|
Post by sean on Feb 8, 2023 7:39:39 GMT -6
I don't get it, the 8 core M2 is barely more powerful than a prehistoric sixth gen Intel so you're going to want the 10 core Pro. Then you'll probably want some additional RAM and a larger SSD because you can't upgrade them after the fact. At this point price wise there's hardly any difference between the M1 Max Studio and the M2 Pro Mini. Also dependant on the benchmark there isn't a massive performance improvement in the grand scheme, it seems more like an efficiency update which to be fair I have no issues with due to the cost of electricity at the moment. However the Mac Studio has more ports, a better GPU (if that matters to you) and if nothing else it's a bit more convenient. I'm sort of swaying towards the Mac Studio TBH.. I came to that conclusion as well comparing pricing.
|
|
|
Post by sean on Feb 7, 2023 11:33:05 GMT -6
Albini dangles a little electret mic like a Crown GLM100 or Countryman IsoMax near where the beater strikes the head
You could use something like a SM91 which uses a mini XLR that would (probably) fit through a vent. I’ve been thinking of getting Kelly Shu mount and a SM91 having it live inside a 26x14 drum I have so I could put a sealed head on it but still have the inside the drum sound when needed
|
|
|
Post by sean on Feb 7, 2023 8:01:42 GMT -6
I'm constantly trying different microphones. A lot of times with condensers, even with a pad (AKG 460 comes to mind), comes back too hot. Low sensitive microphones like the Josephson e22s have too much hi-hat bleed. Heil PR30 is pretty huge and hard to place but does sound good. M201 sounds good but that presence peak can be nasty with hi-hats. T58 SM57 sounds good with a bit more bottom end than stock but it's still that snare sound we've heard a thousand times.
One of these days I'm going to break down and get one of the Oktava UP-012 that have the -20dB pad.
The dull thud is mostly from excessive dampening, which lowers the pitch and makes every hit a constant volume...which for most pop music sort of what you want. But I'm pretty tired of that sound myself!
|
|
|
Post by sean on Feb 6, 2023 16:34:51 GMT -6
The TM47 is a nice mic, used one for the first time on a record recently was very impressed.
|
|
|
Post by sean on Feb 6, 2023 12:24:12 GMT -6
The televised award show is very much for entertainment purposes, but I will say that to pre-telecast awards have value for artist in smaller genres. It helps them get higher billing at the festivals, can take them from bars to clubs or clubs to concert halls, and get press opportunities that wouldn’t be available otherwise. And those awards aren’t voted on by “insiders” but by peers. Also MusicCares is an incredible resource that’s available to all working musicians with financial aid in medical emergencies, help musicians get set up with affordable health insurance, and aid in other things that often times feel impossible for musicians. And if an award show raises awareness to that and generates donations, it has value. At this point in my life, I'd rather know that MusicCares "awarded" a deserving Musician, with their help. (Although if it were a realistic option-Even "just" a Grammy nomination would be nice ) Thanks for the Pre-Telecast info, on your post too. Chris I can tell you that MusicCares has helped a lot of “low level” touring musicians with getting health care and distributed tens of thousands of grants to touring and working musicians at the beginning of COVID. They also provide a lot of education services to young kids.
|
|
|
Post by sean on Feb 6, 2023 12:21:35 GMT -6
I’ve never had anyone lobbying me for a vote. And it doesn’t require much to be a voting member…12 credits over the course of your career. Those don’t have to be major label credits…just anything that’s available digitally. And I personally don’t vote in the televised events (you only get so many votes to sped across all the categories)…I don’t have any knowledge of most pop music but feel like I can make a well opinioned vote in Americana, folk, bluegrass, roots, country, blues, best engineered record… ....and these are the things not known by anyone out in the styx in this decentralized non-organized industry! I figured they needed a big annual fee to be a member and vote....I coulda been voting for 20 years..... ....wait.....indy streaming releases never have correct credits since CDBaby never fills in the 'producer' line, even when artists submit it..... It’s a hundred dollars a year for a membership.
|
|
|
Post by sean on Feb 6, 2023 10:28:28 GMT -6
The televised award show is very much for entertainment purposes, but I will say that to pre-telecast awards have value for artist in smaller genres. It helps them get higher billing at the festivals, can take them from bars to clubs or clubs to concert halls, and get press opportunities that wouldn’t be available otherwise. And those awards aren’t voted on by “insiders” but by peers. Also MusicCares is an incredible resource that’s available to all working musicians with financial aid in medical emergencies, help musicians get set up with affordable health insurance, and aid in other things that often times feel impossible for musicians. And if an award show raises awareness to that and generates donations, it has value. A local producer touts his grammy to get work. He was an assistant to the actual awardee. He still claims that he "won" it to his clients though. I lost a big client to him. Two years later and they still haven't finished their record with him, rather, he hasn't finished their record for them. They're nothing but popularity awards. "Peers" are no less swayed by lobbying than anyone else and if you're a voter, then you're an insider simply by being a gatekeeper. I’ve never had anyone lobbying me for a vote. And it doesn’t require much to be a voting member…12 credits over the course of your career. Those don’t have to be major label credits…just anything that’s available digitally. And I personally don’t vote in the televised events (you only get so many votes to sped across all the categories)…I don’t have any knowledge of most pop music but feel like I can make a well opinioned vote in Americana, folk, bluegrass, roots, country, blues, best engineered record… I’ve lost out on plenty of gigs in my life, had past clients work with other engineers and producers…and there’s nothing wrong with artist and bands wanting to try working with different people and places. But I don’t think of engineering and producing as a contest…those people are my peers and I’d rather be friendly and encourage others because there will be a time they can’t do a gig and they might suggest me, and vice versa. It’s a weird job where you spend a lot of time intimately working with people and then once the project is finish you might never ever see them again. It’s a crazy job in that regard. Sounds like this situation hasn’t worked out for that artist, which sucks. Sometimes bands and artist have the learn hard lessons.
|
|
|
Post by sean on Feb 6, 2023 9:30:42 GMT -6
The televised award show is very much for entertainment purposes, but I will say that to pre-telecast awards have value for artist in smaller genres. It helps them get higher billing at the festivals, can take them from bars to clubs or clubs to concert halls, and get press opportunities that wouldn’t be available otherwise. And those awards aren’t voted on by “insiders” but by peers.
Also MusicCares is an incredible resource that’s available to all working musicians with financial aid in medical emergencies, help musicians get set up with affordable health insurance, and aid in other things that often times feel impossible for musicians. And if an award show raises awareness to that and generates donations, it has value.
|
|
|
Post by sean on Feb 6, 2023 8:27:24 GMT -6
It's a tough market right now...a half a million used to go a long way in Nashville but that's changed. Another area to look is Ashland City. It's a bit west of town but traffic is usually not a problem so it doesn't feel as far as it is from downtown.
I also like Gallatin...the town center really has a great vibe.
I hate to be the guy jumping on this train but would you consider Muscle Shoals, AL? Lots of exciting and new studios...lots of work and buzz there right now...and half a million would buy you a mansion.
|
|
|
Post by sean on Feb 6, 2023 7:47:30 GMT -6
I've been on a rampant mic buying kick for the last few months. Since oct or so, I've snagged: - a matched pair of Coles 4038 - a match pair of sE RN-17s (holy crap these things are great) - a Heiserman H47 (the hype is real...hands down the best u47 clone I've used, by a country mile) - a Soyuz 017 tube...been pining for one for ages and found a great deal here on RGO (thanks again!) - a Dr Alien Smith Wormhole. Love Al's stuff...used it earlier this week, simply hung it over a drum kit, and it adds a MASSIVE depth that is just bad-ass. Such a fun and funky gadget. I also got my beloved Sontronics DM1S repaired after quite a long time in the 'to fix' pile. Great snare mic. Haha I've been buys EDIT: meant to type "busy" up there but honestly, "buys" is probably more accurate 🤣 Nice haul!
|
|
|
Post by sean on Feb 6, 2023 7:43:19 GMT -6
The room sound made most of the performances pretty unintelligible for me. I wonder if it was being mixed for spatial and the stereo downmix is what was sent to broadcast
|
|
|
Post by sean on Feb 5, 2023 7:20:35 GMT -6
Carl Saff at Saff Mastering and Justin Perkins at Mystery Room Mastering have become my regulars. Here in Nashville there are some great local options I like but they are all quiet expensive in comparison
|
|
|
Post by sean on Feb 4, 2023 17:06:15 GMT -6
Not surprised it’s a darker/mellower voice microphone. The capsule is based off the C37/C38 which is pretty flat sounding…those But the unique head basket which is designed to remove reflections probably makes is very forgiving with placement. I have a feeling in Omni on a vocal in a decent sounding room it would work great.
|
|
|
Post by sean on Feb 4, 2023 10:44:14 GMT -6
That’s interesting. Did you buy secondhand? I wonder if maybe it was an earlier revision/prototype or maybe a previous owner messed with the internals. Would definitely be kinda weird for someone to swap in cheaper capacitors, though. My experience dealing with Mike has been great. I’m sure he’ll get it sorted out for ya. Heard back from Mike with a good explanation The Wunder Audio CM7 FET Suprema has improved this design with a modern upgrade that employs an ultra-low noise single n-channel transistor with JFET technology coupled with a Neve 1073 style mic pre-transformer. “ Basically, we did a new revision of the circuit board which employed the nicer JFET transistor, and the larger capacitors, which are the Wima 10 µF caps, improving these from the 4.7 uF in the old version had. This was able to lower the low corner frequency response about an octave. And the newer hand selected JFET brought in an audiophile performance compared to the earlier FET Only the tube line of our microphones have the Mundorf capacitors because the Mundorfs are the size of a 12 X7 tube and that’s in the 1uF version. The FET mic needs two 10 µF caps And then the Mundorf are so huge one of them wouldn’t even fit inside the body. So accordingly, when the suprema line came out the tube Mic retail values went up several hundred dollars where the CM7 FET only went up $100
|
|
|
Post by sean on Feb 4, 2023 10:13:09 GMT -6
Resolved
|
|
|
Post by sean on Feb 2, 2023 12:42:35 GMT -6
Why am I not surprised by this? My suspicion - Dave's standards are simply too high for the UA bean counters. Remember that they got their commercial "weight" by family ties and that UA does not now make the definitive versions of ANY of their famous pieces - and their prices are generally on the high side. I'm not a financial supporter, but I must admit that they haven't rested on their laurels -- I'd be surprised if >15% of their profits come from their hardware classics/reissues. I’d imagine it’s more like 1% For every person that has a LA-2A reissue I’d say there’s 1000 with an Apollo. Pretty much every musician I know has an Apollo interface of some kind. David does have high standards. I had a Bock 241 for awhile and the tube started to fail (noisy and microphone). He wanted $600 to check out the mic and replace the tube…so I bought 5 different ones on eBay for $5 each, installed the quietest, and sold the microphone. Every other high end company has gone above and beyond to resolve any issues I’ve had…and on kit a lot cheaper than the 241. I can’t imagine what he’d want to charge to look at my custom shop 49 if something were to happen to it… Not throwing shade at David he’s very knowledgeable and forthcoming with his knowledge, especially in the past, but not sure that business approach would work at UA
|
|
|
Post by sean on Feb 1, 2023 7:58:28 GMT -6
Retro Sta-level. I’ve lost count I picked one up recently...for the first time though...and I dig it! 12AY7 died in the first day of use but ain't that part the joys of tube equipment? It's a really nice compliment to the Chandler REDD microphone...which I'm still hot and cold on. Paired with the Sta it takes some of the edge off and adds a little "chest"...I've got it strapped to the vocal on a record I'm mixing at the moment And it doesn't sound like my other tube compressors (LA-2A, CL-1B, Vac Rac, ADL-1500, TLA-100A, BG-1). I picked up TDR Kotelnikov GE from Plugin Boutique...it's on sale for $11...had a couple "virtual" bucks from them so it was $9.
|
|
|
Post by sean on Jan 31, 2023 9:16:18 GMT -6
B for me as well. Just seemed to most cohesive and I guess “appropriate” for the genre.
I don’t find the additional “sheen” of the other mixes necessary and most things sound pretty saturated in that Dr Dog sort of way so I don’t think additional compression/limiting helps
|
|
|
Post by sean on Jan 25, 2023 11:38:47 GMT -6
Fan of the 91579 / FET II as well.
Distressors are interesting they definitely have an “electric” distortion. I’ve always been curious what one would sound like by Jim Williams…I do find them very flexible but using them on anything besides kick and snare in a “rock” setting sometimes gets me in trouble.
|
|
|
Post by sean on Jan 20, 2023 9:10:13 GMT -6
Producers all approach the rule differently. Some are very hands on and mold the music to fit their own artistic vision, while others manage personalities. I think what Rick does best is stripping bands or artist back to their rawest form and highlights what makes them great and unique. And that’s usually highlighting a voice and not throwing a ton of “stuff” on it, or if it’s a band keeping it to the essentials.
It takes all kinds. It’s up to you if something from Rick’s process can translate to what you do or want to do. I think everyone could benefit from being more tuned it with the feelings and emotions and personalities in the room and less with the gear in the rack…it distracts from the connection with the people and the music. I don’t have any memories of the type of microphones or signal chain I used on most projects, but I remember the people and whatever funny or sad or incredible moment might have happened in the process of making that record. And I think that’s what Rick taps into…and if he knew a bunch of stuff about gear to where he’d have to think about it that would dull his ability to listen
|
|
|
Post by sean on Jan 18, 2023 15:30:04 GMT -6
I think I notice more of a drying of the eyes than anything. Hey I can always return them 😆 Blue light at night negatively effects circadian rhythm, our natural sleep-wake pattern. Macs with retina displays and iPhones have night shift modes. That may be a good way to test blocking blue light. Unfortunately are my place and at several studios around town they use giant TV screens and I think that might be part of the problem
|
|
|
Post by sean on Jan 18, 2023 12:55:38 GMT -6
Please report back on this! Thank you! I'm in front of four computer screens all day, every day. I've used both regular and blue light lenses. Personally, I haven't noticed any difference. If you read reviews from glasses and lense companies, blue light lenses protect your eyes and relieve strain. If you read reviews from medical sources you'll find there is no scientific research to prove that blue light can damage the eyes or have other health effects. Not trying to rain on anyone's parade here. Might just be placebo effect, but if it works for you... I think I notice more of a drying of the eyes than anything. Hey I can always return them 😆
|
|
|
Post by sean on Jan 18, 2023 8:58:43 GMT -6
I just ordered a pair of blue light glasses. At times I feel like I’m going crossed eyed looking at a screen so I’m interested to see if they help
|
|
|
Post by sean on Jan 17, 2023 23:24:51 GMT -6
The JLM LA500A is a great sounding compressor and an easy build if you are DIY inclined Curious about this one. Does it have the midrange push of a 3A or is it sonically more in line with the 2As? Many moons ago I A/B mine against a pair of vintage Teletronix unit and it was interchangeable to me with one, and then it sounded slightly different from the other one tonally. Not better, not worse, just different. I think the additional ratios, side chain filter, and slow attack option of the LA500A definitely makes it one the more flexible 500 series opto compressors. And it’s an easy build
|
|
|
Post by sean on Jan 15, 2023 7:33:19 GMT -6
The JLM LA500A is a great sounding compressor and an easy build if you are DIY inclined
|
|