocal I used this on and I remember running into this here. It's right at the beginning of the phrase "I wanna feel you close." The "I" spikes. These examples are though the D Revision, but A has the same thing. When the attack is at 7 (fastest) it will finally clamp down. Maybe I just need to adjust to the attack knob being a little different. REV D - 4:1 Attack - 3 Release - 5View AttachmentView AttachmentREV D 4:1 Attack - 6.5 Release - 5View AttachmentView AttachmentREV D 4:1 Attack - 7 Release - 5View AttachmentView AttachmentJust looking at the waveforms here, even the last one is exaggerating the attack and not limiting it. Come Monday, I’ll run your wav through my M76 (handmade clone by Revive Audio). I can also try Softube’s FET.
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Post by stormymondays on May 3, 2019 12:31:50 GMT -6
Well, this is what UA itself has to say about it: Attack Time This refers to the time it takes for the signal to become fully compressed after exceeding the threshold level. Faster attack times are usually between 20 and 800 us (microseconds) depending on the type and brand of unit, while slower times generally range from 10 to 100 ms (milliseconds). Source: www.uaudio.com/blog/audio-compression-basics/
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