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Post by svart on May 3, 2024 6:09:43 GMT -6
Loud is not good for your ears, nor your recording. An amp will be just above talking volume for most recordings. If it's shaking the walls, then something wrong is being overcompensated for. loud=bad is a pretty wild statement when so many classic guitar tones come from cranked marshall/fender/vox amps at much louder than talking volume. many of my amps sound pretty unremarkable at moderate volumes, and really shine at high volumes. sure, some tones don't get better with a lot of volume. but some are simply hard to achieve without it. Nah, it's more of a rock-n-roll description.. "I cranked that amp" is usually boasting by musicians and engineers ala the "turn it to 11" joke. Take a "cranked" marshall JCM/JMP.. It really just needs the master volume turned up to get the output tubes biased well and get the low-end whoomph out of it, but you'd turn down the input gain so it's not so brightly fizzy through a cab of greenbacks. In this case, "cranked" is not really *louder* although the knob might be "cranked".
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Post by svart on May 2, 2024 10:30:15 GMT -6
Two. The KH310s for pretty much everything, and usually earbuds for final tweaks these days.
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Post by svart on May 2, 2024 6:06:41 GMT -6
I love my R121. I have a friend who had a R10 and it never sounded "royer" to me. I have a couple Bumblebee ribbons too. Love them as well but while they look like a royer, they are their own beasts. Much more hi-fi sounding than the royer, but still ribbon-y.
Are the Bumblebees brighter than the Royer, then? Have you found good uses for them?
A little bit brighter. It's hard to quantify. They also don't have the mid-range bump that R121s have. I still like them on guitar cabs, but I'd use them more off the dust cap than an R121 would get used. There's videos on this forum of them being used on various sources. Those were part of the reason I bought them.
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Post by svart on May 1, 2024 12:30:05 GMT -6
Depending on the day, I might be able to drive up.
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Post by svart on May 1, 2024 9:28:56 GMT -6
MK012 here. Would probably use my KM184 but it's on OH.
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Post by svart on Apr 30, 2024 9:38:01 GMT -6
Which model Bumblebees do you have? I am intrigued. RM6 and RM7
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Post by svart on Apr 30, 2024 8:46:42 GMT -6
I love my R121. I have a friend who had a R10 and it never sounded "royer" to me.
I have a couple Bumblebee ribbons too. Love them as well but while they look like a royer, they are their own beasts. Much more hi-fi sounding than the royer, but still ribbon-y.
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Post by svart on Apr 30, 2024 8:42:27 GMT -6
Generally start with a 57. Pick a speaker in the cab, put the 57 right on the cloth, pointed right at where the cone and the dust cap meet. Turn your amp to mostly mid settings and then listen in the control room for a minute while someone plays. Now go move the mic away from the cap slightly, towards the middle of the cone for less highs and more mids. I generally end up somewhere near the cap, usually within about 3". Now go back and tweak the amp.
Most people tweak the amp first and what happens is that they dial in tons of high end to get clarity and it ends up waaaaaay too fizzy and then they want a different mic.. Then they end up chasing the tail of the dragon. Amps and speakers sound very different to the ear in the room than they do to a mic on a speaker. Set the amp how it sounds best through the mic. Players tend to set way too much top and bottom end because it sounds good in the room, but this is the opposite of what you want for recording. When you end up doing HPF/LPF on the track later because it's all fizz and rumble, you'll be left with nothing.
Set the mic for best balance first, then tweak, never the other way around.
Don't even worry about choosing the best speaker in the cab until you've learned how to identify where to put the mic. Then once you found the best spot on ONE speaker and the best tone for the amp, then try other speakers in the same spot and listen to the differences. Some speakers will have drastically different tones. Even the same speaker have different tones from one side of the cone to the other. That's why I tend to make people play through my cabs, if possible, because I've spent a lot of time over the years moving mics around on them and I sort of know where they sound best to me.
The other magic here is a R121. Right in the middle of the dust cap. Move it back about a fist-width from the cloth. This will work for most clean tones. Put it at the seam between the cap and cone if you're using distortion, and then move it around some. You'll get a lot less variation than with the 57, but it'll be noticeable.
I used to multi-mic cabs, but I've lost interest in doing that. You end up messing around with blending way too much and the phase issues become too apparent, too often, and usually only one mic gets chosen anyway.
One other piece of advice.. Never sit in front of the amp trying to find the right spot while the player is playing. Even with headphones your ears will get fatigued and the rumble and leakage will make it seem different than it is.
Most musicians will tell you it sounds great at the time, but that's because their ears are blown too. They like loud. Loud is fun. So don't ask them if they approve..
Loud is not good for your ears, nor your recording. An amp will be just above talking volume for most recordings. If it's shaking the walls, then something wrong is being overcompensated for.
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Post by svart on Apr 26, 2024 8:48:29 GMT -6
And while this was "cheap enough to try", it's a little discouraging that this is how the plugin industry is these days. I have probably 50+ plugs I've bought over the years and stopped using. Some of them were expensive and now virtually worthless and not really re-sellable without a lot of effort and discounting.
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Post by svart on Apr 26, 2024 8:45:01 GMT -6
Though I bought deBleed (for GAS reasons) I still haven't even tried it. I seriously have a purchasing problem. I already have so many plugins that "I had to buy" and I haven't even used them. Have you ever gone to purchase a new plugin only to find that you already purchased it during the last sale, yet never used it? That's my issue. I use Silencer on drums, mostly on the toms. I go pretty light on snare. Maybe I will get a chance to finally play with deBleed in the next few days. I one way, hardware wins. After I get hardware, it's always in front of me and always gets used (or gets sold). I don't tend to do endless searching for the best hardware 1176, but I do that with plugins. How many can I possibly need? Obviously... one more. Can't say I've tried to buy two of the same exact thing, but I have been guilty of buying multiples of the same style, I.E., Waves SSL channel and then SSL Native, etc.. And once the GAS is over, I can't really tell the difference. The absolute settings might be different, but overall they do the same things.
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Post by svart on Apr 26, 2024 6:33:36 GMT -6
So I took the plunge with this for everyone. I'm a sucker for trying to find magical/mythical gates.
Anyway, it's roughly the same thing as Silencer. It has mostly the same controls but adds a HOLD control. It even looks mostly the same, GUI-wise.
So I was able to set up Silencer and DeBleed on a pretty noisy snare and then A/B them.
Honestly, they sound mostly the same. Setting them to the same settings does not result in the same sound, but you can tweak a few knobs and get mostly similar amounts of bleed through them. I don't think either one worked better than the other. I think they both resulted in similar amounts of bleed or choked snare sound.
I can't see needing both. Pick one or the other and you'll never miss the one you didn't buy.
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Post by svart on Apr 25, 2024 9:47:24 GMT -6
The only thing I care about is whether or not my mix translates. I don't even bother with adjusting the crossover on my sub, I just turned it up until I felt like the sub-bass in my mixes was too low and then backed off. I think they can also be very deceiving because once they sound good, you end up pushing the low end a lot more than things like earbuds can handle well.
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Post by svart on Apr 23, 2024 13:36:31 GMT -6
Yeah it sounds bad right now.. But in 5 years this will be so good that they'll use it everywhere. Every movie will be AI generated and have a single person act and voice every character and just have someone digital create all the characters, etc.
And then albums will be AI generated with the same kind of stuff.
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Post by svart on Apr 23, 2024 13:03:39 GMT -6
I still like ValhallaRoom. Slate verbsuite is ok if you get the add on lex and bricasti libraries.
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Post by svart on Apr 23, 2024 9:32:23 GMT -6
John, maybe rather than a sideway step, you should push the boat out and get your final keeper pair of monitors. ATC 25’s or 45’s Or similar. Then you’re done and dusted forever with monitors Man, I gotta be honest…I don’t get ATCs. I had the baby scm12’s, but I don’t think those are particularly representative of the line. And I’ve never mixed on the 25s. So maybe I’m completely missing the boat. But every time I listen to them I always think they sound boxy with no low end. I definitely lack experience with them. And as I’m drinking my morning coffee with almond milk because there’s no milk and that pisses me off because almond milk tastes like the tears of real milk…but I digress…as I drink my morning coffee, it leads me to this riddle: how can something have “better” midrange? Wouldn’t that just be “louder” midrange? Is it just that it’s like a quicker slew to the transient or something? As far as why I want to? Because I’m a glutton for punishment. lol. It’s a hobby. I love the excitement of the deal. The possibility of taking a chance and finding something killer is more fun than the slight hassle that I gotta go find some used Amphions again lol.
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Post by svart on Apr 23, 2024 6:20:37 GMT -6
I dunno. I think the sound of plugs has been good enough for a long time. I've narrowed down the ones I use to just a handful and I can't really see how they can be bested for what I use them for.
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Post by svart on Apr 23, 2024 6:18:15 GMT -6
Just the shelf.
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Post by svart on Apr 23, 2024 6:15:43 GMT -6
The waveguide vs. No waveguide thing makes me hesitate. I don't think I can work on monitors that don't have super wide tweeter dispersion anymore.
Granted, I haven't listened to the 3's but I didn't like the 1's and these seem to be of the same or lesser pedigree..
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Post by svart on Apr 22, 2024 10:50:58 GMT -6
I've had nothing but problems with monitors in the room while recording. I've received a number of tracks from artists with similar concerns, not being able to use headphones, etc and the vocal tracks are usually very dirty with phasey trash in the background.
Usually the rumble is the worst though and an aggressive HPF goes a long way to helping.
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Post by svart on Apr 19, 2024 15:26:21 GMT -6
5H? wow that's a lot. It would have to be really small wires to coil that much inductance. Like Eric said, you could find a smaller value/size inductor and then scale the cap values to get the same frequencies, but the Q of the inductor would likely be different and the rolloffs might be different. The value was revised to 0.5 Henry. Oh ok, that's better. There's a handful of them in eBay
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Post by svart on Apr 19, 2024 14:43:34 GMT -6
5H? wow that's a lot. It would have to be really small wires to coil that much inductance.
Like Eric said, you could find a smaller value/size inductor and then scale the cap values to get the same frequencies, but the Q of the inductor would likely be different and the rolloffs might be different.
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Post by svart on Apr 19, 2024 13:13:33 GMT -6
Got it. It's interesting. I can't hear any difference without doing a null test and honestly, the major things that remain ifrom the null test are modulated sounds. If this is a mix of yours, then I think the modulation effects added are non-deterministic which would render a null test impossible. Also, I do hear a phasing sound from the null test as well which tells me that one of the clocks is wandering around slightly.
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Post by svart on Apr 19, 2024 11:04:56 GMT -6
Here are some files if anyone wants to compare a few different clocking scenarios(including blind files): www.dropbox.com/home/Seawell%20Studios%20YouTube%20Channel/Mutec%20Audio%20FilesA few different clocking scenarios, Mutec master clock, Avid and Lynx, etc.. all explained in the video below if you'd like to check that out. My conclusion is that a master clock absolutely makes a difference, you just have to decide if that difference sounds better to you or not. I continue to use the Mutec as a master clock more for stability than anything but I do also enjoy what it does to the sound 👍🏼 Can't access without logging in..
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Post by svart on Apr 19, 2024 11:03:34 GMT -6
Jitter can absolutely cause harmonic distortion. The primary clock frequency being offset for any small amount of time would be jitter and cause sidebanding, but that offset amount does not necessarily need to be an multiple of the primary frequency. It can modulate any fractional offset onto the clock and that offset need not be related to the primary frequency at all. A lot of PLLs use fractional dividers to keep complexity down, but these cause sidebands at strange fractions of the primary output that aren't necessarily related in harmonicity. You are describing inharmonic distortion. Harmonic distortion: having to do with multiples or evenly divided fractional multiples of a tone. Inharmonic distortion: Having to do with harminics that do not fall on multiples or evenly divided fractional multiples of tones. Sidebands can be ANYwhere in relation to the primary tone, therefor can be harmonic or inharmonic depending on where they fall. Jitter can have either, or both.
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Post by svart on Apr 19, 2024 9:46:53 GMT -6
FWIW, jitter doesn't cause harmonic distortion for a richer sound. It causes inharmonic distortion for a harsher sound. I doubt that is what people like about external clocking. But that inharmonic distortion is usually so slight that it's hard to hear. I remember when Eric Valentine posted a comparison with printed files of 192 I/Os with and without an Atomic Clock. The audible difference was that the Atomic Clock files had less crispness in the top end, making them seem smoother and warmer, basically "less digital" and more like analog tape. A touch of HF smearing. It was subtle, and I felt that I could engineer my way around it either way. But there are so many different converter designs and studio configurations that we can't really generalize about what audible effect every combo of clock and converter will have. We have to try it out with our setups and make choices. The most important thing I learned when I tested it was to print files for listening tests because it takes too much time to switch clocks and that makes memory too much of a factor. Expectation bias was especially powerful in this context, so blind testing was essential. And brutal honesty. Jitter can absolutely cause harmonic distortion. The primary clock frequency being offset for any small amount of time would be jitter and cause sidebanding, but that offset amount does not necessarily need to be an multiple of the primary frequency. It can modulate any fractional offset onto the clock and that offset need not be related to the primary frequency at all. A lot of PLLs use fractional dividers to keep complexity down, but these cause sidebands at strange fractions of the primary output that aren't necessarily related in harmonicity.
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