|
Post by jeremygillespie on Jan 31, 2019 22:26:42 GMT -6
Just for clarity sake, the meter on the SA4000 acts nothing like the meter on any ssl I’ve used with the settings even remotely close.
All you’d have to do is have actual experience with both to see the difference.
|
|
|
Post by jeremygillespie on Jan 31, 2019 17:19:16 GMT -6
Not sure I totally agree with you on the track width.... some of my favorite drum sounds were apparently recorded on a 4-Track Cassette recorder. But those are pretty distorted/low dynamic range drums. If I was going for something more jazz-like I'm sure that would factor in like you said.
Thanks for the insight on the 'manual' noise reduction via using the board. Never really knew about that.
I experimented last night with that crisp 70's snare sound. Bottom line is for the best result I found the snare needs to be extremely dead (like almost creative sound design dead, wont sound too natural) then stick a condenser 1-3 inches from the head. U67 clone was awkward to achieve this so a small condenser was used. Then I boosted a lot with helios EQ plugin and some light slow attack fast release 1176 compression.
Problem here was hi-hat bleed. My small diaphragm (Chameleon Labs TS-1) doesn't have the best off-axis from what I cant tell, so had to position it right to get it to work. Still might have to consider some sort of baffle for this effect. I normally never have used but this is an extreme case.
Re drum sound, I was thinking more in terms of hard rock and the like. You want a big, fat sound you want track width. That's why a lot of rock guys prefer 16 track 2" to 24 track 2" - and why 16 and 24 track 1" have never been taken seriously by any pro recordists. The Helios 760 (later sold as the ADR 760 Compex) was (and still is with those who know ) THE drum compressor. Many people regard it as the finest FET comp ever made. Dunno how well the plugin emulates it, I don't use plugins.
You need to get a snare mic with good off-axis response. It makes things a lot easier. I question whether a baffle would do much good - it seems to me that anything big enough to be effective would really get in the way.
The 760’s are great comps - I personally think a pair of Pye comps are the golden egg. Love those things and wish I could justify purchasing a pair. I use the Dolby trick a ton for BGV’s and it works wonderfully. I believe they have plugs for that now which I’ve been meaning to try out but haven’t gotten around to it.
|
|
|
Post by jeremygillespie on Jan 30, 2019 8:38:51 GMT -6
Cool thanks, how do I watch those? I feel like I'm almost there, just questioning the placement of mics a bit. How close mic-ed, were close mics in the 70's? Like for the snare? About same as we would do it today or would they space things a bit more? I have a pretty decent small and dead tracking room....which is actually sounding very balanced and even across frequencies. Probably due to half of the walls and ceiling having 2-3 feet of rock wool thickness to really take care of low end buildup. Yes I totally agree the kit is probably 85% of it. I have a 60's/70's old ludwig that sounds kinda crappy (in a good way) and I spent about 3 months with it taking it apart multiple times and removing washers/nuts/springs whatever buzzed or made a sound. Spent time getting the heads to sound right in the room and with a nice tone. Went through about 4 or 5 different old hi-hats to find a nice pair that was crisp yet not too bright or loud like some of the modern zildjians. Things are sounding cool and alot times I'm getting the best result with 4 mics or less. But still struggling to get that full kit breakbeat sound, yet also close miced 70's at the same time..... if that makes any sense? I'll have to try that kick drum technique!
|
|
|
Post by jeremygillespie on Jan 29, 2019 22:20:05 GMT -6
Kush has great vids for how to get that sound.
You’re gonna want a super dead room, no front head on the kick with a towel leaning on the batter head on the inside, tuning is everything. The player has SO much to do with the sound in this situation.
|
|
|
Post by jeremygillespie on Jan 24, 2019 9:38:20 GMT -6
SSL is still putting them in the duality and aws no? Completely different animal I believe, but I'm not sure. It's hard to get schematics for their new stuff. I think they're much more careful so folks don't go cloning everything.. Interesting. So, I’ve not mixed on an E series, but the channel comps on the J, K, Duality, and AWS all perform and sound the same to me. Were the ones in the E something different? I can definitely find out what they are using in the K - it’s in their service manual
|
|
|
SA-9000
Jan 24, 2019 8:20:30 GMT -6
via mobile
Post by jeremygillespie on Jan 24, 2019 8:20:30 GMT -6
I’d possibly consider buying another Stam product if it was a 1ru piece with 4 or 6 of the ssl channel strip compressors in it. That would be awesome. The RMS detectors are long since EOL as are the special germanium diodes used in the detector circuit. There wouldn't be enough in the world to build a run of these compressors unless someone was able to figure out how to emulate the compressor curves with a newer RMS detector or in the digital domain. I do believe that some have tried, but nothing quite works like the original. SSL is still putting them in the duality and aws no?
|
|
|
Post by jeremygillespie on Jan 23, 2019 20:27:33 GMT -6
I’d possibly consider buying another Stam product if it was a 1ru piece with 4 or 6 of the ssl channel strip compressors in it. That would be awesome. OMG, This! It’s such a totally BADASS compressor, If given the choice of 2 channel comps or one bus comp I’d take the channels. You can mold sounds soooo damn easily with those things. Top 3 favorite comps of all time. (I don’t personally believe any plug has gotten this particular comp sound anything close to the actual units)
|
|
|
Post by jeremygillespie on Jan 23, 2019 18:59:25 GMT -6
I’d possibly consider buying another Stam product if it was a 1ru piece with 4 or 6 of the ssl channel strip compressors in it. That would be awesome.
|
|
|
Post by jeremygillespie on Jan 22, 2019 20:48:14 GMT -6
Save up your beans and buy only what you absolutely need to make money. Show the bank you’re profits and you’ll get a loan. May have to shop around a bit but it’s totaly doable.
|
|
|
Post by jeremygillespie on Jan 19, 2019 12:50:15 GMT -6
I got a telefunken 676 mic pre from them about 6 or 7 years ago. I jumped on it because it was only $280 which was silly cheap. I didn’t realize that they don’t service the gear until somebody purchases it, and they were backlogged. I think it took about 4 months to finally get the mic pre, I actually was excited when it showed up as I was pretty sure they were going to burn me.
After that, I’d just find those modules on eBay and scoop them up cheap and have my tech put in new caps and all was good. I’ve got a rack full of them now and they are so damn good for what I paid for them.
Only reason I’d use VK again is for something I’d want to finance. Which honestly is something I try as hard as I can to stick away from.
|
|
|
Post by jeremygillespie on Jan 19, 2019 9:34:39 GMT -6
Can you get a stepped version? Could modify possibly yourself. Depends on how its wired up. Shame as everything else is stepped. That’s a big bummer for me, and a reason to not buy this piece that looks pretty badass. Wouldn’t want to deal with doing recalls without a stepped threshold, it’s just too difficult to get back - even with running tones.
|
|
|
Post by jeremygillespie on Jan 19, 2019 8:09:48 GMT -6
I split my time between my Barefoots and my 10’s. I don’t think anything reveals the mids and the vocal level relationship to the rest of the track like 10’s do.
You can find pairs of them for $650 - just be patient. Immediately toss the drivers and put new ones in. The newer tweeter with the foam surround works better for me, but some like the old ones.
I got a boatload of drivers before the price skyrocketed, so I’m pretty set for life as far as that goes. The transient response seems to dip dramatically after about 3 years of daily use. One of those things where you wouldn’t notice unless you blew one side and replaced it - the difference is astounding.
The amp you use matters big time. I have them hooked up with a McIntosh 2105 and they sound great for how I use them.. Never understood all the hate. If you turn them down WAY low they can reveal things many other speakers don’t.
|
|
|
Post by jeremygillespie on Jan 17, 2019 6:32:44 GMT -6
Mixes get printed through 1/2” ATR102. Nothing does what that machine does to a mix. Seriously.
Studio I use has 2 Studer 827’s. For tracking purposes I’ve used them 3 times in 10 years. Nobody is much interested in it honestly.
|
|
|
Post by jeremygillespie on Jan 17, 2019 6:27:22 GMT -6
The original 69 version: "Our SA-609 strictly follows the original “Metal Knob” schematic with the use of BA440 cards and Sowter-Carnhill transformers that reproduce the characteristics of the original Marinairs used on the initial version." Damn, wish he would have kept the front plate and buttons of the original. Those later model ones like the ‘C’ always looked very “Star Wars” to me haha
|
|
|
Post by jeremygillespie on Jan 17, 2019 6:17:05 GMT -6
What version of the 33609 is this supposed to be?
|
|
|
Post by jeremygillespie on Jan 14, 2019 11:01:05 GMT -6
Neglected to mention that I also burn everything to DVDs. Some things get backed up to Dropbox as well. Thanks for the replies thus far; keep them coming, please. -09 Writable DVD’s aren’t a long term storage option. I’d get away from that as quickly as you can.
|
|
|
Post by jeremygillespie on Jan 11, 2019 23:19:50 GMT -6
I don't think I've ever seen a comparison of 37/38/48. Anyone used them all? I’d say going from a 37 to a 48 is like going from an M49 to an 87ai. Okay... maybe not that drastic but you get the idea. Never heard a 38 or the non tube 37.
|
|
|
Post by jeremygillespie on Jan 11, 2019 16:29:30 GMT -6
Yes, history is always great to know. I usually ask a ton of questions before buying vintage. I own two matching Schoeps M221b’s, km84’s, etc. I have not heard that about the C37a, Jeremy. I’m also not sure what that exactly means either. All capsules should be protected when in use. I’ve seen what “dirty” caps look like after windscreens aren’t used. Thanks for the heads up. Basically, they can get tiny pin holes in the capsule. I’m not exactly sure what causes it but it does happen. Moisture from your breath when you sing can get into the pinhole and it shorts out the capsule and it stops working. After it dries out it works again. There are several C37’s in NYC that have white tape on the box saying “not for vocal use”. On the other hand they are also killer drum room mics
|
|
|
Post by jeremygillespie on Jan 11, 2019 15:31:41 GMT -6
You’ve got to be careful with the C37’s if you can’t test them. They have a problem with permiable capsules, and once that happens kiss using it as a vocal mic goodbye.
When you have one in top shape however, they are absolutely fantastic.
|
|
|
Post by jeremygillespie on Jan 10, 2019 15:24:04 GMT -6
I'd love to see a big time new way of experiencing reality. I'd love for some kind of new DAW built on algo's that somehow immerse you and do it in a standard stereo environment. Another thing I'd love to see is track suggestions. I know that's crazy to hear from a guy that just mixes, but, if a daw had something built into every individual channel kind of like Izotope does with the Master Assistant, but instead gives suggestions on guitars, snare drums, acoustic guitars, kick drums, keys etc. etc. and gives you a starting point. It would also be really cool if it was intuitive, where you get the suggestions, and you make your changes to fit how you want it to sound and the daw starts to learn how to set up the track as you do more and more. That would be really cool, and it would bring back personal feel because it would be personal, it would start giving suggestions based on your sound. Its just a way to move faster. It would help to mitigate the downgrade in how much we make per mix, letting us mix a lot more. I don't think we can demand the price go back up while producers now are doing everything from start to finish. It could cause the work to get spread out like it used to and more money could be made on volume. It would just come up with all types of things to apply to each track that gets it close to what you'd normally do. I can see something like that coming out really soon. Oddly enough, that’s the exact thing that happens when you work with an actual producer. They suggest the band members, engineer, mixer, drum sounds, help sculpt the essence of a song into a fully realized product. And hopefully they do a good job at it and pick musicians to surround themselves with that are capable of also realizing the direction. Nobody needs a DAW to do that, they just need to surround themselves with others that share the same vision. I can’t imagine that any AI will ever give that same touch, because what is required is human emotions transferring into an instrument, which then plays off of another Human’s emotions and their instrument.
|
|
|
Post by jeremygillespie on Jan 10, 2019 15:12:41 GMT -6
DAW that automatically uses Beat Detective on Jay Bellerose’s drum tracks? 🤮 I can't tell if that's a knock on Jay or if you're praising his feel and musicality! Here are a couple of things I'd like to see in DAWs: 1. Better plugins. Some work fine, but third party developers do so much better. It's always puzzled me why Steinberg or Avid don't go headhunting in the plugin world and up their game. 2. The Cloud. I use Cubase and I'd love it if it was designed with the built in ability to back up files directly to the cloud. I'd pay an annual fee for that. 3. Midi. I don't use midi a lot, but when I do I'm shocked at the limited dynamic range of it, especially with sampled pianos. Can't a DAW create something better or is it a "is what it is" thing? I’m not sure if it’s possible to knock Jay haha - totally joking around
|
|
|
Post by jeremygillespie on Jan 10, 2019 11:19:09 GMT -6
DAW that automatically uses Beat Detective on Jay Bellerose’s drum tracks?
🤮
|
|
|
Post by jeremygillespie on Jan 9, 2019 16:35:17 GMT -6
Nice! Always good to hear some Meters while watching some meters haha.
When I was working with Jason Corsaro as his assistant for years he would dig out his stereo Collins and strap it on the bus for special occasions. That thing was absolutely awesome. He certainly had the magic touch with it.
|
|
|
Post by jeremygillespie on Jan 9, 2019 6:29:44 GMT -6
Also, anybody that seriously wants the Fairchild thing needs to check out the Pendulum unit. It is FANTASTIC! www.pendulumaudio.com/6386.htmlDoes it look like a Fairchild? No. Does it sound like one? Yup! Does it give you more options for attack and release plus multi mono or true stereo operation? Yup. It’s a really hard piece to beat. The one downside is not having stepped pots, so once you get close, if you really want matched sides you gotta run tones and match the sides up. Not a huge deal and for the 5 mins or less it takes to set it up, it’s totally worth it IMO. For tracking, run it in mono, and set it up like an 1176/La2a response. Works wonderfully and you’ll never hear any sucking or movement. Does it not have stereo linking? You can stereo link, and the left side controls the threshold and attack times, sort of like a 33609. The inputs and outputs are controlled separately though. I usually get things as close as possible, put a tone across the left side, then out a tone across the right side and match the sides. It’s really not a big deal at all but I can see how some people wouldn’t dig the extra step.
|
|
|
Post by jeremygillespie on Jan 9, 2019 6:23:17 GMT -6
Also, anybody that seriously wants the Fairchild thing needs to check out the Pendulum unit. It is FANTASTIC! www.pendulumaudio.com/6386.htmlDoes it look like a Fairchild? No. Does it sound like one? Yup! Does it give you more options for attack and release plus multi mono or true stereo operation? Yup. It’s a really hard piece to beat. The one downside is not having stepped pots, so once you get close, if you really want matched sides you gotta run tones and match the sides up. Not a huge deal and for the 5 mins or less it takes to set it up, it’s totally worth it IMO. For tracking, run it in mono, and set it up like an 1176/La2a response. Works wonderfully and you’ll never hear any sucking or movement.
|
|