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Post by stormymondays on May 1, 2019 12:07:51 GMT -6
My own observation is that streaming services expect “CD level” loudness and are optimized to deal with it, no matter what the internet says.
FWIW, on the last mastering session I attended (at probably the top mastering studio in Europe), there was no mention of loudness at all.
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Post by stormymondays on May 1, 2019 8:47:17 GMT -6
The slowest attack on an 1176 is 0.8 ms which should still whack pretty much any transient.
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Post by stormymondays on May 1, 2019 2:00:13 GMT -6
Correct me if I’m wrong but an 1176 has the fastest attack of any hardware compressor ever made: 20 MICROseconds. No way it lets through an uncompressed part of the signal.
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Post by stormymondays on May 1, 2019 1:47:51 GMT -6
Thanks for the detailed workflow! Yes, I should really get into printing instead of bouncing. I need to try that!
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Sonarworks
Apr 29, 2019 13:19:38 GMT -6
via mobile
Post by stormymondays on Apr 29, 2019 13:19:38 GMT -6
The next step is to ingrain into your brain “turn Sonarworks off for bouncing” 😄 SW 4 gives you a popup if you try and burn down with SW on... Oh yeah, I forgot. Not in Logic though (thanks, Apple!)
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Post by stormymondays on Apr 29, 2019 0:13:00 GMT -6
The next step is to ingrain into your brain “turn Sonarworks off for bouncing” 😄
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Post by stormymondays on Apr 28, 2019 8:54:55 GMT -6
I’ve never done a Gibson vs Martin shootout, that would be fun! I have the necessary equipment, just need to experiment with mic distance. And I’m certainly trying Silk & Steel strings!
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Post by stormymondays on Apr 28, 2019 3:48:29 GMT -6
Speaking of guitar strings, I found this great video by the masterful Joe Gore. I think I might need to pony up for a set of expensive Thomastik Infeld strings!
Please listen to his solo rendition of Wichita Lineman starting around 1:50 - at your own peril. I'm still picking up my jaw from the floor. The Ear Trumpet Edna mic sounds great too!
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Post by stormymondays on Apr 28, 2019 3:36:06 GMT -6
I found this very interesting and nicely done comparisong video. I think Silk & Steel strings might be the ticket, at least for fingerpicking style.
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Post by stormymondays on Apr 28, 2019 2:22:28 GMT -6
Very interesting discussion. And I need to get that book now!!! Can’t see the guitar mic on those cool studio pics. Most likely tube SDC on those, for sure. My Hummingbird is not thin. It’s a peculiar model, I think it was called the Artist, the shoulders are slightly more rounded. It bested a J200 in the store, so I bought it. I’ve recorded a couple of J45 in my studio as well and I’d be hard pressed to tell the difference. I’m down to strings and mic distance/position then. Out of laziness I’ll try with the current strings first
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Post by stormymondays on Apr 27, 2019 9:50:35 GMT -6
Why the capsule and not the electronics? The capsule is more or less a known value, made by a reputable manufacturer. Also, the headbasket size, angle, material and number of layers play a bigger role than many people think.
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Post by stormymondays on Apr 27, 2019 9:48:34 GMT -6
i can get pretty close to this sound with my sigma j45 copy guitar, a heavy plektrum and the warbler 127 c-flat mic. Well, I can't with my Gibson Hummingbird, heavy plectrum and a KM84! I can get a fantastic sound, but not THAT sound. I have some studio pics from '64 that show a U67 on vocals and a Shoeps CMT 20 on guitar, pointed to the soundhole! I think the guitar and strings play the bigger role here. I might need to try some regular bronze strings instead of my preferred Phosphor Bronze (Martin SP).
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Post by stormymondays on Apr 27, 2019 4:01:30 GMT -6
Found some audio examples:
The vocal in this version is incredible, by the way. If the first couple verses don't give you goosebumps, I don't know what will!
And this short snippet, jacket buttons bumping against the guitar and all:
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Post by stormymondays on Apr 27, 2019 3:31:41 GMT -6
I’ve been listening a lot lately to the various “Blood On The Tracks” reissues, and I was impressed (again) by Dylan’s acoustic guitar sound. Mostly in the 60s recordings, but it’s there in the naked BOTT performances. It’s a sound that’s common to a lot of records from that era, for sure.
Usually when I’m recording an acoustic I want piano-like lows, sweet midrange with no abrasiveness and detailed highs. That’s a great sound but it’s the opposite of what I’m talking about here.
This acoustic guitar sound is deep, not hyped, with sweet highs, warm and not lo-if. And it can sometimes sound like it’s a 12-string guitar playing, when it’s definitely not (I should search for examples and post them).
So what is it? The mic, the console, the tape, the guitar, the pick, the strings, the performer? Yes, of course it’s all of the above. But how to get close to that? And - did I make a decent job of explaining this? 😄
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Post by stormymondays on Apr 26, 2019 12:09:34 GMT -6
You might want to do a separate sampling test for each set of monitors, to the extent to which the monitors are themselves affecting the sound, then SW would be compensating for this as it samples the sound in your room coming out of the monitors. You could save each file by the name of the monitors and just load that calibration file and then pick the corresponding monitors ? As long as they are "full" monitors, that's absolutely the only way to go. Sonarworks measures the performance of the monitor in the room and corrects for that. For my mono boxes like the Mixcube or Tivoli radio I don't even bother switching the calibration off. i.e. I leave Sonarworks on with the profile of the mains.
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Post by stormymondays on Apr 26, 2019 10:55:43 GMT -6
Man...this thing is SO good. Stop it! I was done buying compressors!
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Post by stormymondays on Apr 25, 2019 8:48:03 GMT -6
A month in and I'm really loving my v44s. Been having fun with a simple drum setup of v44s OH's, 84 snare and D12 kick. Nice on upright piano as well. I even used it as the only mic to record a full band rehearsal, seems to be able to handle everything I've thrown at it so far without fuss. I think by the second day I just left the breakout box normaled into the Silver Bullet's pres as they're quite the pair. I got the best sound using my Chromas in A mode and driving them a bit. Liked it better than N, and also better than my DAV.
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Post by stormymondays on Apr 25, 2019 8:46:23 GMT -6
So - did anyone try the stereo version? I love my Avantone CK40. If this was "the same but better" I'd buy it in a heartbeat. Also intrigued by the rest of the line. Significantly different in that the capsules are far, far superior (IMO). That's the beating heart of any microphone. Also supremely different in the electronics. Improved power section as well. Sizing is different, too...among other things. I don't want to give away all the secret sauce. I actually ditched the pad/rolloff, as the headroom is absolutely bonkers (I had one of our clients stick our V4 INSIDE the kick drum, and it sounded awesome). I didn't see the need (or room) for another switch in the microphone...I actually had to get pretty creative with the PCB layout to make what we wanted to do fit. I'd say sign up for the demo program if you're in the US, but we literally just ran out of parts for the V44S. They're rather popular. I've got more coming! I finally did the test! Yes, the v44s is better than the Avantone and is staying with us! The CK40 sounded muffled in comparison, and has a significantly narrower stereo image. It’s still a good mic and it has served me well, but I’m all for improving the capture as much as I can! By the way, even though the 44s is brighter, it never gets harsh. This is all on overheads, haven’t tested any other application.
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Post by stormymondays on Apr 24, 2019 8:13:29 GMT -6
How close to the front wall are your monitors? Try moving the monitors around and take a few measurements with the software. Try right up against the front wall. Probably 3 ish feet. Do some searches on speaker boundary interference and try getting close to the back wall. It can make an enormous difference.
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Post by stormymondays on Apr 23, 2019 15:45:18 GMT -6
Same experience with my Joly modded Oktavas. Phasey and uninspiring on OH.
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Post by stormymondays on Apr 23, 2019 15:43:33 GMT -6
Limp mass absorbers or helmholtz resonators tuned to the problem frequency would be the most efficient at low frequencies, but also most difficult to build. Could you try a PSI Avaa? Of course, the back wall is hugely important piece of the sound quality puzzle, so that's a good thing to do anyways. The PSI could be a cool solution and I’m sure you can try before you buy somehow: www.soundonsound.com/reviews/psi-audio-avaa-c20
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Sonarworks
Apr 22, 2019 16:49:26 GMT -6
via mobile
Post by stormymondays on Apr 22, 2019 16:49:26 GMT -6
Be nice if it allowed you to just correct the low end. I’m pretty sure you can with the latest version. Look for the “advanced” section, there are limits there.
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Sonarworks
Apr 22, 2019 15:18:06 GMT -6
via mobile
Post by stormymondays on Apr 22, 2019 15:18:06 GMT -6
I’m waiting until I get the Sonarworks mic to make the final call. The thing that bothers me a little is that it says I have a 2kHz dip in my room, so obviously it’s putting more 2khz when correcting. Kind of feel like my mixes with the correction aren’t quite as exciting as I’m digging that out more obviously. It’s just hard to all of a sudden change the way you’ve done things forever. Get the mic, absolutely.
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Post by stormymondays on Apr 22, 2019 13:30:39 GMT -6
I've got to admit...this has kind of gotten me into a funk. Second guessing everything. Try this, maybe it will help. Listen to the intro to "Mr. Jones" by Counting Crows (no matter how much you might hate the song, it's a T-Bone Burnette production mixed by Pat McCarthy, so not too bad!) See if that floor tom hit sounds "meh" or "yeah". When the drums and bass come in, see if all the notes of the bass are even. The bassline for "Waiting For The Sun" by The Jayhawks (a George Drakoulias production) was also a great test for me. Do this with and without Sonarworks. Or find some other references that you know and trust, and try to hear if the bassline is better balanced with Sonarworks enabled.
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Post by stormymondays on Apr 22, 2019 0:10:56 GMT -6
I'm a Drawmer fan, from owning an MC2.1, so I am interested. have you noticed any L/R drift or crosstalk? I’ve been curious about that piece. It’s an excellent controller. I can’t imagine working without it. For me, it maintains the L/R balance perfectly, but it’s not a switched potentiometer. Drawmer’s customer service is top notch too. They switched to a new pot model to avoid some LF distortion when turning it quickly and sent it to me for free.
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