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Post by jeremygillespie on Dec 26, 2020 17:59:08 GMT -6
Man what a bummer...
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Post by jeremygillespie on Dec 25, 2020 15:37:05 GMT -6
Maybe they modeled an E that was in need of a re-cap š
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Post by jeremygillespie on Dec 25, 2020 14:39:57 GMT -6
The eq curves are different in the 2 mid band sections.
On the J and K series you can switch between both of those curves. Canāt remember if you can do that on the Duality or not, itās been a while since Iāve worked on one of those.
When I was assisting different engineers a lot on the 9000kXL, the majority of the would always switch the eq into āEā mode. They seemed to like that better.
I feel like it was more or less noticeable depending on what you were trying to eq and If you were mostly boosting or mostly cutting.
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Post by jeremygillespie on Dec 24, 2020 19:50:36 GMT -6
So very excited about this!
Okay so - who knows what those mics are they are singing into?
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Post by jeremygillespie on Dec 21, 2020 10:08:25 GMT -6
Just picked up the SSL Native X-Comp on sale and itās really really nice on bass. Thatās all Iāve tested it on so far but Iām really digging this thing.
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Post by jeremygillespie on Dec 19, 2020 20:00:31 GMT -6
I think we need to address the fact that the music you work on will also dictate how you perceive converters.
There is a difference between a drummer beating the shit out of a china cymbal during a chorus of a metal tune, and a jazz drummer using brushes on a dark cymbal. Those two approaches will come across quite differently and will have us form different opinions on converters.
Just some food for thought. Either way, it comes down to how we hear things as individuals, and how we use the tools we have at our disposal to fit them into a production.
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Post by jeremygillespie on Dec 19, 2020 18:31:14 GMT -6
I can attest to the badassery of the MKII.
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Post by jeremygillespie on Dec 17, 2020 13:23:02 GMT -6
Btw - after hearing these Cavalier PUs in my tele...these Vintera PUs sound like shit. Lol I went through so many pickup swaps before realizing I just donāt like strats. And man that middle pickup is always in my way! |
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Post by jeremygillespie on Dec 16, 2020 19:24:07 GMT -6
Also to add...
I think it really comes down to the BS way that companies market their interfaceās I/O specs by using headphone and monitor outs as being part of the ins and outs. They arenāt, they are for monitoring purposes. So now, you have the 1/2 outputs labeled as āmonitorā outs when they shouldnāt be, which pushes your outputs down the line, and in turn throwing off the 1:1 ins and outs that pro tools uses for their hardware inserts.
Totally baffling to me.
Also - I totally get why people leave pro tools. There are other options that make better sense for some people. I just canāt move away from it.
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Post by jeremygillespie on Dec 16, 2020 19:04:58 GMT -6
Things I've done a couple times when I had a similar problem: 1. I was monitoring the inputs in Console and didn't have input monitoring on in the DAW. 2. Monitoring my insert outputs rather than my master bus on the way back in. 3. Had the wrong inputs armed. I'm sure you've checked those but that's all the info my experience can lend at this moment. Good luck! Let us know if you figure it out (and how you fixed it)! Let me ask - say I'm sending every drum channel to a drum bus and want to put a HW comp on the drum bus. Should I click the input monitoring on for each individual drum track? The AUX doesn't have an input monitoring clicky thing. (This is how technical I am)...I can hear the effected drums, they're just out of time with the rest of the track...I guess I AM monitoring inputs in console because if I mute that, I get nothing. Oh - does Low Latency mode have to be off? I bet that's it - it's the reason I'm not hearing anything when I mute console... Gonna go try. Low latency wonāt be the issue. Iāve had this problem with my Apollo 16 as wel John, not sure what model you have. For some reason the ins and outs donāt line up with how pro tools wants to see it. You can check by putting a hardware insert and just connecting the ins directly to the outs with no hardware and you still wonāt get signal. Iāve skirted the issue by using a summing box, so my drums go out 1/2 into a hardware comp and then into the summing box. Kinda sucks but it works when I have to work at home. This is the main reason my next interface will be an HDX system, and Iāll just get a UAD Satellite. Anything other than that is simply a pain in the ass. I have a hard enough time mixing and donāt need the extra headaches (and no Iām not leaving PT) |
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Post by jeremygillespie on Dec 16, 2020 15:29:30 GMT -6
Also, this might be a total pain in the ass (because it is) but I know in PT you can open up a session and look at the disk allocation to see where exactly your files are if they are indeed spread across multiple drives. Helps greatly when trying to sort out your file management.
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Post by jeremygillespie on Dec 16, 2020 14:35:29 GMT -6
Chronosync m.econtechnologies.com/chronosync.htmlI paid for this once 12 years ago and get free updates and have used it on multiple computers at the studio and at home. Iāve never had a problem and itās the only way Iāve done backups since Iāve had it. |
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Post by jeremygillespie on Dec 16, 2020 6:29:15 GMT -6
Josh that thing looks really really good. Nice work!
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Post by jeremygillespie on Dec 12, 2020 21:00:50 GMT -6
I could have SWORN there was a D-Comp thread - but the search isnāt finding anything. Anyway...I bought one. Hooked it up today and I really, really liked it in the small time I got to spend with it...played around on Drumbus and in comparison to plugs, it added punch and control...seemed to add bottom end and also seemed to retain more of the center image. It doesnāt get as dirty as say - the Zener plug...but the Zener does start to get phasey and crap out destroying (which is a thing)... But what I was happy about is that the quality of the hardware compression is better. I actually really liked the comp setting, HPF at like above 100hz and input about 2-3 oclockish. Attack around 10 oāclock and Release fastest...really really nice. Iāll do a couple videos. Any requests? Canāt wait to try it on the master. Iād love to have one of these too, havenāt gotten around to it yet. Can you do a vid of it just doing some minimal work on the main bus? And youāre right about the Zener - the plugin at least. I was going to buy it and was glad I didnāt after demoing it and realizing how bad the weird phasing is and how it canāt hold up when you really beat something into it like the 2500 does. |
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Post by jeremygillespie on Dec 10, 2020 16:54:43 GMT -6
I know you donāt want to hear the B word but their little 4-channel headphone amps really do the job and cost next to nothing! Leave it to good old Bryston!  Seriously though, Headphone amps don't need to be fancy, just get a send and turn it up or down. We're talking about for tracking here, where you need queues, not McIntosh fidelity. I agree except for the occasion that Iām tracking myself singing bgvs or playing acoustic guitar after most of the tracking is done. If Iām the producer and engineer I really need to know where my right hand pick attack / location needs to be, or how breathy to make a vocal etc. I hate the back and forth... adjust, back and forth.. adjust. Especially if the take was good but the sound sucked hahaha - I donāt have much patience with myself in those instances. Oh and percussion too! I need to go through a bag of shakers or tambos and selection of said shaker, distance from the mic, and the playing of those instruments is really important to make them sit correctly when it comes time to mix. |
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Post by jeremygillespie on Dec 8, 2020 22:44:58 GMT -6
Nothing does. I mean, sweet rolls of cinnamon, we tried so hard to finally get past all the BS that came with tape . . . and now those who never suffered through it are clamouring for "the sound". The sound of wailing and gnashing of teeth . . . . in a torture chamber. Hahahahhhaaaaaa!!! Ā ^^^^^^^^^^^^^^^^^^^^^^^^. This is truth. Ā The guys who never had to align a 2" MCI two + X's every day never really know do they? Ā  Ā Even for those who still own machines, how often do you think they align them? Ā LOL I never minded aligning the Studer 827 - no need for a tweaker! But man if I never see damn lynx again itāll be too soon. Screw those things! |
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Post by jeremygillespie on Dec 4, 2020 21:26:17 GMT -6
Your patience is admirable
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Post by jeremygillespie on Dec 4, 2020 21:17:55 GMT -6
Higher sample rates are better for warping and stretching too. It keeps the highs more natural. In a huge way too. I have a grid-obsessed pop client that likes recording live drums and this was a game changing realization Iād encourage everybody to not use the stretch function for editing. Unless something is so far off (I mean really off) time - wise, itās always better sounding to just move stuff around and drag out the edit points as then fade. You can hear the top end on stretches and itās pretty awful, especially with cymbals, pianos, and the top end of acoustic guitars. |
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Post by jeremygillespie on Dec 1, 2020 20:01:53 GMT -6
Iāve had the 20 year Pappy before and itās great. I have a bottle and a half of the 12 year lot b winkle that only gets broken out on special occasions, and I only really drink it if I have some friends over to share with.
That single barrel Old Forrester is great, as is the Weller 107.
Folks here have nice tastes!
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Post by jeremygillespie on Nov 29, 2020 8:43:55 GMT -6
I didnāt know anybody made a 1540 plugin. Iāve got a 12 channel console in storage loaded with them. Canāt wait till I have my space ready and I can start using the damn things!
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Post by jeremygillespie on Nov 29, 2020 8:24:36 GMT -6
I do recall seeing an article, possibly in Sound on Sound about one of the mixes for an Adele record. Mixer had like 3 or 4 de-essers in series to fix some really bad sibilance problems.
I thought that was crazy when I read it.
Those records sound really good though.
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Post by jeremygillespie on Nov 28, 2020 13:49:56 GMT -6
Actually, I know wiz uses one of their mics and his tracks always sound great - so maybe they have a few usable mics in their lineup. I didnāt mean to come off like a pretentious jerk of anything. Just every one Iāve ever used or owned was just plain awful sounding.
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Post by jeremygillespie on Nov 28, 2020 8:38:25 GMT -6
Interesting that they have 4 or 5 classic mics, and then the entire Rode lineup. Those things always sound broke to me.
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Post by jeremygillespie on Nov 23, 2020 20:57:13 GMT -6
Gulfoss is on sale. That's one plugin that I think piques my interest. Not an emulation of classic outboard, but a new approach. When it comes to plugins, that's the kind of thing I'm looking for. Anyone used it extensively? The reviews look promising. The Softube Weiss mastering EQ and comp are on sale too, but the discount is not very deep. Ā Plus, not sure I want to go that "deep" when I EQ. Ā I like just twisting a knob or two and getting there. Ā That's why the Gulfoss really intrigues me..... I keep wanting to rave about Gulfoss, mostly because I spent the money on it. But honestly.. itās not all that great imo - Save your money for something else. |
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Post by jeremygillespie on Nov 20, 2020 23:22:18 GMT -6
Every time I walk out of a Guitar Center Iām muttering ā****ng morons why do I even bother...ā
I did snag a good deal online with them once for an amp. Main part of that story is online and I didnāt have to deal with any of the employees.
Shit Iām starting to sound like Johnny Epp!! Iām too young for this!!!!
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Ā Even for those who still own machines, how often do you think they align them? Ā LOL
