|
Post by sean on Mar 6, 2024 7:52:15 GMT -6
I think where I’ve landed is:
Remote mixing (I’m going to send a mix to someone and maybe not get notes for a week): Completely in the box or maybe an analog 2 buss chain. I’ve got an Alan Smart C1, High Voltage Audio EQ6S, and an Overstayer MAS and I really don’t change the settings on the C1 (maybe I’ll use 3ms and or Auto but mostly it’s 10ms with 100ms release at 4:1) and the EQ6S is stepped and the MAS doesn’t really change much but sorta wish I had the stepped version.
In person mixing: Set up console like a “summing” mix (unity faders) using Pro Tools inserts (have HDX so not an issue) and after the mix is “finished” makes “stems” / commit the hardware inserts so I’m not having to recall hardware settings with a revision. Besides reverbs it’s pretty easy to get it to “null”
But like right now I probably have 60 “open” or “in progress” mixes with 15 more that’ll be added that list next week so in the box is pretty essential for me
|
|
|
Post by sean on Mar 5, 2024 13:30:07 GMT -6
I replaced the fans in my HD I/Os and it’s very quiet. I track vocals in the control all the time and they’ve not been an issue now. Before…yeah a little noisy.
|
|
|
Post by sean on Mar 5, 2024 6:48:08 GMT -6
You’re not getting into a used HDX card, whatever Thunderbolt chassis you want, a used 16x16 HD I/O, and a new Ultimate subscription for under $4000. Don’t forget that $299 DigiLink I/O license if you don’t already have one!
You don’t have to pay extra for a AAX DSP license with Plugin Alliance but for the few companies that have DSP option it’s extra. But honestly those are really only handy while tracking and I don’t think any are better than the zero latency PSP plugins or Pro-Q 3 or even some Waves plugins (they have a chart) if you need a compressor on something while overdubbing…
|
|
|
Post by sean on Mar 3, 2024 14:58:54 GMT -6
Hey sorry it sold
|
|
|
Post by sean on Mar 2, 2024 7:50:17 GMT -6
Orange AD30TC 2x12”. Would have preferred a head because this thing is heavy but always liked these amps…probably the third one I’ve owned
|
|
|
Post by sean on Mar 1, 2024 20:26:26 GMT -6
The High Voltage EQ6S is a great alternative to the Maag for a lot less. I’d probably get that and a pair of Audioscape or AML Pultecs and you’d have both for around $3000
|
|
|
Post by sean on Mar 1, 2024 19:36:58 GMT -6
I used Pro DSM V3, Acme Opticom, Transient Designer Plus and D-Verb, bx_subfilter (free, I think), and Maag EQ4 the most out of the things I own (which is probably 50 plugins at this point). Other can save the day sometimes like Phil's Cascade or Elysia nvelope or Schoeps Upmix that all a bit unique problem solvers.
|
|
|
Post by sean on Feb 29, 2024 10:47:35 GMT -6
Yamaha E1010 cheap because it didn’t pass signal…replaced the tantalum’s and recapped the power supply while I was at it but unfortunately only the shortest setting works. Which either means the other M3005 are dead but hoping it’s something else (and cheaper)
Also this funky Old Blood Noise MAW vocal effect pedal. Might be fun. Might end up on Reverb 😆
|
|
|
Post by sean on Feb 29, 2024 5:45:46 GMT -6
Can’t say I agree, if you have a desoldering station any part is easily removable, at the end of the day you can always simply clip the legs of any component, heat up and gently remove from motherboard. Finally, you can always ship to Mike and he makes everything right for a nominal fee. If you have any concerns about your build or for calibration he can do that too. Given your dad’s expertise and the opportunity for you to build together, I still say take your time but go for it, what a great experience! Even with a Hakko desoldering tool double sided PCBs with very small solder cups it’s not easy to fix simple mistakes with these boards. But the calibration is easy
|
|
|
Post by sean on Feb 28, 2024 22:03:20 GMT -6
I think where Trinnov excels are for rooms that cannot realistically be fixed with acoustic treatment. At some point physics/budget/reality makes fixing some acoustic problems impossible or unrealistic. Like, my room in the basement has 8 foot feeling, wood panel walls, and is pretty much an “O” shape. I’ve talked with designs and acoustic companies and I’ve pretty much done all I can do without going to extremes.
|
|
|
Post by sean on Feb 28, 2024 8:43:26 GMT -6
I've probably built a dozen Hairball 1176's for people over the years. They are nice, Mike is great, but unless you enjoy DIY I would buy an Audioscape. The Hairball kit is pretty unforgiving if you accidentally install the wrong part somewhere...it is VERY difficult to get a part out without pull/damaging a trace.
|
|
|
Post by sean on Feb 28, 2024 8:37:35 GMT -6
Personally I really like the Monster Performer 500 (I think that's the model) we have a bunch at the studio....some are 20 years old and never had a problem. They don't kink up, lay flat on the floor...really no need to gaff tape or toss a rug over them in fear of something tripping on them. Now, I would never pay what they cost new, but considering they are usually very cheap second hand I always pick them up when I see them.
Otherwise, I just build cables or there will be a studio sale or estate sale and someone will have a pile of Mogami or Canare cables with good Switchcraft or Neutrik connector and I'll always buys those.
I have a handful of LyxPro cables and they are nice for the money. I think you'll be find with Cable Matters as well...I don't think I have any microphone cables from them but have bought stuff like TRS to RCA cables from them and they've been good quality
|
|
|
Post by sean on Feb 22, 2024 12:36:27 GMT -6
I'm out of my gourd and bought a Gretsch Tennessee Rose...too good a deal to pass up. I sold off my Gibson SG that had a Bigsby...just not really the sound I wanted with it...but I just love a Gretsch as an option in the studio and been waiting for one to come along at the right price for, oh, 20 years haha
|
|
|
Post by sean on Feb 21, 2024 12:56:14 GMT -6
You can get a brand new one from Vintage King for $300 more…
|
|
|
Post by sean on Feb 21, 2024 8:30:04 GMT -6
Usually the answer is just turn up the vocal louder than you want and they’ll be happy and go away
|
|
|
Post by sean on Feb 20, 2024 18:34:39 GMT -6
Spent most of the day teching the API Box and Barefoot MM27 speakers. API and Barefoot both have incredible customer service. Speaking with API I narrowed down all the console’s issues to (1) 2520, a few switches, and new meters. Total parts cost: $150
The Barefoot’s had one blown tweeter and likely a voltage regulator that got fried in one of the sub board in the amp. We tried a lot over the phone, swapping boards between speakers, but unfortunately I’ve got to send one of the backplates to Barefoot for repair. But at least we narrowed it down which should make the turnaround time faster.
My experience with both definitely encourage future business especially since I’m not the original owner of either.
|
|
|
Post by sean on Feb 19, 2024 9:49:31 GMT -6
View AttachmentI picked up this API The Box with a Sterling Modular Desk and a nice patchbay with Mogami wire and a set of Barefoot MM27 at a crazy price yesterday because one speaker has (I think) a damaged amp and there are a couple issues with the console. I think the previous owner somehow got DC voltage back into the console and it fried some stuff. It’s definitely overkill for my home mixing space, which I pretty intentionally wanted to be solely in the box for remote stuff…but I figured it be worth fixing the problems since what I paid for everything is less than the desk cost and might as well take it as an opportunity to experiment… I love the OdB fader bypass button on the API, what a great idea. And balanced inserts are a bonus. I’m surprised how many transformers and 2520 are in the console. So, maybe it will have a “sound” If not, I’ll put it up for sale once I get it all working. The Barefoots, if I keep them, will be going to the studio. Definitely overkill for the house! You’re such a savage man. Love it! I was blessed/cursed with a dad who restored vintage motorcycles and cars and grew up going through Auto Trader and car shows with him picking up deals to restore and flip. I just have broken gear instead of broken Mopars 😆
|
|
|
Post by sean on Feb 19, 2024 8:52:53 GMT -6
I picked up this API The Box with a Sterling Modular Desk and a nice patchbay with Mogami wire and a set of Barefoot MM27 at a crazy price yesterday because one speaker has (I think) a damaged amp and there are a couple issues with the console. I think the previous owner somehow got DC voltage back into the console and it fried some stuff. It’s definitely overkill for my home mixing space, which I pretty intentionally wanted to be solely in the box for remote stuff…but I figured it be worth fixing the problems since what I paid for everything is less than the desk cost and might as well take it as an opportunity to experiment… I love the OdB fader bypass button on the API, what a great idea. And balanced inserts are a bonus. I’m surprised how many transformers and 2520 are in the console. So, maybe it will have a “sound” If not, I’ll put it up for sale once I get it all working. The Barefoots, if I keep them, will be going to the studio. Definitely overkill for the house!
|
|
|
Post by sean on Feb 15, 2024 20:40:03 GMT -6
I usually end up with the Ampex ATR-102 Ultralinear Ampex 456 30 IPS 1/4” setting on the mix buss mixing in the box. Just seems to make the song sound more “finished”
Sometimes with Cytomic The Glue before with a 10ms attack, fastest release. Barely moving. And maybe I’ll mess around with the Chandler Curve Bender or Maag EQ4 because sometimes just a click of low end, or a dip of 160Hz or a dip of 400 or 500hz or a click of 12 or 16K is nice. But if I do more than 0.5dB boost or cut than there’s an issue in the track that I need to address
I don’t have any harmonic stuff on individual tracks very often. I try to just keep it to EQ and a compressor when needed
But, I’ve had decent success with the Studer A800 plugin on drums that are just lifeless or sometimes if they have overly harsh or aggressive high frequency cymbal “shit” 😆 like those insane 15dB spikes that happen sometimes. It’s like cymbal sibilance!
It’s funny I’ve been mixing a record I didn’t track and it’s a struggle, I worked hard to get 4 songs sounding decent trying every trick I could and still hated it, and then mixed 5 songs in 6 hours doing minimal stuff and they sound better
There’s an old saying that if a song isn’t sounding like a mix in 20 minutes just pull all the fader down and start again. That’s not as easy in a DAW. But, I think it’s easy to get lost in the plot/options
|
|
|
Post by sean on Feb 15, 2024 20:13:26 GMT -6
If I mix on a console I often don’t use anything on the mix buss. I think that’s a bit of a “modern” (last 20 or 30 years) thing to do as console and tape machines have gone the way of the doo doo bird
|
|
|
Post by sean on Feb 15, 2024 10:20:07 GMT -6
UAD ATR-102 is a nice slap if you are in that universe. EchoBoy with all of its different emulations and saturation really covers a lot of ground. I’ve been using the PSP Lexicon 42 a bit as well.
But, honestly, EchoBoy for as old as it is can be hard to beat
|
|
|
Post by sean on Feb 15, 2024 0:01:03 GMT -6
Where it is nice is that you can have a mix clip your DACs and mix bus, but the 32bit file preserves the headroom in the file itself, so even if your printed mix clips somewhere (even just inter-sample peaks), you can clip gain it down and there is no actual damage to the audio. And yes, if it was recorded low, you have a better chance of gaining it up without noise. Yes, this.
|
|
|
Post by sean on Feb 13, 2024 18:47:56 GMT -6
I use RX on almost every song. Usually I'm manually editing on clicks/mouth sounds/other weird unexplained noises. It takes 5 seconds to do. Music Rebalance has been a real life saver at time, Spectral De-Noise is wonderful for amps and noisy keyboards, De-Plosive sounds more natural than a high pass filter on plosives. I don't use Ozone for anything. I like the sound of the Exponential Audio plugins but they are a bit "dense" for me. If you like being tweaky they are great, or they have hundreds of presets to explore. I actually got into Izotope for RX but I could never really get the stuff to work as well as I remember seeing it work for a producer buddy who blew my mind with it. Maybe the lite version is too light. I'm still on RX 8 and even the modules it comes with (like de-click) never seem to do what they say they will do... e.g., remove clicks. Also possibly I suck at using them. Besides De-Plosive, which if I use I don't render the whole vocal but just the word that's the issue, I have much better luck using the "Connect" feature in audiosuite and sending it to the full blown RX and just manually removing it. After awhile you can get to know what certain sounds look like on the spectragraph and you just "drawn" them out. It's probably the most essential digital tool I have, I just love it.
|
|
|
Post by sean on Feb 13, 2024 18:14:18 GMT -6
I use RX on almost every song. Usually I'm manually editing on clicks/mouth sounds/other weird unexplained noises. It takes 5 seconds to do. Music Rebalance has been a real life saver at time, Spectral De-Noise is wonderful for amps and noisy keyboards, De-Plosive sounds more natural than a high pass filter on plosives. I don't use Ozone for anything. I like the sound of the Exponential Audio plugins but they are a bit "dense" for me. If you like being tweaky they are great, or they have hundreds of presets to explore.
|
|
|
Post by sean on Feb 13, 2024 8:45:41 GMT -6
The casual console impulse buy haha ! Congrats ! I can’t pass up a good deal. It’s a pretty silly purchase, really. I have a Trident Series 70 but it’s 7’ long and too big for the house…I had it loaned to a friend but just got it back and it doesn’t fit anywhere except the laundry room! I also have an Auditronics Grandson I’ve been slowly restoring for the past couple years but ergonomically it’s a very uncomfortable console and is even more limited than the Box. I guess I just like consoles 😆
|
|