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Post by sean on Mar 31, 2024 6:50:40 GMT -6
Neumann KH80 blew my mind and are probably still the best speaker I've found for home use...upgraded to KH150's and while they do sound better I think the little Neumann's are best for low level listening. The DSP helped with the 140Hz null in my room that's pretty much impossible to get rid of acoustically.
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Post by sean on Mar 30, 2024 15:08:53 GMT -6
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Post by sean on Mar 30, 2024 7:16:59 GMT -6
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Post by sean on Mar 30, 2024 6:38:09 GMT -6
Tightly lining up vocal doubles/harmonies with essentially a single click. Vocalign Ultra and Revoice also offer the option to match tuning. Big time saver for big vocal stacks that need some love. So it's for singers who can't accurately track their own voice. I guess there's autotune for singers who have trouble pitching, so why not software to fix timing issues as well. Fair enough. It’s also popular for post production where dialog is ADR and you need it to match the original audio so it line up with the picture. And when you get things to mix and the vocals aren’t as tight as I think they should be or the client ask if there’s anything I can do to help…it comes in handy in those situations
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Post by sean on Mar 28, 2024 20:51:45 GMT -6
For sale I have an API The Box console with Sterling Modular Plan B desk and 3 TT patch bays with custom Mogami wiring by Skinny Fish Audio. New the console runs over $16,000, the desk over $7000, and the wiring would be well over $5000. Every connection on the console is wired to the patch bay using Mogami wire and Neutrik connectors. There’s 16 in and out on DB25 connections to use with converters, 24 in and outs on XLR for outboard, and plenty of additional cabling and spare bay space to expand however you need. Everything on the console is tested and working. There’s some cosmetic signs of use and I reupholstered the right side arm rest because it was torn when I bought it. This version of The Box has 4 microphone preamps, 2 channel with 550A EQ’s, and 2 500 series slots for EQ or compression. There’s two channels of 527 compression that can be dual mono or stereo linked and can be assigned to the program buss or to channels 1 through 4. Each channel has a balanced insert, full size faders, and my favorite feature is the “0dB” fader bypass switch for the summing section. This allows you to bypass the faders and use the console like a traditional summing mixer for easy recalls. It also have a comprehensive center section with talk back. This is a killer set up that’s as plug and play as something this gets. I thought I’d use this at home but it’s way more than I need in my basement! $13,000 for everything. This is an insane deal, less than the cost of the desk and cabling. I’d consider trades for a matched pair of Neumann M49V. Maybe something else but there’s over $25,000 worth of stuff in this package so keep that in mind before offering me something. Located in Nashville, TN, pick up only
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Post by sean on Mar 28, 2024 12:29:24 GMT -6
I love my Audeze LCD-5 headphones. Crazy expensive but probably the best purchase I’ve made in a long time. Honestly less fatigue than with speaker. Just looked up what those go for. Yikes! Cheers, Geoff For what it’s worth I think I paid $2750 from a dealer, and they regularly have B Stock sales. Honestly I’ve spent that much on microphones I rarely use so something I wear for 6 to 8 hours a day it really has already paid for themselves The LCD-X and MM-500 are a nice option.
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Post by sean on Mar 28, 2024 4:55:00 GMT -6
I love my Audeze LCD-5 headphones. Crazy expensive but probably the best purchase I’ve made in a long time. Honestly less fatigue than with speaker.
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Post by sean on Mar 27, 2024 8:19:52 GMT -6
I set mine to British mode at 600 ohm for a cleaner more hi-fi sound. What source do you use it mainly on? Mine is mostly on vocals, but I wish I could get another one. It sounds great even with the compression off! I dig it! Then again I could use it on any source with stellar results I set mine to Brit mod 600 ohm but still getting a to compressed sound. Especially for strumming. what is your input and output set to ? Slow attack? Release? I could never get my BG-2 or BG-1 to sound “clean or transparent” but everyone’s idea of that is different. Does yours have the sidechain high pass filter? That might help it not be so grabby. Mine didn’t have that feature
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Post by sean on Mar 26, 2024 18:36:13 GMT -6
Bought yet another AKG C460B but only because it had a CK1 capsule, the A60 adapter, and one of those A51 knuckles which alone sells for more than I paid for it.
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Post by sean on Mar 26, 2024 16:57:45 GMT -6
Buzz SOC is a great choice for this. Also, I think overlooked is the Avalon AD2044
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Post by sean on Mar 24, 2024 6:33:02 GMT -6
The secret is T Bone regular band of musicians he works with are some of the greatest musicians in the world. This is also a Cowboy Jack Clement technique, is to have everyone in the room playing quietly with no headphones. T Bone has been known to do that as well. A great band in a great room (T Bone likes Sound Emporium A…which is a Jack Clement studio original and was built to record without headphones) can mix themselves without headphones. Everyone’s playing to a common time. Everyone’s forced to listen to each other and not have a totally different headphone mix from everyone else. With a talented band and the right style of music, it’s great. It works for a lot of what he does. And probably what he’s talking about with “doubling” the bass is having upright bass and tic tac (baritone or octave guitar) playing the same part. Again, nothing new, they’ve been doing it in Nashville for 70 years. Originally it was to get the bass to be heard on AM and car stereos. For Alison Krauss and Robert Plant Dennis Crouch is playing upright and Viktor Krauss is playing 6 string bass. If there’s a specific record or question you had I probably know or can find the answer…I work with everyone in that crew pretty regularly I will definitely take you up on that. I'm building a little T-Bone list to see if I can figure out what in the world he's saying. I gotta get a couple of these albums in a lossless format and play them on my living room speakers. But yeah, he specifically mentions doubling upright with 6 string bass playing octaves. That just seems like a LOT of low frequency information. Although I guess it depends on where the six string is in terms of level. There’s not a lot of low end in the traditional “tic tac” bass sound. Usually it’s palm muted and played with a pick so you are really only getting the “attack” of the note. You’re really using it to get a lot of midrange, while the upright bass has the low fundamentals. Dennis Crouch uses gut strings, which have a nice “thud” and he’s incredible at controlling the sustain of the notes to where they aren’t taking up too much space for too long. That’s really the key to bluegrass or traditional country bass…if you play a “1-5” (root fifth) pattern or are playing an upbeat song without controlling the resonance and sustain of the instrument, it’s a low frequency nightmare. A lot of players, especially in the studio, will dampen there bass with a mute or a pillow under the bridge, or put their knee/leg against the back to cut down on some of the sustain. Not much different from a kick drum…you don’t always want that sustain hanging over mucking things up. Also…look up the credits for Dennis Crouch and Viktor Krauss. They are two of the most accomplished bassist in Nashville, not just country and bluegrass but also jazz and pop. Also, to answer another comment, T Bone is an accomplished musicians in his own right, but as a producer he’s also all about the vibe. He’s like Rick Rubin, but he can actually play guitar. And, while he might not be able to answer technical questions or “mix” a song, that’s not really his job. His job is to manage the personalities in the room and be the person everyone looks to when they ask “how’s it sounding” and everyone respects the answer. And the band of musicians he’s put together don’t need a lot of direction. I mean, with Stuart Duncan, you just say “play the fiddle” and it’s going to be amazing. He just so happens to be a great mandolin, banjo, and guitar plays as well. But again, that’s another job of a producer…getting the right group of musicians in the room for the project.
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Post by sean on Mar 23, 2024 20:14:10 GMT -6
The secret is the regular band of musicians T Bone works with are some of the greatest musicians in the world.
This is also a Cowboy Jack Clement technique, is to have everyone in the room playing quietly with no headphones. T Bone has been known to do that as well. A great band in a great room (T Bone likes Sound Emporium A…which is a Jack Clement studio original and was built to record without headphones) can mix themselves without headphones. Everyone’s playing to a common time. Everyone’s forced to listen to each other and not have a totally different headphone mix from everyone else. With a talented band and the right style of music, it’s great. It works for a lot of what he does.
And probably what he’s talking about with “doubling” the bass is having upright bass and tic tac (baritone or octave guitar) playing the same part. Again, nothing new, they’ve been doing it in Nashville for 70 years. Originally it was to get the bass to be heard on AM and car stereos. For Alison Krauss and Robert Plant Dennis Crouch is playing upright and Viktor Krauss is playing 6 string bass.
If there’s a specific record or question you had I probably know or can find the answer…I work with everyone in that crew pretty regularly
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Post by sean on Mar 22, 2024 6:15:21 GMT -6
When I’m sent something for mixing and there’s too much snare or the snare pokes out too much the Waves BSS DRP-402 with the high frequency emphasis side chain filter in does a nice job of grabbing the snare without effecting the tone of everything else around it. Also stereo.
If I’m tracking something and the snare or honestly sometimes the rack tom sounds too loud compared to the rest of the kit I usually try my Overstayer SVC, which is stereo. Any SSL style compressor can work nicely as well.
I think a side chain filter so the toms or kick are really triggered as easily is helpful if it’s grabbing that stuff and shifting the imagine around.
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Post by sean on Mar 21, 2024 21:16:51 GMT -6
Highland BG-1 and BG-2. Just couldn’t gel with them. But I sold both for significantly more than I paid so not really a regret I guess
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Post by sean on Mar 20, 2024 16:09:27 GMT -6
Bought a DOD R870 stereo flanger/doubler that’s been on Marketplace for a year…we’ll see if it works when it arrives. Definitely cheaper than a MXR 😆
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Post by sean on Mar 17, 2024 13:14:08 GMT -6
True ! But note that on the Aurora(n) you can now install a "Monitor" extension, up to 2 IN & 4 OUT with increased headroom that equals the +24dBu headroom of the Hilo. www.lynxstudio.com/custom-shop/ Oh cool that’s wasn’t an option I don’t think when I had my 32x32 Thunderbolt interface
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Post by sean on Mar 17, 2024 11:53:33 GMT -6
Pretty sure the Hilo has more headroom…Aurora N is +20 and Hilo can do up to +24. Which I think is useful for analog processing
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Post by sean on Mar 14, 2024 19:48:30 GMT -6
The nvelope, in my experience, is great for drum machines or synth pads where you need to change the attack of certain elements. You can dial in the frequency of the kick or the snare in the stereo drum machine and manipulate them independently. Same with an arpeggiated synth. It can also be handy when you only want to add decay to the low end of a drum or a certain frequency…or you have an overly resonant/boomy upright bass
The Transient Designer is more immediately gratifying. You can make a room mic sound larger or tighter or make a snare drum sound like it has a towel on it very easily.
Both very useful and honestly not that expensive in the grand scheme of things. I think I paid $600 for my 4 channel transient designer and $500 for my nvelope
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Post by sean on Mar 14, 2024 16:19:49 GMT -6
I think the hardware is better at extreme settings…I don’t think the plugin is very good beyond a few dB up or down. With the hardware you can really change the size of how the room sounds, bigger or tighter. But the plugin gets the job done for sure.
I have the 4 channels Transient Designer and have been curious to try the TDX module for 500 series…
The nvelope hardware can really transform sounds…more tweaky while the TD is pretty instantly gratifying
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Post by sean on Mar 11, 2024 7:39:13 GMT -6
Some progress in the monitoring department... A SPL Phonitor 2 headphone amp with its 4 output extension is on its way. spl.audio/en/spl-produkt/phonitor-2/Also on its way, a pair of Dan Clark Audio E3 planar magnetic headphones ! www.audiosciencereview.com/forum/index.php?threads/dan-clark-e3-headphone-review.50062/ I tried the E3 among other headphones, they are so, so good. The hype is real ! In the sweet spot, the DCA Stealth flagships had a more impressive sound (absolutely perfect sound, so neutral, resolving yet natural, you forget you wear headphones) but the fit was not good on my small head, and the sound inside the cup subject to changes depending on the position of the ears relative to the pads. So for the purpose of mixing, at half the price of the Stealth, the E3 seemed like the better choice overall. It's so confortable & the sound is so good ! If DCA releases a Stealth mk2 that gets the fit and the stability of the sound right, I'll jump on it, for it delivers a sound I've never heard before, on any system. The E3, to me, are the next best thing. They rival the Stealth. They might be better, even, I don't know. It's the first time I try high-end headphones, and I'm amazed... I've tried the crossfeed analog emulation of the SPL headphone amp with the E3. At first I didn't liked it, but I now come to the conclusion that the crossfeed matrix faithfully reproduces the sound presentation of stereo monitors. The slight decrease in bass impact, the frontal view... It's not necessarily a pleasing effect, it's subtle but also it feels quite real to me. The Stealth/E3 are better, I think, than my recently acquired PSI audio A-21M. On a side note, the Austrian Audio Composer are very impressive too, kind of like the E3 with a bit less bass & with dynamic drivers ; and the Heddphone Two are incredibly punchy detail-oriented monsters (I could see them being useful as magnifying glasses in the studio that you listen from time to time, but not all the time). I recently bought a pair of Audeze LCD-5’s and they’ve really changed my life. I really don’t feel the need to have speakers at home when I’m working alone. I can wear them for 8 hours and don’t have any fatigue or pain like other headphone I’ve tried. After a few months with them now I pretty much exclusively mix on them when I’m at home and enjoy it to the point that I think I’m going strip down my home set up to just phones and my RME ADI-2/4 Pro SE I hope the Dan Clark’s give you a similar experience!
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Post by sean on Mar 9, 2024 23:42:34 GMT -6
Looks like I’m spending Sunday morning moving Hammonds…picking up a 1960 C3 to replace the M3 at the studio. FINALLY found one for a price I could justify. And someone with a box truck wants my M3 so moving will be easier than I expected. Win win!
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Post by sean on Mar 9, 2024 18:11:13 GMT -6
Are you trying to change a DB25 from female to male or do you mean a male DB25 to XLR snake?
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Post by sean on Mar 9, 2024 10:56:58 GMT -6
My attempts at downsizing have been in vein...bought a second Purple Audio ODD EQ (price too good to pass up) and a couple pedals from a brand called Lunastone. I really like the Red Fuzz, which is a nice Fuzz Face inspired pedal. The Blue Drive didn't really "wow" me but a good, more transparent version of like a Distortion+ or DOD 250. Again, very cheap. What do you like the ODD on? I'm attempting to downsize too but got a Strymon Volante and Boss BP-1w this week. At least they're both relatively small... The ODD is great for big “tonal” changes. Like…this snare drum is boxy, it needs low mids cut out, add some midrange “crack”, and add a bit of top end detail…twist some knobs with the ODD and that’s done. Definitely not a “precision” EQ but you can make pretty big boost and cuts without it getting phasey. It also has a lot of frequencies that other EQs don’t have which I find useful. The TAV is like a warmer, more rounded API 560. Sort of like the tone of a Neve EQ but the EQ points of the API.
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Post by sean on Mar 9, 2024 10:25:20 GMT -6
My attempts at downsizing have been in vein...bought a second Purple Audio ODD EQ (price too good to pass up) and a couple pedals from a brand called Lunastone. I really like the Red Fuzz, which is a nice Fuzz Face inspired pedal. The Blue Drive didn't really "wow" me but a good, more transparent version of like a Distortion+ or DOD 250. Again, very cheap.
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Post by sean on Mar 7, 2024 10:34:02 GMT -6
Not sure if anyone has Nova here but confused about the licenses for the outputs. If I was using a monitor switcher, could I just use one pair of outputs and just switch “presets” when I change speakers?
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