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Post by sean on Jan 24, 2022 8:30:11 GMT -6
Well, the Telefunken M221 didn't work (polar pattern switch on capsule didn't work, mic made an idling "chatter" noise) so back to the seller that went.
I did grab a Hiwatt SA20 head and an Orange 1x12 (cheapest decent cabinet I could find). Also getting my Lawson L47MP back today from Gene and the team over there. I'm not sure if I'll keep it or not...
Also, I've almost got my Auditronics Grandson console up and running. Took a look hiatus from working on it but in the home stretch now. All 18 channels pass signal, just a few quirks on a couple. Also a few of the buss cards aren't working and I'm not sure why...they are super simple...always something with old stuff!
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Post by sean on Jan 22, 2022 22:27:56 GMT -6
Gefell M92.1 or UM92.1 are great microphones, especially if the price is right where you live. I don’t think you’d be disappointed in either. The UM900 has a bit more air but the shape is pretty strange. I kind of avoid purchasing microphones like that because musicians (singers in particular) get weirded out by stuff I like that in my experience
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Post by sean on Jan 22, 2022 13:12:01 GMT -6
Dyn done well is👌 You just have to get the right ones like the bm6, Bm6a, m2, and Lyd 48. Some of the hifi models and off sizes of the monitors can be way too warm or scooped The tracking studio has a pair of M2 that I love. Been thinking about BM6’s as nearfields to replace some Yamaha’s that are in there now
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Post by sean on Jan 20, 2022 20:07:18 GMT -6
Sony C38B or C37P, with its low output, works great on snare (doesn’t overload like some condensers)
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gear mods
Jan 20, 2022 14:11:16 GMT -6
via mobile
Post by sean on Jan 20, 2022 14:11:16 GMT -6
I have a lot of pieces modified by Jim Williams. Mostly stuff that doesn’t have “character” to begin with, or has a characteristic I don’t like. For example, LA-4’s. In stock form they roll off the top end the more it compresses…which is maybe something someone likes, but hearing the detail and air disappear once patched in isn’t usually something I want. After he reworks them they still have the same compression characteristic (it has a pretty unique attack and release time) but the tone of the source doesn’t change. Some pieces of gear change the tone in a cool way (usually harmonic distortion or discrete circuits) and I have plenty of pieces of gear that do that and wouldn’t want to change them…but most things op-amp/chip based around 741’s and similar can be greatly improved by modern components I agree about modding away undesirable characteristics. The LAs all were limited by their amplification stages but the "filters" of the optical sensors are cool. Often people just want the behavior of the gear without the distortion but often you can't get it without the other like an 1176. Or all digital emulations never seem to work as well as the real things even if they are cleaner like any digital emulation of a vca comp like the DBX and SSL plugs. With that kinda "clean but not clear" cheap/older opamp stuff, I don't even see a point and just buy new stuff. Like it's voiced around whatever ICs they used, they used some cheap stuff, were limited by it, and did the best they could and it either sounds fine, cool, or is junky. It's often just better to something else. Like I've talked a few people out of modding Presonus things. All of their efforts were for nothing because even though it got a little better, it still sucked compared to just saving and buying something better. It's not like anything Presonus sounds cool in anyway like some of the old Tascam and Fostex. There are dudes trying to mod Behringer desks, ART tube stuff, KT clones, etc and there's just zero point beyond making some of it more usable imo (less noise, better stereo matching, etc) because soundwise, well the sound was cooked from the start by the "value engineering"
I agree with this, similar to Soundcraft Ghost and Toft consoles. They are built for a low price point and while they have, on paper, nice features, the pots and faders and circuit boards are all cheap and plastic and bound to fail and those are not fun, easy, or cheap to repair and replace
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Post by sean on Jan 19, 2022 11:29:14 GMT -6
I’m interested in the PWM form of compression. I don’t have direct experience but maybe check out the Great River PWM501 I have my name down for a POM PYE…expected around May. Excited to put it through the paces
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Post by sean on Jan 17, 2022 17:33:31 GMT -6
I have a lot of pieces modified by Jim Williams. Mostly stuff that doesn’t have “character” to begin with, or has a characteristic I don’t like. For example, LA-4’s. In stock form they roll off the top end the more it compresses…which is maybe something someone likes, but hearing the detail and air disappear once patched in isn’t usually something I want. After he reworks them they still have the same compression characteristic (it has a pretty unique attack and release time) but the tone of the source doesn’t change.
Some pieces of gear change the tone in a cool way (usually harmonic distortion or discrete circuits) and I have plenty of pieces of gear that do that and wouldn’t want to change them…but most things op-amp/chip based around 741’s and similar can be greatly improved by modern components
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Post by sean on Jan 17, 2022 13:04:42 GMT -6
I’ve got 5 DBX 902’s as well. For the money they are hard to beat especially if you’re already invested in the 900 stuff.
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Post by sean on Jan 17, 2022 8:54:42 GMT -6
There are so many vintage drum shops and dealers in Nashville the deals are gone, so I've decided to let go of all the vintage drum parts I've held on to over the years. Probably about $1500 worth of lugs and tension rods and other random bits. I think I have someone interested in buying the whole lot, which I think I'll use the money to buy a Hiwatt SA20 Custom head a friend has for sale. Probably will sell my Orange Rocker 30 combo after getting that. Maybe my Goodsell Super 17 as well. I just have too many drums and amps for someone who records acoustic music! Same here! I almost bought an AC15 a couple days ago, and then thought about the fact that since I do almost exclusively acoustic guitar based music and the only electric guitar sound I ever use is a Strat directly into a classic clean Fender amp which I own 3 of, I really didn't need another amp. But man it sounded good! The Hiwatt, for me, is the sound of my favorite 70’s rock records. So, selfishly, when I get my act together and make my own record, it’s the sound I want. Just, quiet and not a DR103 through a 4x12 😂
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Post by sean on Jan 17, 2022 8:27:35 GMT -6
There are so many vintage drum shops and dealers in Nashville the deals are gone, so I've decided to let go of all the vintage drum parts I've held on to over the years. Probably about $1500 worth of lugs and tension rods and other random bits. I think I have someone interested in buying the whole lot, which I think I'll use the money to buy a Hiwatt SA20 Custom head a friend has for sale. Probably will sell my Orange Rocker 30 combo after getting that. Maybe my Goodsell Super 17 as well. I just have too many drums and amps for someone who records acoustic music!
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Post by sean on Jan 15, 2022 21:44:45 GMT -6
I have a pair of TLA-100’s, I use them a lot of tracking but they don’t impart much of tone due to it be electronically balanced with 990’s instead of transformers.
The AD2044 is another sleeper.
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Post by sean on Jan 15, 2022 20:40:26 GMT -6
Occasionally they can be found relatively cheap, if you are looking for some HF taming and an optical compressor the ADL-1000 or ADL-1500 if worth looking at.
JLM LA500A are also nice opto 500 series compressors. More LA3A than LA2A though. Buzz Audio Essence is also worth a look. Crazy flexible
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Post by sean on Jan 14, 2022 20:59:41 GMT -6
When I was doing a lot of work for Compass Records Peluso sent pretty much all their line of microphones for us to try and the 49 was definitely my favorite
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Post by sean on Jan 14, 2022 19:14:58 GMT -6
Telefunken 221B with MK26. Hopefully all 3 patterns work
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Post by sean on Jan 14, 2022 6:59:10 GMT -6
I think the Avalon AD2044 is pretty underrated. I use one a lot for tracking vocals, and I have a lot of other options. I use the slowest (or there about) attack and fastest release (which is still quiet slow) and it just works great for evening out a performance to tape. Nice on bass as well.
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Post by sean on Jan 13, 2022 9:08:06 GMT -6
Trading a drum kit for a Spectra 1964 V610. I already have 2, so I probably won’t hang on to it long, but my pair live on the mix buss so I might try this one as a preamp for awhile. The peak limiter is especially handy on snare drums and banjos…stuff with insane fast peaks that just eat up headroom
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Post by sean on Jan 12, 2022 5:38:58 GMT -6
Surprisingly good banjo microphone. Bottom mic on a leslie. Occasionally a vocal
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Post by sean on Jan 9, 2022 23:34:46 GMT -6
The studio I worked at for a decade closed in 2020, property was sold and they gave us the boot.
It was stressful…we had a tornado in Nashville in March, then everything shut down…but a new opportunity presented itself and it’s been amazing…I was worried that being 20 minutes north of the city would scare people off but it’s been busier than ever.
Your clients will follow you…it’s not the building it’s the people.
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Post by sean on Jan 2, 2022 11:32:56 GMT -6
I have the most success selling through various Facebook groups, or in person. I’ve probably sold a thousand pieces of gear at this point and never had a bad experience. Sure, I’ve had things get damaged in shipping, but it’s always worked out. The nice thing about Facebook is you can see their profile, and if it’s a person posing with guns or that post other stupid shit, I just don’t reply. With Reverb usually after 2 weeks of the buyer and seller unable to come to an agreement they’ll step in. I have the most success using the chat feature to get in touch with a representative. I know it’s expensive when selling but just pay for their protection service and any headache is on them. I sold an Otari tape machine that UPS destroyed. Reverb talked to the buyer, worked out a price to cover the repair that made the seller happy, and they paid him. Stress free Can you recommend any FB groups to check out? Rare and Obscure Vintage Studio Gear, Pensadian Gear Exchange, and there a few Nashville specific groups. But there ones for just 500 series gear, just microphones, just drums, just specific drums, just pedals…it’s endless really. I’m members of dozens and Facebook has an option to post elsewhere and I just list it in all the relevant groups
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Post by sean on Jan 2, 2022 8:48:45 GMT -6
I have the most success selling through various Facebook groups, or in person. I’ve probably sold a thousand pieces of gear at this point and never had a bad experience. Sure, I’ve had things get damaged in shipping, but it’s always worked out.
The nice thing about Facebook is you can see their profile, and if it’s a person posing with guns or that post other stupid shit, I just don’t reply.
With Reverb usually after 2 weeks of the buyer and seller unable to come to an agreement they’ll step in. I have the most success using the chat feature to get in touch with a representative.
I know it’s expensive when selling but just pay for their protection service and any headache is on them. I sold an Otari tape machine that UPS destroyed. Reverb talked to the buyer, worked out a price to cover the repair that made the seller happy, and they paid him. Stress free
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Post by sean on Jan 1, 2022 8:10:50 GMT -6
Pro Tools Ultimate Reinstatement, cabling and random accessories from Redco and D'Addario and a Studio Technologies AN-2 Stereo Simulator because I've always wanted to try one...but I can't imagine I'll actually keep it.
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Post by sean on Dec 31, 2021 21:25:37 GMT -6
Pulled the trigger on one of these as well for the tracking studio which is on 12. It honestly worth for me to be able to search for plugins and busses and not have to scroll through menus. And folders are a nice way to make stems which everyone seems to want these days. $450 for Ultimate from Alto. I think the Pro Tools license is 5 years old. I’ve spent $450 on gear I never use and I use Pro Tools every day.
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Post by sean on Dec 30, 2021 7:52:04 GMT -6
I think I've exhausted my plug-in purchasing for awhile and used the latest PA voucher for Schoeps Mono Upmix. I recommend trying it...it's a subtle way to add some stereo ambience to something like a mono keyboard or bass or anything you just want to add a little "space" to...I think it's a better "stereoizer" than the bx stereomaker
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Post by sean on Dec 29, 2021 22:04:46 GMT -6
Some of my favorite Albini recordings are Nina Nastasia, Edith Frost, Dirty 3, Low, The New Year, Magnolia Electric Company…I think he captures acoustic/mellow music beautifully. The Ponys, Owls, most Silkworm and McLusky are probably my favorite rock albums I’ve listened to he’s done.
But those are also all really great bands, which helps.
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Post by sean on Dec 29, 2021 8:45:44 GMT -6
Working with Hearback/similar “More Me” mixes, I send a stereo mix of what I’m listening to and tell the band “this is a mix, turn this up and adjust as needed”. Usually musicians don’t want to hear the singer as loud as the singer, and no one wants to hear the click as loud as the drummer, so those always get their own knob/fader
If I’m overdubbing a singer I usually just send them a stereo mix and adjust it to their taste.
It works a lot better when everyone is playing to the same mix, in my experience. It’s shocking what you hear when you put on musicians headphones sometimes and often it’s because they don’t understand how to use the mixer and they don’t speak up and ask for help and later bitch about how bad the headphones sound 😂
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