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Post by Vincent R. on Jun 16, 2024 19:03:52 GMT -6
Yeah. It’s got me thinking.
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Post by Vincent R. on Jun 12, 2024 4:58:10 GMT -6
At this price range there is no 67 clone better. It decimates the Warm Audio WA67. I’ve never tried the Peluso P67 so I can’t comment on it directly. Could I nitpick on it vs a Neumann? Yeah a little bit, but you could fund a pair and still only be halfway to the cost of the reissue.
For me it seems to reach a little deeper than the U67, especially once you bypass the S2. The top end seems a little darker, but with the new modern mode the top end opens up beautifully, as though you’ve EQed it a bit. Then you have the 269 mode, which gives you a whole different sound. The 269 in modern mode with the S2 bypassed is so close to a real M269. I’d say the real M269 has slightly more shimmer on top. Ultimately, if you can’t record great things with this mic, the issue will not be the mic.
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Post by Vincent R. on May 31, 2024 18:50:30 GMT -6
Thanks for the clarification.
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Post by Vincent R. on May 31, 2024 7:47:05 GMT -6
I think the pin out is different, so I would not do a swap without checking with Ben or a tube book to be sure. I have a couple of those mics. Very nice. mics I believe you answered this, but you can't swap a traditional EF86 tube into the B269/67 V2, correct? The pin configuration on the tubes is different?
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Post by Vincent R. on May 27, 2024 9:21:53 GMT -6
The stereo matrix has made the Sphere a really popular mic with or without the emulations. I know a few engineers that really love them for this. I believe there are other mics that do something similar now. I’ve never tried the Sphere, and since I’ve moved away from the Apollo eco system I probably won’t try it. I have also heard that the mics sounds solid even without the emulations.
I made a few videos on my Slate VMS. It was not my favorite mic. When I got it, I had already owned quite a few Advanced Audio mics. I was hoping for a mic that would give me an approximation of any of the mics I owned, but it never really lived it up to the hype. It was one of those, I plugged it in once I got it and was just disappointed moments. Did I use it to make a few good recordings? Yes, but, if I showed you the caliber of the singers I used it on you would not be surprised. After a while I just sold it off. My favorite emulations were the C800G M, which was a slightly darker of the two emulations of the C800G, the C12 was really nice, and the Blackbird package was the best of the expansion package. I did make a nice recording using the 251 option, but again that singer was in between Broadway shows. ;-) Still, I found the darker emulations, like the M49, U47, etc to be muddy and unclear, and not take EQ as well as a real microphone.
In the videos I made I found that using my U87AI as a base mic and using IK Mic Room or Mic Mod EFX achieved better results. I often just tell people to grab a C414 and those two emulation programs for just as good or better results than the VMS would offer. I think the Austrian Audio OC18 has the stereo matrix. I wonder how it would sound using one of those emulations using the C414 setting as the base mic…
What I think is cool about the emulation mics is that for a limited budget you can try a lot of mics out, find what direction you want to go to with your locker, then move on. Once you know what direction you want to move in, figure out your budget and what options you have.
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Post by Vincent R. on May 26, 2024 19:22:05 GMT -6
Very nice looking unit. Video has great details. Wish you could order it assembled.
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Post by Vincent R. on May 20, 2024 16:20:16 GMT -6
Now I’m curious.
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Post by Vincent R. on May 17, 2024 13:32:17 GMT -6
Michael Jackson used the best compressor ever made for a forward vocal that maintained full dynamics and the character of the voice print. A little expensive today but it's called "fader rides" Sinatra too.
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Post by Vincent R. on May 16, 2024 15:49:06 GMT -6
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Post by Vincent R. on May 15, 2024 18:48:07 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song. Do you have a favorite for tracking out of these? For lots of different reasons, I don’t usually track vocals with compression. Most of what I record are usually my vocals. I find it hard to properly gauge the compression when I’m trying to record myself, and have over cooked it in the past. I also do a lot of session work, and most of my clients want to receive raw tracks.
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Post by Vincent R. on May 15, 2024 4:26:57 GMT -6
That was fun.
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Post by Vincent R. on May 10, 2024 13:29:30 GMT -6
All right. I may post some more samples. Maybe even a few of Emily, but here is the key. Comp 1: Audio Scape V Comp Comp 2: Summit TLA-100 Comp 3: Audio Scape Opto Of the 3, the Opto is a bit of a one trick pony a bit. It does have the low frequency filter to help dial in how aggressive or tame the compression can be though. In these though it didn't compress as much as the TLA-100 or V Comp, but would clamp down on those loud peaks as soon as they happened. It has a bit of a smiley face curve, giving the signal a bump on the bottom and the top. I actually use this piece a lot when sending session vocals out for review. I try to give my clients the vocal in context so they can hear it, and this piece doesn't color the vocal as much as the V Comp, so its gives a good example of what a final vocal could sound like. The V Comp has a sound. When it works, its great. I generally enjoy it on the crooner stuff, and even some of the opera pieces. I like it on this Neapolitan song, but on some of the more legitimate opera stuff it starts to sound too stylized. The V Comp doesn't have as loud an output as the other two. It only has an output fader while the other two sport make up gain. That said it has a lot of options to dial in the sound; (3) modes and a variable recovery speed. The TLA-100 is more neutral from what I'm hearing. Not as open as the Opto and rounder. Not as soft as the V Comp, and not as pronounced in the mids either. Even when dialed in to match the Opto as closely as possible it grabs more. So while the Opto isn't compressing at all, the TLA might be grabbing a db here and there. Again, this unit is really versatile with Fast, Medium, and Slow attack and release settings. Lots more testing to do. The TLA sounds really great on Emily so far. Emme's a real deal high lyric mezzo who can switch from a Bette Midler like croon to singing Carmen. Her voice is warm, but can be like a laser beam. The TLA tames that a bit. The Opto seems to sweeten her voice, but it can be too much on the operatic rep, and either crush or not compress enough on other rep. While the V Comp can work on her while crooning, it can be just too beefy for some other rep. Blackdawg sorry for that. I won't show you my shirt that says "It's Never to Early for Christmas Music!" that I love to wear throughout the year. lol. Also, I love that whole Andy Williams Christmas album, and I love singing that song.
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Post by Vincent R. on May 9, 2024 13:24:19 GMT -6
Here are some crooning clips. FleA 49 directly into my Apollo's preamp. Recorded this a while ago. Same info as above. All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 4db of compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. Comps 1, 2, and 3 here are the same as in the operatic takes. I'm not trying to trick anyone. www.dropbox.com/scl/fo/06b2qtlohiwhumctmz7xr/AN5iYOJ9lRdIHZWk7Xzo1WA?rlkey=iioop9lvqzncxhmybqqi5zjhg&st=khjz6rta&dl=0
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Post by Vincent R. on May 9, 2024 10:42:09 GMT -6
I may try to post some crooner style vocals later before doing a reveal. See if that effects what people are thinking.
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Post by Vincent R. on May 8, 2024 20:49:02 GMT -6
Ok. Here are some clips in context. I'm curious which everyone prefers. I don't think anyone would have an issue with any of them. The contenders are the TLA-100, Audio Scape Opto, and Audio Scape V-Comp. Vocals were recorded using my FleA 49 into my AMS Neve 1073DPX.
All have some basic EQ added through my Link Audio SLQ51X and all have a little compression from an SSL E-DYN module; no more than 3db. This is generally how I compress my operatic vocals; in stages with a cleaner comp evening things out, and the big boys catching all the big peaks. This mix itself is also hitting an Audio Scape G-Comp, with no more than 3db of reduction. All of the big comps; TLA-100, Opto, and V-Comp are giving me no more than 5db on compression at the largest peaks. TLA-100 is set to slow attack, slow release, as that's the closest I can get it to work like the Opto. V-Comp was set to Single Mode, Slow attack. So, which do you like; Comp 1, Comp 2, or Comp 3?
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Post by Vincent R. on May 7, 2024 8:45:54 GMT -6
Warm's mics have been a mixed bag. I thought the 47 was really good. The 67 was a mud pit.
Looking forward to hearing it next to originals and possibly the AEA recreations though. The price is certainly right on it.
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Post by Vincent R. on May 6, 2024 6:18:17 GMT -6
Hi there. You can absolutely use any IEC power cord to connect your mic. Just be sure to switch the rear of the psu to 115v to make it suitable for Canada. So sorry we don’t supply the cord, there are reasons as to why which involve each country’s regulatory authorities (they all have different requirements) We have a page on the website that explains how to use the switches. beesneezproaudio.com/product/classic-b67-269-version-2/Press the tab that says “internal switching” and all is explained there. Let us know how you go! Glad you like the mount. Cheers Ben Hey Ben what about the switches on the version 1. I did not see a description of those on your website. Thanks. I posted a description earlier in this thread based on seawell's video. See the link below. realgearonline.com/post/305134/thread
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Post by Vincent R. on May 5, 2024 21:08:23 GMT -6
Yup, now I know how to use the S2 switch. Big difference on my voice. I really need it in the circuit or I get a ton of mud.
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Post by Vincent R. on May 4, 2024 21:36:37 GMT -6
Found one for a good price and couldn’t pass it up. I’m looking forward to hearing it next to my Audio-Scape Opto and VComp. I’ve wanted one for a very long time, so I’m excited.
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Post by Vincent R. on May 4, 2024 7:12:12 GMT -6
Hi all. For the S2, it is in place if the switch is to the right. When the switch is to the left, it is bypassed. Thanks Ben Well, I just realized I have been using my B67-269 with the S2 bypassed. I’ve got to do some more tests with it in place. I think it’s suits my voice, a little better, since my voice is so rich in the low mids.
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Post by Vincent R. on May 3, 2024 19:12:10 GMT -6
I got one recently myself and it’s fantastic. I believe the S2 filter is set to stock mode, and flipping into the on position bypasses it, but I’ll wait for mics to chime in and confirm.
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Post by Vincent R. on May 1, 2024 8:44:19 GMT -6
Literally just picked a VTMP-2B up again. U87, TLM49, Blue Kiwi, Lauten Atlantis, my ADK FET mics; 67T, 49T, 251T, it just takes them to a different level. Ummm who was it it who suggested you buy your first one😁 I know you are adapting the Kennedy technique to gear these days😎 Well, I kept using my buddy Jim's. He kept telling me to buy one. He, like you, is very persuasive and continues to push me to buy the good stuff, and tries to keep me away from the mediocre stuff. Then I spoke to you about it, and you poured more fuel on that fire. So I bought it. Then, when I wasn't using it so much I sold it to humblecomposer , and kept using it at his place when working there, which I was doing quite a bit. So I just bought it again, cause I moved and I missed that sound. I was messing around with the ADK Hamburg 67T through it and it was crazy good sounding. Works nicely with my Blue Woodpecker active ribbon too. Not to mention how good my U87ai sounds through it. I'm using that chain for a rock session vocal I'm working on. I've owned a UA 610 and a Tab Funkenwerk V76 (an updated take on the Telefunken V72). For me, the Demeter VTMP-2 is an incredible preamp for FET and TLM mics. I really liked the UA 610 with my old Altec 639a Ribbon mic. For my tube mics, I preferred the V76, but at some point I just started using Neve preamps with all my tube mics. I tend to like that sound better for what I'm doing. That said, my Dan Alexander 1272 sounds pretty awesome with FET and TLM mics too. That's why I let the VTMP-2 go the first time... But I came back to it.
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Post by Vincent R. on Apr 30, 2024 20:15:37 GMT -6
I’m going to go and recommend and old standby, actually the pre most credited with the resurgence of tubs pre’s the Demeter VMP2. Are there better today? Yes, but I guarantee you plug a FET LDC in it put the mic in front of a decent vocalist and you will instantly think “yup that’s what I was thinking tubes would do”. Literally just picked a VTMP-2B up again. U87, TLM49, Blue Kiwi, Lauten Atlantis, my ADK FET mics; 67T, 49T, 251T, it just takes them to a different level.
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Post by Vincent R. on Apr 27, 2024 6:07:34 GMT -6
I received a demo from a good friend of mine using this. I thought it was an overly autotuned track, but had no idea it was an AI voice. Given how autotuned to hell most pop music is, this is going to make it rough for session pop singers. Luckily, my friend has hired me to re-record the track he sent me. Still, this could be a really cool tool, but also something that is going to make a bunch of session singers not needed.
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Post by Vincent R. on Apr 2, 2024 14:35:06 GMT -6
This is a hell of a mic. I've been crazy working on a session vocal for a client, so I haven't had time to really run it through it's paces, but played with it a little bit. I've enjoyed the 269 mode so much that I recorded some layered choir vocals with it for the track I'm working on currently. It's not as airy and open as the RMS269 was, but it's still really present, while not being harsh. It's like a U87 on steroids.
Listening to samples I have of U67s and 269s I've recorded with at other sessions I can't say that it is a dead ringer for the ones I've used, but it is just a fantastic mic no matter how perfectly is sounds like any particular U67 or M269. I think my modded MK67 is a touch closer sonically to the the U67 I used at Barbershop Studios. The RMS269 had more air than the M269C I used there, and the B269 has a touch less air than the M269C. None the less, I'm really enjoying it. Hopefully I'll have some more time once I'm done with this session vocal job.
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