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Post by nick8801 on Sept 8, 2018 11:08:25 GMT -6
Anyone have the cliff notes version of the new Xs? Im too busy for the next 2 weeks to read this whole thread... Improved conversion, 6 chips in all models, they moved the logo.
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Post by nick8801 on Sept 8, 2018 10:30:36 GMT -6
I’ve found that actually owing “the gear” makes me understand the itb variants better. Working on an outboard 1176 taught me what to do with its counterpart in the computer. In other words after owning the actual gear, now I think I can make pretty solid itb mixes, whereas before I had access I was just guessing at what was supposed to be happening. I know this isn’t the case for everyone’s method of learning, but it has worked well for me.
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UAD X
Sept 6, 2018 12:25:08 GMT -6
via mobile
Post by nick8801 on Sept 6, 2018 12:25:08 GMT -6
These look cool. I have a 16 mkii, and I’m very happy with the conversion quality but I’d still love to get one of the x’s next to it to compare before I consider a jump. The added processing is cool too, but I rarely run out of power. Dig the UA logo on these too!
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Post by nick8801 on Sept 5, 2018 14:15:15 GMT -6
Might try giving Lonya at Red Square Audio a call, I think he was running the Distributor of Violet at the time. Thanks for the tip!
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Post by nick8801 on Sept 5, 2018 6:58:23 GMT -6
I've not opened one of these myself, nor have I dealt with anything similar, but that mounting design looks like a nightmare if it is in fact glued. I thought perhaps you could work from the other end but I see that's not possible because of how some of the other components are mounted. If you find that it is glued, heat may be the only option to remove the box. If it's glue gun/craft glue it shouldn't be too terribly hard to remove. If you don't feel comfortable though, don't do it. Thanks for the reply Bowie. It's a really nice circuit in the mic, but the implementation is really a pain. I had to disassemble the entire mic just to get it open. I'm hoping I'm missing something obvious and the tube is easier to get to than I think. I found a tech near me that I'm going to ask to look at it. What are your thoughts on that tube? The mic has always sounded really nice, but I'm always into trying out different tubes.
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Post by nick8801 on Sept 3, 2018 8:35:01 GMT -6
Thanks Svart
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Post by nick8801 on Sept 3, 2018 1:07:57 GMT -6
So I have this really sweet Violet Designs Garnet tube mic. I believe it's from before the company became what it is today when they had some higher end stuff in their lineup. I tried emailing the company a few years ago when I got it just to check in on them and I never got a response. When Andrew from Violet starting posting on some of the forums I sent him a private message to no avail either. Anyway....this is a great mic that seems to fall somewhere between a 47, 49, and 67 to my ears. I did notice a "windy" sound after my last session which I assume is the tube. So I opened this thing up and I have no clue what kind of tube it is. Google wasn't much help, but it appears to be a Russian varient of an EF86 maybe. Attachment DeletedAttachment Deleted The problem is, the tube is squished in and there is this boxed off area where the transformer is isolated that looks like it needs to be opened to get the tube out. So I removed all the screws, but it appears that its glued together. I didn't want to mess with it anymore, so I'm turning here for some answers.....Anyone have a lead on what kind of tube I'm looking at or how the heck to get that box opened? Maybe a good mic tech in the Tri State area that I wouldn't have to ship to? Thanks in advance:)
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Post by nick8801 on Sept 3, 2018 0:58:11 GMT -6
A all the way for me....Nice firm low end. Just supports the rest of the track. Loving all your tones Ragan. Everything you post sounds really excellent.
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SE X1
Aug 29, 2018 23:19:40 GMT -6
via mobile
Post by nick8801 on Aug 29, 2018 23:19:40 GMT -6
SE stuff is great. I have a T2 that sounds excellent on lots of sources.
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Post by nick8801 on Aug 29, 2018 23:11:35 GMT -6
Regular John Recording
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Post by nick8801 on Aug 11, 2018 20:30:25 GMT -6
I like C. It sounds the most balanced. B seems to be an exaggeration of the 67 sound but it's a little too rolled off to my ears. A has a weird resonance that bugs me, but it could be placement. I'm guessing A vintage 67, B Stam, and C reissue.
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Post by nick8801 on Aug 8, 2018 15:44:55 GMT -6
I really lucked out on my 16 black. Got it about 6 months after it came out for 1500 on the bay. It was a music store demo.
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Post by nick8801 on Aug 8, 2018 9:48:42 GMT -6
First of all, killer acoustic sound on all mics. Is that an old Guild? It had that sound. I dig them all, but for critical listening purposes I prefer B & C. There is a more low end which draws me in a little more. In a brighter modern pop style production though A and D would probably mix a bit better, but it's really splitting hairs. You could make either work.
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Post by nick8801 on Jul 26, 2018 15:09:30 GMT -6
I'm gonna try my best to contain my excitement since I just plugged these in a few hours ago but....DAMN! Wow. The detail is crazy good. I could hear breathing, distortions, picks hitting acoustics, reverbs, buzzes, etc...better than I have on any other system I have ever used. Yes, the bass is light....BUT...it's audible where it fits in the mix, so it's pretty easy to adjust sub frequencies with some phones or larger monitors. I was able to get a bass track to sit that's been bugging me for the past week. Very easy to connect with the music. For 150 bucks this is a no brainer. I've heard they are amp sensitive and I agree. They sound good with my Samson, but I am pushing it a bit to get the speakers to really open up and speak. They could also probably use a little break in to soften up, but definitely power hungry little guys. Anyway...I have a mix to do this evening and I'm going to try to use these for 90% of the work. I have high hopes for these.
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Post by nick8801 on Jul 26, 2018 9:17:56 GMT -6
Inward connections Brute. Love that thing on vocals.
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Post by nick8801 on Jul 25, 2018 0:43:25 GMT -6
I have pairs of SuperOnes and SuperZeros here. Mine are not the newer .1 versions that you are getting. The guy who designed the original version is a well respected speaker designer. They were considered one of the best bang for the buck bookshelf speakers for a long time. NHT did make powered versions of these same exact speakers that they unsuccessfully marketed to the pro audio market for awhile. The powered superzero was called the m00 and the powered SuperOne was called the A20 I believe. Joe Barresi does indeed have a few different NHT’s in his studio. Sylvia Massey swears by an NHT model I forget the name of that has two woofers and is no longer made. The SuperOnes are kind of like a better sounding NS-10. They have a little more low end extension and a prettier high end than the NS-10. They have a little bit of a bump between 1k and 2k that has made the the translation of vocal levels difficult for me at times. They also have a slight bump somewhere around 200hz which give it a slightly “throaty” sound. The SuperZeros are voiced similarly but have no bass. They would be good for referencing how songs will translate to a lot of Bluetooth speakers. I replaced my SuperOnes with an Avantone Mixcube as a third reference, but I find the Avantone pretty much useless (gasp!) so I think I’m going to hook back up the SuperOnes or SuperZeros as that third reference again. The sealed design definitely helps with the bass, as ports can play tricks on you IME. Fantastic info. Thank you so much for posting. Balancing mixes for smaller speakers is definitely my goal with these. I do have a Reftone set, which is another mix cube brand, and while they do help me keep the mids in check, they really do nothing for the ends of the frequency spectrum. My “mains” are a pair of Eve sc307’s. They’re big, loud and proud. Super fun to work on and vibe with when I’m creating, but they don’t give me enough to nail down the last 10% or so of a mix. I’m hoping a small, basic, closed box set will fill in those gaps for me. I kinda hate switching speakers when I’m working, but I’ve yet to find a set that covers all grounds well. The NHT’s should be here Thursday. I’ll let y’all know what I think.
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Post by nick8801 on Jul 24, 2018 1:41:28 GMT -6
Yeah I’ve been sorta doing some reading about the brand history. The super series seems to be the ones everyone sings praises for. I did see a thread on the other site about their studio monitors. There were a few guys using them at some point who really liked them. So for the price I couldn’t pass....
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Post by nick8801 on Jul 23, 2018 20:28:07 GMT -6
www.nhthifi.com/products/10654-superzero-2-1-our-amazing-mini-monitorJust ordered a pair of these. Anyone ever mess with them in the studio? They are really popular in the hifi/home theater market, but they click all the boxes for a secondary pair in the studio. Sealed box, small footprint, accurate etc....and they were only 150 for a pair on Amazon! I'm going to use my Samson Servo 120 that is currently powering my Reftones, but they both use banana plugs, so I can just swap the cables if I want to. They also make one called the Superone www.nhthifi.com/products/10658-nht-superone-2-1#specs which is a bigger 6.5 inch woofer, sealed as well, but goes down to 56 Hz, whereas the zeros only go down to 85 Hz. Anyways....kinda hoping they will be a poor man's Amphion. We shall see.....
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Sphere
Jul 12, 2018 23:08:43 GMT -6
via mobile
ericn likes this
Post by nick8801 on Jul 12, 2018 23:08:43 GMT -6
I just thought of a good analogy....The Sphere feels like a Vox ac30 and the Electrodyne feels like a super reverb.
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Post by nick8801 on Jul 12, 2018 15:16:22 GMT -6
Got the preamp this morning, and had a chance to mess around a bit this afternoon. I dig it! It's very different than my Electrodynes. I have to do some more proper recording with it, but here's a few immediate impressions.....
The first thing I noticed was that the gain staging is different than my other pres. The pads are really useful. For example I just stuck my m160 in front of a little valve jr. The Electrodyne without a pad was on the first click which is 40 db of gain, with the output attenuator at 0. I got a nice full rich sound. The Sphere doesn't have an output knob, but I set the input till my meters were peaking about the same as the Electrodyne. When I hit playback the Sphere was distorting in a pretty unpleasant way. I engaged the 15db pad, and adjusted the gain. Boom. Nice pretty sound. Less bottom than the Electrodyne, but not lacking bottom in any way. Just tight. I also noticed the Sphere seemed to have more sparkle than the Electrodyne. Not like bright ugly sparkle, but like more of the harmonics pointed towards the upper end of the frequency spectrum. I could see doing very little eq'ing if I stacked a bunch of tracks with it. I also tested both pres with an SE T2 condenser on my voice. The results were pretty similar. The Sphere was nice and clear and sparkly, and the Electrodyne was a little noisier with that syrupy thing that I dig so much about it. I did engage the 30db pad and crank the gain on the Sphere and it was a pretty awesome sound. I think I wanna try that with some rock vocals. These were really informal tests. Just messing around, but I really dig it so far. It's a unique sound, and that's kind of what I was looking for. Once I record some proper stuff I'll post up samples.
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Post by nick8801 on Jul 11, 2018 23:08:11 GMT -6
The rumble bass stuff is really great. Fender really nailed it. I’m in the market for a 500. It’s light, powerful, and feels great to play. I've never liked them - lightness is, to me, not a desirable factor in choosing a bass amp.
But to each his own.
Have you tried the new ones yet? I wasn't a fan of the all black ones, but the silver face is really sweet. The lightness matters to me because I do a million different gigs and it's nice to grab an amp and my bass in one trip, without help. It's also easy to exit at the end of the night:)
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Sphere
Jul 8, 2018 12:55:41 GMT -6
via mobile
Post by nick8801 on Jul 8, 2018 12:55:41 GMT -6
That makes sense. I’ve heard they have an eq in the works too.
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Sphere
Jul 7, 2018 16:52:59 GMT -6
via mobile
Post by nick8801 on Jul 7, 2018 16:52:59 GMT -6
That would be cinemag. But my point was more - if the originals didn't have output transformers... how is this going to change the sound? That’s a great question, and one I’m definitely not qualified to answer!
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Post by nick8801 on Jul 7, 2018 16:14:43 GMT -6
The rumble bass stuff is really great. Fender really nailed it. I’m in the market for a 500. It’s light, powerful, and feels great to play.
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Post by nick8801 on Jul 7, 2018 15:05:32 GMT -6
Group buy vibes. Went through this with my bus comp. I'm still tempted here... but honestly I've been using the WA76 at a local studio and it's been absolutely STOKING my client on vox. I have a bunch of time on real silver and black face 1176s, FWIW. I still friggin love my WA76s. Have Hairball, had Mohog, have used Urei’s a good bit. Tried the KT version. WA76 stays in the rack and the others are gone. It’s just a great 1176. Same here. I like how it handles the midrange.
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