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Post by miscend on Nov 13, 2021 7:38:43 GMT -6
It's the best sounding digital EQ I've heard.
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Post by miscend on Nov 13, 2021 7:36:45 GMT -6
I demo'd it. I have ARC 2, which I upgraded to 2.5 been using it for years. I didn't get the MEMS mic when I updated to 2.5... just used the orig mic that came with 2.0 I also demo Sonarworks 4? At the same time. Sonarworks won. I noticed a considerable difference in the results in high end and low end smear. I did measurements with the same microphone and took extreme care. Be interested to hear your thoughts. I must say I didn't hear as much of a difference between ARC 2.5 and ARC 3.0 as I thought there would be, and Sonarworks was a long way out in front. Cheers Wiz Where did you find the calibration file for the mic to use with Sonarworks? |
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Post by miscend on Jan 20, 2021 13:20:04 GMT -6
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Post by miscend on Jan 1, 2021 23:44:03 GMT -6
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Post by miscend on May 30, 2020 6:44:40 GMT -6
Those JLM transformers have a good amount of sonic colour. I think the LA500s quite versatile, has enough gain to be used as a preamp and doesn't make anything sound bad. But its more a set and forget type of thing rather than something like a distressor. Andrew Scheps and Joe Barresi are fans too.
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Post by miscend on May 27, 2019 19:45:00 GMT -6
So why do we even bother anymore? Apparently the yields were extremely low with the original brass AKG capsules, the failure rate was so high it is impractical to make them now in that way. All these boutique cats making clones having basically reverse engineered the originals but the quality is not the same because they just know the designs but have no clue what proprietary processes were used to make them. For example how long was the treatment, at what temperatures, speed of temperature changes, what atmosphere(s) were used during processing, etc. Who is the vendor of that specific, difficult-to-make lubricant/bearing/component? And thousands of similar questions. Well I don't know about others but I was taught much of what I do by Karl Peschel and Norbert Sobol of AKG and all my membrane material is NOS AKG mylar manufactured in he 60's-70's. AKG never had high failure rates manufacturing these capsules. Their high failure rates came from trying to repair broken capsules. They stopped building "brass" CK12's because they are very labor intensive and so too expensive for their bean counters. Austrian Audio have a new video out. They confirm the high failure rate of the original capsules. It was a 65% failure rate which meant they could only produce one capsule per day. |
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Post by miscend on May 3, 2019 3:15:56 GMT -6
How does Sonarworks account for timing issues with its room correction?
I’ve heard on the other forum that Dirac Live has better more accurate correction.
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WA-251
Apr 8, 2019 23:25:54 GMT -6
via mobile
Post by miscend on Apr 8, 2019 23:25:54 GMT -6
Does the Warm have an edge terminated K67 capsule like most clones.
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Post by miscend on Apr 7, 2019 5:20:10 GMT -6
I think one of the differences is that if you're Behringer, it's no big deal. You send your QC guy over, you threaten them to comply or else, and stuff generally goes well for you. If you're a small volume manufacturer, you have no leverage at all. And if a local vendor is screwing you, it's not that difficult to stop by, have a face to face with the owner and whatnot. They don’t need to, Behringer own their own factory complex in China. I think it’s called Behringer City or something like that. Their CEO who is now based in Asia, posts on regularly the other forum and was waxing poetic about their facility in China not too long ago. The main issue with Behringer is that their circuit designs are either mediocre or quite bad. Their 500 series lunchboxes for example have noise issues and low head room as a result of a poorly implemented power supply. I’ve read this from three sources who have actually analysed the circuit and done tests. |
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Post by miscend on Mar 30, 2019 17:57:20 GMT -6
So where are the original old timers that built the C12 and 251 capsules? They're all dead. Oh wait, was that a rhetorical question? So why do we even bother anymore? Apparently the yields were extremely low with the original brass AKG capsules, the failure rate was so high it is impractical to make them now in that way. All these boutique cats making clones having basically reverse engineered the originals but the quality is not the same because they just know the designs but have no clue what proprietary processes were used to make them. For example how long was the treatment, at what temperatures, speed of temperature changes, what atmosphere(s) were used during processing, etc. Who is the vendor of that specific, difficult-to-make lubricant/bearing/component? And thousands of similar questions. |
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Post by miscend on Mar 30, 2019 13:43:44 GMT -6
So where are the original old timers that built the C12 and 251 capsules?
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Post by miscend on Mar 13, 2019 9:02:53 GMT -6
Be sure to post some demos on the drum and mix buss.
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Post by miscend on Mar 5, 2019 22:16:15 GMT -6
I'm really curious what it is. Because at this point I can only guess according to the limited information they presented. Part of the hype-generator flux condenser machine of any marketing department. If they reinvented something that e.g. Antelope Audio has been done already (FPGA fx), then I'll be a bit sad. FPGA is not DSP and doesn't require analog I/O. Mitigates the delay. I had a chance to test a Discrete 8 few weeks ago which has brilliant mic-pres, and the FPGA fx was something I've never heard before in terms of clarity and sound. User is able to use it within the factory controller or within the DAW as a plugin (rack). You can have 8 channels of 4 plugins as inserts (you can choose from 50+ vintage modelled plugin). No, it is not UAD similar DSP, because the programming of these plugins are different. You can be more precise in modelling. Unfortunately I had to send it back to reseller because Antelope's current software controller is unstable, I couldn't rely on it. That's a shame, because the hardware is brilliant, a piece of art. If mcDSP claims that everything will be programmable and you can use it in this similar way with a good converter, then I can't think about anything else but an upgraded, hopefully more stable version of e.g. aforementioned interface, but without I/Os, pres. Like a 16-core UAD Thunderbolt Satellite but with all the superior FPGA fx features against DSP programmed plugins. That would be wonderful. One step closer to the future; how I imagine a flexible hybrid studio in 2030.  That being said the price can be anywhere from 4-5k USD up to 10k USD. Really depends how greedy they are as pioneers currently. Whether they want to milk the pro cows with less gear or they want to sell more units on affordable price for semi-pros and lower the margin. As for the 32bit DAC, confusing and doesn't exists in this term... well, it existed for 35000 USD but it was really unnecessary (Platinum Studio Plus), and 24-bit covers everything you can/may need to hear. Today's UAD Apollo X or aApogee Symphony is more than enough from THD, SNR, dynamics perspective. 32-bit filtering does exist however, so they maybe referred to 32-bit internal processing, but that is different. They should be more precise saying that.I hardly can wait for more information (release date, specs, plugins), and the price of course. Because this thing may reduce number of gears in studio if every hoped feature comes together. A 16ch summing box controlled from any DAW with great plugins without delay and without CPU usage (hopefully not PT centric as prayed before in a comment)... just add a 2-channels hi-end converter on top of that and everything is done ITB with pro result for a composer who doesn't work with musicians/band in live. It's not related to FPGAs in anyway. McDSP say they are using discrete analogue circuitry. FPGAs are still digital. |
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Post by miscend on Jan 28, 2019 11:17:37 GMT -6
In the Musicrader video he claims the automation will be sample accurate. That's not possible with analogue electronics.
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Post by miscend on Jan 27, 2019 5:14:25 GMT -6
There are still plenty of studios that make enough money to afford something like this. Consoles and speakers cost much more than 10k. This in theory can replicate very expensive outboard. It’s definitely not for the project studio market.
Basically looks like Collin has invented some sort of programmable discrete analogue circuit that can be configured to mimic let’s say an LA3A, a 1073 EQ or other similar topologies. I think it’s usefulness can probably also extend to prototyping analogue circuit designs before going to manufacturing. It’s an incredible technological achievement I think.
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Post by miscend on Jan 2, 2019 19:18:36 GMT -6
They’re using a brass capsule which is very interesting. Most of the cheaper clones used ordinary Chinese capsules like AA and Peluso.
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Post by miscend on Jan 1, 2019 21:26:04 GMT -6
I’ve had no issues with Lindell lunchboxes other than the lack of frills.
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Post by miscend on Dec 28, 2018 20:29:34 GMT -6
Did any one pick up the 500 series modules? How good are they?
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Post by miscend on Oct 29, 2018 14:35:07 GMT -6
How the Russians build their mics by hand. They don't show you every part of the process because those are trade secrets. Companies like Neumann, MBHO and Gefell have been building these things far longer than Soyuz I don't believe for a minute that the quality is not excellent.
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Post by miscend on Apr 28, 2018 4:30:51 GMT -6
There’s a completely free and very capable DAW called Cakewalk if you are on PC.
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Post by miscend on Dec 27, 2017 13:47:15 GMT -6
Anyone else read the info about warm working with carnhill to recreate the original transformer? So then this would be a new carnhill design Several clone manufacturers along with AMS Neve all make similar claims. AMS Neve say the current crop of 'off the shelf' Carnhill transformers are not the same as the original Marinair and St Ives transformers used in the early Neve gear. AMS Neve say that they worked with Carnhill to produce custom transformers that match the original Neve's and they are exclusive to AMS Neve products. But then Heritage Audio also claim they have worked with another UK based transformer maker (OEP) to produce custom transformers that more closely match the original Marinair and St Ives iron than the versions Carnhill were producing. Now you have Warm Audio saying the same thing. So Carnhill (and OEP) are producing several types of transformers that are supposed to be replicas of the orginal Neves's for several different manufacturers that are all claiming to use exclusive custom built transformers based upon the same original! So which 'authentic' clone is the most authentic? Where do AML fit in? Do they use off the shelf parts for their EZ1073. |
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Post by miscend on Dec 17, 2017 1:43:11 GMT -6
I need some help. I was struggling to get the molex connector to fit into the pins on the circuit board. There was something wrong with it so I hard to force it down into position.
Now when I connect a power source I’m getting 26.8 mV when I put probes on the TP1 and TP2 test points. Turning the bias adjuster has no effect on this. So I am unable to get it up to 90 mV as required in the build doc. What’s the next trouble shooting step?
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Post by miscend on Dec 14, 2017 8:00:40 GMT -6
Be sure to post impressions after you have finished your builds!
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Post by miscend on Dec 14, 2017 7:58:48 GMT -6
Been reading up on these. The 1073 and 1084 are preferable all round for vocals and guitars because of the classic sound. Whilst the 1081 is preferred on drums and percussion because of the better transient response and more open sound. Probably true for traditional use, however I've never used anything better on vocals than an AMS Neve 1081. Absolute magic. Of coarse that is with the eq to shape.
This one is eq-less so another application of eq would probably be in order.
1081's are very mid forward and somewhat rolled off on top and bottom. Which is refreshing on a digital platform.
They are HIFi for sure.
Did you eventually get a pair in the end? Would you say the 1081 is very different enough to the Capi VP312/VP28 on guitars and vocals. |
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Post by miscend on Dec 14, 2017 7:56:09 GMT -6
Now I wonder if Colin will bring out a 1073 preamp version of this but with an output trim. I would love to hear some A/B of the 1073 bs the 1081 on drums  He just has. He put out a new 1073. And two new line amps based on the 1073 and 1081. |
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