ericn
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Post by ericn on May 4, 2024 10:19:55 GMT -6
Good riddance. The music instrument equivalent to Walmart drive the proper mom n pop stores out of business. Let them rot. I hope the local shops make a come back. I want to buy from people who give a damn. On that score the other day I saw Rode Podcasting gear at Target, we are all heading there.
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ericn
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Post by ericn on May 4, 2024 8:56:12 GMT -6
Got that PMC superstack as my main set up. Gives a sense of scale and reads out very accurately on depth of the recording. Very low distortion monitors. Mix is then adjudicated and quality controlled on the revealing Meyer AMIE monitors. I use ProAc Response 2S hi-fi speakers at home. I do like the overall design heritage of Hudson’s monitors The PMC’s are the magic of great Volt drivers in a Transmission line cabinet, the Meyer’s .are from the Just as brilliant but more as a speaker system designer John Meyer. ProAc fit Hudson casual the guys who were building ATC systems before ATC.
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ericn
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Post by ericn on May 3, 2024 21:36:40 GMT -6
Such a bummer. The CEO of Guitar Center actually did an interview just last week about making changes to their current strategy, basically saying they've become too focused on entry level gear and plan to refocus on premium gear. Not sure that will actually solve anything, but I hope they find a way to stay afloat. finance.yahoo.com/news/guitar-center-ceo-explains-why-161149551.htmlHe might want to refocus but considering GC got Fender to agree to taking Pennie’s on the dollar for their debt, I doubt anyone in the high dollar world is going to take the risk. My local MI guy was telling me their Fender rep was apologizing for basically shitting on them for paying on time. GC’s biggest issue is pretty simple, they like to strategize about what they want to be instead of looking in the mirror and seeing who they really are. I’ll say it again: it’s not about the market you want but it’s all about the market you got. ( That rule got me an A+ in understanding markets).
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ericn
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Post by ericn on May 3, 2024 21:30:41 GMT -6
Perhaps it isn’t closing due to necessity but more like now that Sam has passed it’s time to cash out and divvy. I could be wrong but…… In the past the number one asset of Sam Ash has been their real estate. Someone might have realized sell gear wasn’t the best use.
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ericn
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Post by ericn on May 3, 2024 17:02:02 GMT -6
I've considered doing that on more than one occaision. You both are on FI-URRRR!!!! They hake a fantastic hammer as well. For harder jobs, use an SM7b Nah windscreens fail to easy the original 635 is a much better hammer.
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ericn
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Post by ericn on May 3, 2024 10:05:59 GMT -6
It's a "PSVANE". I had never heard of it either. Current production, and they can be had for about $10. He promised me a NOS Mullard and a Theirsch capsule lol. Made by Changsha Hengyang Electronics Co., Ltd. You know, that manufacturer providing the "hand made German 7025" tube he says is in all of his 47s. And who needs Theirsch when you have his "dual back plate, dual diaphragm, capsule with FULL BLEED gold sputtered aluminized Mylar diaphragms". With all of that, what's a little duct tape? ;-) We are entertainment professionals at the very least I expect Gaffers Tape damn it😎
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ericn
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Post by ericn on May 2, 2024 17:42:19 GMT -6
It's the one thing it does well! They work OK for propping old windows open. I have been told they are perfect for throwing at bad monitor engineers.
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Post by ericn on May 2, 2024 12:52:50 GMT -6
NT1 is a decent mic, it’s kind of a shame that the biggest limitation is the capsule, upgrade the capsule and your probably going to find it works on just about anything and won’t be the limiting factor. I have seen/heard this a few times and while probably a separate thread, I'd be curious what the go to recommended capsule is for this. I guess it depends on the sound one is after, but lets just say whatever circuit the NT1 is designed after, thats probably a good start - I think its a 67, but not certain. Well the NT1 is a FET so not a 67 circuit and if memory serves me I think the capsule didn’t require EQ for the HF so more of a 47fet or 414 lineage.
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ericn
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Post by ericn on May 2, 2024 11:07:47 GMT -6
NT1 is a decent mic, it’s kind of a shame that the biggest limitation is the capsule, upgrade the capsule and your probably going to find it works on just about anything and won’t be the limiting factor.
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ericn
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Post by ericn on May 2, 2024 10:24:42 GMT -6
Usually 3-4 pair are hanging around, post move only the Quested H208’s and F11a’s are set up.
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Post by ericn on May 1, 2024 21:24:44 GMT -6
Yeah it’s been a while I’ll send a couple of bucks.
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Post by ericn on May 1, 2024 14:31:26 GMT -6
I've been thinking about this and the red part might be a sleeve slipped over a mic to alter the polar pattern. 4 years later or someone painted the windscreen to easily ID it, seen some very bad attempts over the years.
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Post by ericn on Apr 30, 2024 21:54:38 GMT -6
One of the first things I learned in pro audio was as cool as they look the problem with 4x12 cabinets is there were 4 speakers in them. A stack can be cool and provide the power to knock your socks off, but in most cases if you ever measure the 4 12’s individually you will find the sound of a 4x12 is really the sound of comb filtering. I have yet to measure any 4 stamped frame guitar speakers that measure the same. So often the reason someone puts that 57 so close is to try to reduce the level of those other 3 speakers. Honestly the way I got heads to sound their absolute best was to have a couple of single driver cabinets to mic up.
The other thing about a single 12 vs 4 is the same gain settings you reduce the actual spl by 6 dB.
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Post by ericn on Apr 30, 2024 21:42:06 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. Ummm who was it it who suggested you buy your first one😁 I know you are adapting the Kennedy technique to gear these days😎
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Post by ericn on Apr 30, 2024 18:15:33 GMT -6
Two words. TC Finalizer. (Drops Mic) I have one of those! I don't even use it anymore . . . I should sell it. Is it a Consolation prize? You know I am proud to say the only Finalizers I ever sold were on bids.
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Post by ericn on Apr 30, 2024 18:08:21 GMT -6
There was a joke, that wasn’t an actual joke, back in the early recording-forums days, that the AKG C1000 was extremely-excellent at exactly two jobs; one as a paper-weight, the other, to mic a ride. It is the worlds greatest mic as long as you don’t plug it in.
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ericn
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Post by ericn on Apr 30, 2024 18:07:15 GMT -6
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Post by ericn on Apr 30, 2024 18:01:37 GMT -6
Two words. TC Finalizer. (Drops Mic) I have one of those! I don't even use it anymore . . . I should sell it. Is it a Consolation prize? If you have a client who uses IEM’s live they are great DSP front end for IEM’s.
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Post by ericn on Apr 30, 2024 14:17:29 GMT -6
What this is most likely really all about is this : band knows their stuff kind of sucks. They go to expensive room with a console, they are sold on the idea that the console is the key to reducing the suck. Band can’t afford the place with the magic de sucking console, but they bought the concept that a console can take away the suck.
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Post by ericn on Apr 30, 2024 13:17:20 GMT -6
Two words. TC Finalizer. (Drops Mic) Finally we get the answer.
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Post by ericn on Apr 29, 2024 18:13:48 GMT -6
You will be better off educating your client on the waste of his time and money. They are romanticizing an idea. Running audio signal through the I/O of a console at unity will not offer any reasonable benefit. And, it's not mixing.
^^^this right here. And I'm a guy who mixes on an analog console with a bunch of outboard gear. It's much more a workflow thing than a sonic thing, and at the end of the day, the mix quality is limited (or enhanced) by the person doing the mixing, not the equipment. Yup not about the console, it’s about what You or I can get the console and everything else to do.
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Post by ericn on Apr 29, 2024 16:46:16 GMT -6
Been taking a deep dive into the Allman Bros since I heard the news.
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Post by ericn on Apr 29, 2024 11:59:00 GMT -6
If portability is a priority you can’t beat the Air. In fact the form factor of the air is so damn addictive it’s probably why I’m still running an Intel machine.
Definitely spend the money on a machine with 32GB of memory, with Apple set on soldering in the ram and a sort of forced profit center it’s a pain but there is no going back.
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Post by ericn on Apr 27, 2024 12:25:09 GMT -6
Thank for your reply. I've personally found Softube support as bad/good as any other major software vendour - well Native Instruments being the worse for long waiting times for replies. As for the Softube software. I conducted an extensive ABX double blind test (I only make audio conclusions with my own properly conducted double blond ABX tests) using the Softube Brit Channel and my favourite UAD strip the UAD 88RS channel (both Neve strips al be it different vintages) yet to my surprise setting the EQ by ear to sound as indentical as possible - I and the other people in the room were unable to pick out one from the other. So I'm happy and pleasantly surprised with the Brit channel. (I've not tested any of the other Softube channel strips) The control over the UAD plugins is very useful - especially now they have gotten rid of that ridiculous auto gain on the compressors. Ironically, my favourite function of the Control 1 is it's ability to chase channels using the 20 channel selector buttons. Mackie protocol seriously misses the EUCON ability to "go-to" channels not in the selected bank, so in the absence of owning an S3 the Control 1 is a pretty good solution for me. I'm with you, in as much as it'a nowhere near as useful as I thought it would be when I bought it - but Software have improved it's functionality and integration with Cubase and with the added UAD support it just about justifies it's desk real estate. Personally, I wouldn't touch SSL "digital anything" with a bargepole - they have imho THE worse driver and hardware support in the business - the polar opposite of RME.
50% of UAD plugins (at least) sound mediocre, 2005 quality. There are many many many many to choose from, but few that are truly excellent or standouts compared to other plugins. 20 years later now that the novelty has worn off it is easier to assess. Comparing the Softube Brit channel with UAD is not a benchmark of any kind and I do have both here as well. Not a 'fan' of either per se. Not bad, not great. And UAD support as well, day 3 with a support ticket for UAD hardware and UA connect issues and still no reply. None. I look forward to selling my UAD hardware as well. There is nothing about it other than the ATR-102 that I would miss. I am in the middle of an album and I have zero UAD plugins inserted over 8 tunes now.
Is your assessment of SSL as a company support or the drivers? I have never needed support, but if drivers, it is not a shared feeling. Like all hardware, you have to learn how they work on any system. Plug and play expectation is foolish. You need a proper working system, well powered USB hubs, driver compatibility etc. Expect trouble shooting other driver conflicts if needed. Why wouldn't anybody? Modern SSL drivers have been as rock solid on my system as my RME. It just took understanding what kind of integration they needed.
A discussion of UAD being outdated in a thread about a controller that is based around HUI a 30 year old protocol is hilarious. SSL can talk about their 360 architecture but let’s face it as long HUI is what the DAW is speaking to the controller HUI is the limiting factor.
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Post by ericn on Apr 26, 2024 19:35:01 GMT -6
What Bill said, with a little explanation. The MXP3000 was designed to pair with the 3348 dash machine, so it was a pretty clean console, major issue the OPAMPs are unobtainable. The cool selling point was you could order API EQ’s to fit it. Avalon as well. The MXP3000 at Sear Sound had Avalon mic pres and EQs I believe. Sony made 4 different EQs for that desk. When movers ruined mu TAC, a couple MXP3000s were in the running. ONe belonged to Ramsey Lewis and was not in good shape, but I did get to hear the different EQ models in it. The other was an 95% done deal, but Randy Blevins doesn't understand that phones dial out, which is also why I didn't by a JH24 from him. My JH came from your town, Eric. Yeah I had heard about the Avalon EQ but only ever saw the pre and of course the John Hardy pre. Of course now I’m trying to figure out who’s machine that was !
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