|
Post by sean on Oct 30, 2022 19:20:26 GMT -6
Out of curiosity I bought Kiive Distinct! for $7…read it was based on the Overstayer Modular Channel which peaked my interest
|
|
|
Post by sean on Oct 30, 2022 11:21:44 GMT -6
|
|
|
Post by sean on Oct 29, 2022 17:41:16 GMT -6
The cheapest price I found for Drum Gate is $45 from Thomann, it’s really good
|
|
|
Post by sean on Oct 27, 2022 19:31:41 GMT -6
I think Dan Knobler in Nashville is selling his to make way for an API
|
|
|
Post by sean on Oct 27, 2022 16:27:07 GMT -6
Jordan Tice put together a killer band to play Dee’s Friday, definitely worth checking out if you like bluegrass/acoustic music
|
|
|
Post by sean on Oct 27, 2022 9:33:22 GMT -6
Woof, cymbal can be very subjective and divisive but I think the Paiste Masters Dark series is pretty universal. Works for most genres, sound great under microphones, but aren't so dark and quiet like say an Agop Signature. But, they are expensive.
|
|
|
Post by sean on Oct 27, 2022 6:37:36 GMT -6
Snagged Sonnox Drum Gate for $45 from Thomann. Really impressed with it, pretty effortless to get a track cleaned up and you can really change the behavior and sound of the release. Happy with that purchase…a lot of times more tweaky plug ins it’s usually me spending time figuring out what it does, thinking I did something I’m happy with, and then bypassing it and discovering I made things worse
|
|
|
Post by sean on Oct 24, 2022 8:27:14 GMT -6
Just picked it up for $24, will give it a try this week. Love me some PSP
|
|
|
Post by sean on Oct 24, 2022 7:27:20 GMT -6
Yeah you always have to go in with options, most bluegrass players know what they are doing and if you work with them it is pretty easy. Of course the worst is bluegrass live when someone is using a cheap pickup and slow amplification, sure you can get by without comp limiters, but if your watching a good player it sounds like 1/2 the notes are missing. I think that should be a general rule with anyone who is a finger picker watch while you listen if you can’t hear what you see you need a faster mic! You're like the clairvoyant voodoo priest of audio. That's EXACTLY the issue. Notes go missing! What's faster than an 84? And still has 'that' sound? If you have access you can try a Sanken. Sometimes they are TOO detailed in my experience. I have a pair of Audio Upgrades AKG 460's with CK61's which probably have faster transient response but don't have the same mid-range warmth. But a transformerless GML/Fossell/Millennia/Benchmark/AEA preamp might capture what you're missing? We have a bunch of John Hardy preamps because they are detailed but not sterile
|
|
|
Post by sean on Oct 24, 2022 7:04:42 GMT -6
SNIP Yet another placement option is I'll use two very different microphone with the capsule/ribbon element aligned and blend those to taste. I do this most often with banjo (U87 or U67 and a Coles or Royer, for example) and fiddle (KM84 and a Samar/Coles/Royer, for example) but it works for anything. If you have a player who moves around a lot doing the spaced thing can be a nightmare because their position, and in turn the phase between the two microphone, changes constantly. You don't have that problem with this mic placement. Yes, agreed. Ribbons and KM84s both work fantastically on banjo and ribbon. Great with both as well! Just doing the survey for something different. Conventions are in place for a reason, hey? Well, I've come to realize there's a little psychology at play as well. At a certain level musicians will know microphones, or at least know Neumann, and they aren't worried about the microphone because they think they are getting the best...or what Tony Rice used...or whatever is going through their brain. There have definitely been sessions where I'll try something different and a musician will go "don't you have a Neumann or something?" which can piss me off sometimes but only for 5 seconds because my job is to make the artist comfortable and happy and if that helps, no problem. My favorite example of that was with Duane Eddy..."my guitar is like the vocal, so put a big vocal microphone in front of my amp" Make senses 😆 But, I mean, I've used a $150 AT4033 on a lot of people who are used to working with microphone with a couple extra zeros on the price tag and they'll go "why does this sound so good?" This thread is good prep for a podcast interview I'm doing in a couple hours...
|
|
|
Post by sean on Oct 24, 2022 6:36:30 GMT -6
If you are recording someone who is playing and singing than taking advantage of figure 8 microphones and their nulls to help reduce bleed between the guitar and vocal can be a lifesaver. I'm sure a Samar or a Beyer M130, which are inherently brighter ribbon microphone, could work. However, if it's fast picking, I'd be curious if they'd pick up enough detail. Smart choice to use on the Bluegrass Buddha!
There's a reason a lot of Nashville bluegrass guitar players (Bryan Sutton and Cody Kilby, for example) have their own KM86's and often bring them sessions. They've heard their guitars recorded a hundred different ways but liked that sound enough to buy KM86s themselves. And there's a reason we have 6 KM84s at the studio...they just work on everything.
Yet another placement option is I'll use two very different microphone with the capsule/ribbon element aligned and blend those to taste. I do this most often with banjo (U87 or U67 and a Coles or Royer, for example) and fiddle (KM84 and a Samar/Coles/Royer, for example) but it works for anything. If you have a player who moves around a lot doing the spaced thing can be a nightmare because their position, and in turn the phase between the two microphone, changes constantly. You don't have that problem with this mic placement.
|
|
|
Post by sean on Oct 23, 2022 17:26:12 GMT -6
For me placement is pretty player and instrument dependent, but I like KM84's or KM86's. Sometimes I'll do a "up down" position with one mic around the upper bout, angled in towards the neck, and another at the lower bout angled up at the neck. Sometimes a 3:1 style spaced pair with one where the neck and body join and another on the body. Sometimes an ORTF type thing around the hole but with the mics pointing towards the neck and the bridge if it's a thinner guitar. Usually GML or another "fast" preamp. I try not to use any EQ or dynamics when recording or mixing, just automation if needed. If you do find you need to EQ or compress I'd recommend splitting the solo and rhythm on to separate tracks and treating them differently because it's such a different sound (same with a mandolin chop compared to a solo)
|
|
|
Post by sean on Oct 23, 2022 15:40:27 GMT -6
Fender Vibrolux reissue at a good price. Going to try a couple popular mods to reduce the noise/hiss, but a nice sounding amp otherwise. Haven't had a 2x10" in a long time
|
|
|
Post by sean on Oct 23, 2022 8:08:31 GMT -6
It’s a good one! I think Slingerlands are the best value if you are in the market for vintage American made drums. I just have another kit of similar sizes…when I went to pick these up I actually through it was a 24” bass drum but picked them up anyway because I can't resist a little restoration project
|
|
|
Post by sean on Oct 22, 2022 7:16:05 GMT -6
For sale I have a very sweet set of Slingerland drums. 22” bass drum, 12” rack, and 16” floor tom are from 1966 along with a 13” rack and 16” floor from 1970. Mostly original except for a few small bits…one modern replacement bass drum hoop inlay, 9 total modern tension rods between the 4 toms, reproduction spurs from Nelson Jones_drum_shop and modern bolts for the spurs. Brand new @evansdrumheads top and bottom (G1 coated and G1 clear on the toms, EMAD coated and EQ3 resonant on the bass). $1350 for everything, which I think is a steal specially considering there are $250+ worth of new heads on there! Located in Nashville Would trade for an Iron Age Audio V2, TK Audio TK-Lizer II, Thermionic Culture Vulture, Empirical Labs FATSO Jr, Royer SF-12, Gefell UM70, or Avid HDX card
|
|
|
Post by sean on Oct 19, 2022 19:24:58 GMT -6
I seem to remember reading somewhere that at some point Oktava implemented the Joly mods into their preamps (probably around the time he got out of the game) I wonder if that’s true with the ones you bought.
|
|
|
Post by sean on Oct 19, 2022 6:54:58 GMT -6
PSSL had a coupon for $100 off anything $199 or more and they had a AKG 460 with CK61 for $209 so snagged that for $109. I've got a buddy who borrows mine so if it shows up and work alright I'll likely give it to him as a 40th birthday present.
|
|
|
Post by sean on Oct 10, 2022 14:45:47 GMT -6
Traded a friend some mixing for a 26x14 Gretsch bass drum 😂
|
|
|
Post by sean on Oct 10, 2022 7:54:45 GMT -6
My opinion on every Mojave microphone I've used, which is limited to the MA-101, MA-201, and MA-200 is they are punch above their weight, especially on the second hand market, and you can get great results with them.
|
|
|
Post by sean on Oct 9, 2022 10:32:50 GMT -6
A buddy mine gave me a great price on the Avid Thunderbolt dock for a HDX card
…it’ll to motivate me to throw down on HDX sooner than later 😂
Oh, and Baby Audio Taip at a pretty price. Not sure how I feel about it yet. Definitely not subtle
AND I ordered (4) CAPI CA-0252 op amp kits for my Auditronics console. The wonderfully talented Bob Joneson made a drop in replacement for the original line amp cards that replicate the API 325, so I'm going to give those a try to A/B with the stock cards and my Jim Williams modified cards.
|
|
|
Post by sean on Oct 8, 2022 13:41:21 GMT -6
Another OG 47. Sounds so smooth. The new Bettermaker EQ for drum buss. 2 Josephson e22’s and a Moog Matriarch. Nice! Right now a pair of Josephson e22s are one of the last microphones I think will fill a need/void in my locker (along with a pair of Sanken CU-41's or CU-44's...and a KM86 if prices every come back down to earth) Used to have one a e22s and regret selling it.
|
|
|
Post by sean on Oct 8, 2022 10:10:29 GMT -6
My next two purchases are going to a set of 3 way monitors (thinking Amphion Two18) and the Trinnov. There's just things about my home space treatment can't fix...I've tried, trust me, and talked to several acousticians about it...I could try a pair of subwoofers as a couple people suggested but considering I'm not tracking anyone at home and just mixing the latency of the Trinnov isn't really an issue. I just have to figure out how to best integrate it into my setup
|
|
|
Post by sean on Oct 6, 2022 9:17:14 GMT -6
I think considering all the features its a very reasonable price. I’m personally not in the market at the moment but would be interested to try one some day
|
|
|
Post by sean on Oct 4, 2022 6:53:09 GMT -6
PSP Echo on sale now. Bought it. Sounds great as usual. Saw that one was on sale. But it (yet again) begs the question, how many delay plugins does one really need? I'm definitely there with these daily Plugin Alliance vouchers...I almost bought HG-2MS twice...I didn't realize I already own it and just never installed it 😆 . But I've grabbed a lot of stuff for free/$5/$10 and figure I'll only drink coffee at home or the studio until the sale is over
|
|
|
Post by sean on Oct 4, 2022 6:09:19 GMT -6
Thx Sean ! I am thinking seriously about this model too. The new big brother is,unfortuneately beyond my price point at this time. I had known about the Night and Magg eqs, so,respect this pedigree. I had some pultec clones( not expensive ones), but they didn’t stay. More elaborate, featured filled mastering eqs, are legitimately much more money. I like the many multibands idea, as well. Do people have any other recommendations for a mastering eq, as it seems the HVA price/value combo is hard to beat ? The TK Audio TK-Lizer 2 is a great value and probably the most affordable was to get M/S if that's important to you. Probably the closest comparable EQ to the HVA price wise would be the Goly PG Porter Grinder
|
|