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Post by nobtwiddler on Mar 21, 2017 20:26:06 GMT -6
I've slowly been replacing every stand with the Orbit stuff. Very $$$. At this point I own about 8 stands, and at least 2 or more of everything as far as options that they make... yes really! Spent a small fortune, and I'm far from done. Anyhow, for your needs John, a simple T-2 Stand (unless you need the three tier, and or wheels? Then order a T-3) And one short or long boom. (A short boom would probably work?) Short = Orbit Mini / OM or the Orbit 1 I have many of each! And a Micro-M2 (the short stem) or a Micro M-1 (longer stem) mic adapter will let you position the mic safely at any possible angle you desire. Great thing is I've been using a Orbit T-2 stand with a Orbit -1 boom, and the add a Clamp with a Orbit Mini to record Vocal and guitar takes simultaneously with one stand. Endless possibilities with placement and no fear of a mic or stand falling. As a matter of fact I recently did a session using 1 x T-2 Stand, and 6 x assorted Booms / or Arms attached to it, extending from it using their IO-C Clamps. 1 x stand to record 2 x vocalist, 2 x acoustic guitars, (sitting at 90 degree angle to each other) a stereo room mic, and a live Video camera all mounted from the one stand ! While not perfect, they do offer a lot of options for almost any setup. That being said, I've just placed a order for another $1200 in stands, booms and more adapters. So I guess, I'm a fan! Attachments:
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Post by nobtwiddler on Mar 17, 2017 17:58:15 GMT -6
That happened a lot to me back in the 80's... Almost every session.
That being said, rarely requested in the last 15 or so years.
Since I never had or used triggers or samples, it always came back to changing, tuning, or whatever needed to be done to the snare drum...
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Post by nobtwiddler on Mar 9, 2017 21:23:20 GMT -6
Yo Scum, Not sure what record it was, but here's a bit of info...
JRF Ultimate Analog MK II Ultimate Analog for Studer A820/827 Dramatic performance unmatched by any other format Whether tracking for music or mixing 5.1 Surround, Ultimate Analog MKII takes everything you like about analog recording and elevates it to a dramatically higher level of performance. Never before has a recording medium so successfully captured all the power, dynamics and delicate surrounding ambience ("air") of difficult-to-record musical instruments. Simply put, Ultimate Analog must be heard to be believed. Output 10dB to 12dB hotter than standard 24-track recorded at same level Near-digital dynamic range and signal-to-noise ratios Outstanding performance even at 15 ips with no noise reduction Playback compatibility with standard 16- and 24-track formats Separate ninth time code track at track 24 position Installation requires no modifications and no mechanical calibration after initial set-up Available for Studer A800, A820, A827, A80 and Otari MTR-90 JRF's guaranteed quality and service support Fat tracks for "in your face" sound Ultimate Analog from JRF was originally designed to record drums, bass and percussion instruments. In addition, our creative customers have found it to be a new and dynamic format for mixing and archiving 5.1 Surround projects. Users have described the results as "unbelievably fat," "in your face," and "bigger than life." (To put Ultimate Analog in perspective, imagine tracking on a stack of 1/2-inch 2-track heads.) The integrated time code track allows easy synchronizing for use in conjunction with any other analog or digital recording format–including one or two additional Ultimate Analog machines. Track width comparison
The Story Behind Ultimate Analog The original inspiration behind Ultimate Analog came from noted producer Michael Beinhorn, whose credits include Social Distortion, Ozzy Osbourne, Aerosmith, Soundgarden and the Red Hot Chili Peppers. He wanted a sound that would combine the pleasing subjective characteristics of analog with the quietness and dynamic range of digital.
Beinhorn consulted with Fletcher at Mercenary Audio about the possibility of creating a 2-inch 8-track recording format. Mercenary then contacted John French of JRF Magnetic Sciences, who designed and manufactured the original UltraAnalog headstacks that were first introduced in 1995. In 1996, the format name was changed to Ultimate Analog, and the new MKII version was introduced. Compatible with Studer and Otari Ultimate Analog MKII consists of three heads (erase, record and playback), each with eight wide-format audio tracks and a discrete time code track. The heads may be mounted on a customer's existing Studer A800/ A820/A827, A80, or Otari MTR-90 headblock, or fitted on a new (or reconditioned if available) headblock supplied by JRF. Ultimate Analog on MTR90 The eight audio record/playback tracks are each 0.180 inches (4.6mm) wide, compared to 0.04 inch (1.Omm) on a standard 24-track machine. This extra width produces output levels 10dB to 12dB hotter than possible with a 24-track headstack under identical conditions. Higher output levels translate into lower noise, wider dynamic range, and the option to record with far less tape compression effect. However, when tape compression effects are desired, Ultimate Analog may be pushed far beyond conventional limits without oversaturation or distortion.
The eight tracks occupy the same portion of the head as tracks 1-22 on a standard 24-track head, Should playback ever be required on a standard 16-or 24-track machine, each of the eight tracks fully covers at least one track on both formats.
Ultimate Analog tracks one through eight are wired to the corresponding channels of the multitrack. The separate, ninth time code track is placed in the standard "track 24" position and wired to the headblock connector pins as track 24. Since the time code track is integrated into each head, no separate time code heads are utilized and the system functions as if it were a 24-track. Installation of an Ultimate Analog headblock requires no changes to existing multitrack or studio cabling, and machine calibration is "by the book."
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Post by nobtwiddler on Mar 8, 2017 20:07:47 GMT -6
Michael Bienhorn recorded and produced a Ozzie record with 2 Studer 800's locked together at 7.5 ips. The machines were both 2 inch 8 track.
Don't know what the alignment was, but I can probably find out. Not really a fan, but it did sound quite good!
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Post by nobtwiddler on Feb 26, 2017 15:46:28 GMT -6
Sorry I missed ya Don, didn't read this till it was too late. We'll catch up soon enough!
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Post by nobtwiddler on Feb 26, 2017 12:05:57 GMT -6
Ha, Once again, I'm a day late and a dollar short. Missed Don's message that he was playing a few miles from me last night. What else is new.
I'll catch up with him & the boys sometime this summer, I'm sure. (I hope?)
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Post by nobtwiddler on Feb 24, 2017 8:49:43 GMT -6
It is what it is...
Thanks bud!
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Post by nobtwiddler on Feb 23, 2017 20:24:18 GMT -6
Dave, basically redid every damn thing on that console, along with EK sound in Canada!
Once everything was removed from the frame, they sand blasted the frame itself. At that point they removed all the wiring from the frame and replaced it with special oxygen free cable. He then had every module gone thru, one by one, they were all then cleaned tested, (FIXED IF NEED BE) as well as re silkscreened and or painted.
WHAT DAVE HAS DONE IS A REMARKABLE RESTORATION OF A CLASSIC CONSOLE!
He is one of the few that has not only the $$$ to do this, but the mind set to take this kind of project on. Years later, he has one of the greatest consoles of all time, brought up to todays specs, and reliability. Absolutely amazing!
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Post by nobtwiddler on Feb 21, 2017 7:56:48 GMT -6
I totally agree with Svarts earlier post.
"Your mixes are good but your rates are too much. For that money I can go buy my own gear and do it myself." or "Why would I pay those rates when I can get my brother's friend to do it for free?".
I hear this same story from artists & bands I work with at least once a week. At this point, I don't argue, I tell them to go to their brothers house and record for free!
It's a total dumbing down of the industry over the last few years! Doesn't anybody else see it?
Sad part is, I like Svart have been hit really hard, and not sure what else to do at this point.
I really love recording, and working with musicians. The music is what keeps me alive. There's just less & less of it each year.
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Post by nobtwiddler on Feb 20, 2017 17:12:03 GMT -6
Don baby when are you guys headed to NY, We gotta hang again. Been waaaaayyyyy tooooo long!
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Post by nobtwiddler on Feb 19, 2017 19:47:43 GMT -6
Mulmany... About 8 years ago it was obvious that I had to move out of my 3 room studio location that I had held for 27 years here in Millbrook. There just wasn't enough business anymore to justify staying there. The overhead was killing me! Besides the 2 recording studios, there was a mastering suite, and, a house for 8 people, a pub, plus storage rooms, and a office. It was a big facility, and it worked for all that time. But things changed (as we all know)
Trust me this was a hard decision to move out of that location (but one I should have actually made 10 years before)
But that being said The new place I was moving into at the time, (which is where I am now) is only 600 SQ feet. So I only had room for 1 console, and my Daking was toooo damn big to fit in the new room. Sadly it had to go... I must say, it was one of the best consoles (sonically) I have ever worked on! A true joy.
(And I am considering Geoff new offering, as I'm looking for something with a smaller footprint then the VTC I still own!)
----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
Hunter, Yes still use the VTC every damn day....people give it a bad rep, but if ya look at my discography a lot of great records have been made on my console, in every genre of music. From Heavy Metal, Hard Core, Death Metal, Blues, Jazz, Rock, etc, etc,.. With some very heavy artists! (Hey the last 2 Blue Oyster Cult records (with our own DonR) were cut on that console! (need I say more) Haha
By the way, I still own 16 vertical Daking 52270 Mic pre's & 8 x 91579 comps...!
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Post by nobtwiddler on Feb 17, 2017 17:45:29 GMT -6
Funny enough Geoff and I became best of friends because of my hiring him to build a console for me. We basically laid it out, and designed it together.
But here's the funny (albeit sad) part. I took a large loan, actually a equipment lease to pay for this thing. Paid it off in 5 years.. But it took 2 more years for the console to be delivered.
First time in my life I paid the equipment off, before the gear was even in my possession. Haha
And because I already had a buyer for my (console at the time) Neotek console, once I found out my Daking console was gonna be a bit late, I ordered the VTC...
As you can probably surmise, I'm always on the lookout for something different. Don't want what everyone else has.
Even that took a year, as it was only in development when I ordered it. And mine was the first installed in a studio in the US.
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Post by nobtwiddler on Feb 17, 2017 12:35:42 GMT -6
"and the client was the beta tester"
Exactly, Which I was for Daking console #1 (the prototype!)
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Post by nobtwiddler on Feb 17, 2017 8:02:56 GMT -6
Eric, Yep, that's what I'm saying. Save money, learn from me~!
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Post by nobtwiddler on Feb 16, 2017 21:35:34 GMT -6
What I meant was... After owning all this material stuff, none of it really matters.
Trust me, I spent years doing my own personal shoot outs, with mic preamps, EQ's, Compressors, etc, etc, even as recently as just last year again. Always thinking there must be a piece that is life changing. Gonna be the Holy Grail. What you finally figure out, is that sure there are differences, but once you are at a certain level with gear, the differences are so small as to not matter at all.
Now today, from years of experience I use what I know, and go with the flow. Never wondering what this might sound like with this pre, or that comp, or whatever.
Life is way too short. I'm a lot happier...
But if I only had a........
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Post by nobtwiddler on Feb 16, 2017 18:30:08 GMT -6
John, Henry's Helios is at Fairfax, installed in studio A. A second line in only Helios is being installed in Studio B. They will have assorted, Helios & other preamps in front of this console.
In Studio C there will be a vintage Sound Techniques console. (this may, or may, not be within the same building?)
I've been told that Kevin Agunuas has left the premises, and sold off his gear. (quite unexpectedly I've been told???) (He quite possibly might be out of the music business as we know it, or just out of being a studio owner....only time will tell?)
Now, as far as your reply... "Totally agree. But this is also my hobby. Some guys have cars. Some have prostitues. Some have boats. Some have cocaine. I have pro audio gear."
As it's a hobby, find something that works, and keep it. STOP Wasting money. Write your damn songs, that's what you excel at. No gear is gonna make a hit tune.
As for me, I have more gear, (half stored in cases all over the damn house) owned 2 Ferrari's, sold the boat, the 2 Hovercrafts, 2 Motorcycles, and never tried coke, but I do have approx. 200 assorted beers in my pub...
Prostitutes (well let's not get crazy!)
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Post by nobtwiddler on Feb 15, 2017 17:59:22 GMT -6
After you've been in this biz of making records for a while, you realize, none of this shit matters, really. Com'on. Get a few pieces that work for you, (no matter what brand they are) and make some music.
I mean think about it.
There have been AMAZING records made, sonically and emotionally using every different brand of Console, Pre-Amp, EQ, Compressor, or whatever thru the years Think about it...
Altec, Universal Audio, MCI, EMI, Sound Techniques, Trident, Helios, SSL, Neve, API, Flickenger, Sphere, Electrodyne, Quad Eight, Spectra-sonics... And many, many, more... (even stuff like Mackie!)
I'm sure you can find a sonically superior record using just about every piece of gear ever made. In the right hands, just about anything will work. Yes even a Mackie!
I know this site is all about gear, which is cool. I love gear, but at some point you wake up, and come to the understanding, at a certain level, it just doesn't matter any more it's just a different flavor and nothing more then that.
Like I said, pick what sounds good to you, and use it. Cause in reality, none of this shit matters, all you need to is know is your gear, and what it's capable of. It's really what's at the other end that is important...No pre-amp, console, Eq, or compressor is gonna change that!
Now, back to your regularly scheduled broadcast.
I need a beer!
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Post by nobtwiddler on Feb 9, 2017 20:23:12 GMT -6
Here's a few of the ones I use most...
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Post by nobtwiddler on Feb 7, 2017 21:47:47 GMT -6
I believe Patrick still has the Church, I should call up there and see what he's got planned for it?
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Post by nobtwiddler on Feb 7, 2017 7:40:08 GMT -6
Say 3 Hail Mary's....
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Post by nobtwiddler on Feb 6, 2017 18:20:02 GMT -6
Also, Henry's console is a bit different in that it now has Cinemag transformers, as he and Dave Amels thought the original Beyers sounded pretty small. (And at our Helios listening test at my place a few years ago... everyone agreed, the Beyers were pale in comparison to everything else)
And if I'm not mistaken, Henry's console has NO Phantom Power, and had all the transformer tapped at 50 ohms, to better control dynamic, and ribbon mics.
If needed he would have his guys, wire mic's to match that specific ohmage.
Had things customized the way he like to work.
A beautiful thing !
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Post by nobtwiddler on Feb 6, 2017 17:07:10 GMT -6
"A track going line in through the entire thing is a beautiful thing. And I'll quote a helios console owner via one of his many emails explaining the summing structure
"Essentially if you were mixing back on a Helios. Recording you would have 5 stages of Amp Cards. Mixing you would have another 5, plus the final stage at the 2 track out. Unless you used the Tape Returns, which are only L-C-R, 5 position pan." And thats why....
Funny enough, I was talking to a Helios person this morning, and he made it very clear, how much better he thought the monitor returns sounded, then running everything back thru the console. And I've heard this about Neves, Tridents, etc, also So here we go, once again, do we like the color, or do we like it clean?
Depending on who you speak to, this argument never ends.
Although personally, I agree with "A track going line in through the entire console is a beautiful thing" To each his own.
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Post by nobtwiddler on Feb 6, 2017 11:21:40 GMT -6
That's Dan's console.
Still available at the moment.
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Post by nobtwiddler on Feb 6, 2017 11:06:37 GMT -6
I believe, Henrys console is now installed in A, and Olivier just bought another Helios "line input only console" for the B room. And the Sound Techniques, will be installed quite possibly offsite in another location. Still not decided?
Also, I believe Kevin is long gone.....done with the business! (but I could be wrong?)
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Post by nobtwiddler on Feb 4, 2017 21:19:45 GMT -6
......................
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