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Post by rowmat on Sept 14, 2017 16:35:41 GMT -6
About 50% of all physical music sales my studio partner's band makes are vinyl.
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Post by rowmat on Sept 14, 2017 16:30:16 GMT -6
Sontec MES-432C Attachment DeletedOkay it's not mine! I was asked a take a look at two of these at our regular mastering studio. Apart from some leaky caps some of the HS2000 opamps appear suspect. There is quite a few of these around planet the crying out for a HS2000 solution!
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Post by rowmat on Sept 12, 2017 14:26:53 GMT -6
A new matched pair of Coles 4038's are on their way!
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Post by rowmat on Sept 12, 2017 14:22:55 GMT -6
They've just been shipped from the UK! They should arrive in about 10-12 days.
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Radar
Sept 12, 2017 14:15:40 GMT -6
Post by rowmat on Sept 12, 2017 14:15:40 GMT -6
if you work in the daw, you should stay in the daw. skip the RADAR and just get that 16x16 card. I have to agree with this. Something like RADAR is designed as replacement for a traditional standalone multitrack recorder and, more specifically, as a NON DAW recording system. RADAR suits those who, for whatever reasons, do not wish to record directly into a computer. (which is kind of ironic because RADAR's hardware is a computer! - but I digress) RADAR is undoubtably better suited to a commercial studio where tracking bands etc. in the traditional "arm tracks, hit record" (no computer screen in sight) method of recording is desired. If you are predominantly recording yourself and are always planning to end up in the DAW regardless then the additional workflow of RADAR seems (IMO) an unnecessary burden. Just my 2 cents
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Post by rowmat on Sept 11, 2017 18:40:35 GMT -6
Every tool for it's purpose! There's lot's of room in the mic corral for other ribbon microphones =) Once the Coles arrive that will make 14 ribbon mics in our locker including a Beyer M360 that needs a re-ribbon. So we have plenty of 'tools'. The catch is always learning new ways to use them!
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Post by rowmat on Sept 11, 2017 17:25:11 GMT -6
There's no substitute for the 4038 imo. I've been repairing them since 2009, and the sound of a freshly ribboned 4038 always makes me smile repair.ulrigg.com/coles-4038/Congrats! ju That seems to be the issue... "no substitute"!
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Post by rowmat on Sept 11, 2017 14:30:04 GMT -6
I did!
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Radar
Sept 11, 2017 13:41:03 GMT -6
Post by rowmat on Sept 11, 2017 13:41:03 GMT -6
If you buy a used RADAR for it's ( very good ) converters, you're getting an excellent hard disk recorder, with competent editing features, for free. IIRC, Jim Williams does a mod for the first generation Alesis HDR which significantly improves the converters. It is also a decent recorder but I can't speak to any support for it. Jim only does mods to the Alesis HD24XR which was the later version fitted with the upgraded converters made by AKM. The XR is the second generation. He won't mod the non XR first generation Alesis HD24.
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Post by rowmat on Sept 10, 2017 14:48:22 GMT -6
If you are mainly just recording yourself rather than running a commercial studio and regularly tracking bands inc. drums etc. and are likely to be transferring files into a DAW for editing regardless, then I think the case for paying the premium for a RADAR system is less compelling. However if you would like to experiment with a standalone multitrack recorder (no computer involved) with an analog console to get a feel for things, then I would still consider a stock Alesis HD24XR (non modified with no additional computer interface) and see how it works for you. That way you are only out of pocket for the Alesis which you can resell and recoup your outlay if you decide to go in a different direction. I'm kinda leery about anything Alesis for build quality, reliability, and support reasons. Iz's reputation for support is unrivaled. Normally so would I but the Alesis HD24XR gained a reputation for sounding great, being generally reliable and inexpensive. One could say it punches a long way above its weight. Even on that 'other' forum it is universally liked. I'm yet to see one post from anyone who has actually used one (the 'XR' version) saying they didn't like its audio quality. The only negative comments tend to be from those who have never heard one based on the preconceived view that it must suck because it's Alesis. Come to think of it maybe I should stick some Studer labels over the top of the Alesis labels? EDIT: I'm not saying I would never want a RADAR in fact if I was to look at any other system a RADAR would be on the top of my list.
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Post by rowmat on Sept 10, 2017 5:56:48 GMT -6
so, the guy with probably the apogee mki 16x16 module, (he is suggesting its a mkii but in his pics I only see a mki chassis), seems to refuse to ship it, wants me to do like a 12 hour return drive and wants cash, i.e., I walk in to some place I don't know with 2 grand in my pocket to pick up a card that he says is working but that I can't test. I would buy it with paypal as then it is insured and I am protected. He has a bunch of high end gear for sale maybe its all legit but,, Thoughts ? Lemme see... 1. Tells you it's a MKII when it's likely not. 2. Doesn't want to ship it. 3. Wants you to drive 6 hours to get it. 4. Only wants cash. 5. Has a bunch of high end gear for sale. Has a studio in his area been robbed recently? Sounds like unless you want to be on the 6 o'clock news I would probably forget it. Where did he place the ad? Is it crazy cheap as in... "Too good to be true" cheap? That will be a give away.
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Post by rowmat on Sept 10, 2017 5:21:16 GMT -6
Coles 4038's through a Sebatron VMP4000e on O/H's.
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Post by rowmat on Sept 10, 2017 5:19:24 GMT -6
That was my initial concern but I found someone in Sydney who does Coles ribbon mic repairs. He charges around $150 AUD ($120 USD) to replace the ribbons in 4038's. That is awesome. You're in the clear. I once had a session where I broke them both out and they were BOTH distorting and bad sounding on drum tracking. Talk about a bummer. I had way fewer mics at the time so I didn't have many options except to contact Wes Dooley and drive my mics to Portland to have his man re-ribbon them the next day. I think with gas and all I was out like $600 . I'm super careful with them now. I think it was Leslie tracking that may have done it to them. Still hurts to think about. Sounds expensive but I think Wes Dooley charges a premium on top of the normal price for a fast turnaround.
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Post by rowmat on Sept 9, 2017 22:14:55 GMT -6
Yes, buy them but be careful with them. They are rather fragile and not cheap to re-ribbon (esp in Australia I suspect). That was my initial concern but I found someone in Sydney who does Coles ribbon mic repairs. He charges around $150 AUD ($120 USD) to replace the ribbons in 4038's.
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Post by rowmat on Sept 9, 2017 19:31:38 GMT -6
Alright, it sounds like I've talked myself into it, doesn't it! Yes plus if they don't do something special for you you can move them without taking a loss! Yeah I figured that with new prices here at over $4000 AUD a pair I can't really lose if I land them at $2500 AUD. And I know they are a sought after item over here.
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Post by rowmat on Sept 9, 2017 19:21:37 GMT -6
Alright, it sounds like I've talked myself into it, doesn't it!
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Post by rowmat on Sept 9, 2017 19:06:00 GMT -6
I used to use 4038's on piano all the time. Then I compared a pair of Michael Joly's modded 205's at 1/3rd the price to the 4038's and I actually preferred them - I immediately switched over to those. They are bigger than the Coles, and a bit more open on top and less fatiguing sounding on piano. Much better for my tastes. I haven't used the 4038's on OH for a long time. The 4038's certainly have their "thing" and if that's what you want, I'd say go for it. There are other ribbons that "approximate" (as you described it) that sound - but if you want exact.....well, you know that answer don't you. As we have some brighter ribbon options already I think the Coles will bring a different flavour to the table. Also I have found the ribbons that employ mechanical EQ tricks such as perforated baffle plates and various other techniques to enhance the hi end, and sometime cut the low end, (ie AEA N22) don't really sound right to my ears. I tend to find I like the sound of more open ribbon motor assemblies than those that are too mechanically EQ'd. I'd rather just apply some gentle shelving EQ to darker ribbon to brighten it up. Also I think the extremely thin ribbon (0.6 microns) used in the 4038 is another reason for its unique sound. Although it may be initially dark it can take quite a lot of high EQ which can bring out detail without getting harsh.
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Post by rowmat on Sept 9, 2017 18:28:39 GMT -6
That was the initial attraction for getting the delta: 4 band eq while mixing I am a singer songwriter who mostly does 1-2 track recording but sometimes drums so 6-8 but given the costs of the different converter options, I asked the question about the radar, as I didn't know much about them and there are 6 for sale currently. I am grateful for everything everyone contributed because I have learned a lot. The alesis and radar units are older, the symphony module is 6 months old: it is the simplest solution: plug and play 24 converters: done. I have not heard back from the one radar unit I was interested in or the apogee guy; so its a waiting game. I don't have to buy anything and can just start using the delta with my 8x8 symphony, (plus the 8200) learn and then decide later too. "... I don't have to buy anything and can just start using the delta with my 8x8 symphony, (plus the 8200) learn and then decide later too." Exactly!
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Post by rowmat on Sept 9, 2017 18:16:12 GMT -6
I was afraid someone was going to say that! Local Australian prices for a matched pair of 4038's with adapters is just over $4000 AUD. However I can buy them from the UK landed here tax paid for $2500 AUD.
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Post by rowmat on Sept 9, 2017 18:04:42 GMT -6
I'm close to buying a new matched pair of Coles 4038's which I can purchase for around $1800 USD. In the ribbon department we currently have a pair of Beyer M160's, a pair of AEA N22's (modified essentially to N8's), an AEA R84, a pair of Cascade Fathead II's (Lundahl transformers), a Cascade X15 Stereo (Lundahl Transformers), a pair of Rode NTR's and a Cascade Vinjet. We also have an AEA RPQ preamp and several Cloudlifters. I know there are plenty of other ribbon options these days but can anything else approximate 4038's especially on drum overheads? ie. Silky smooth cymbals? Our 'Lo-Fi' kit with Beyer M160 O/H's
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Radar
Sept 9, 2017 17:47:04 GMT -6
via mobile
Post by rowmat on Sept 9, 2017 17:47:04 GMT -6
understood bu I am pretty used to mixing in logic and that was the point of getting the delta to insert to the delta eq but be mixing in logic, the extra A/D converters were to allow up to 24 channels to link, so don't I need 3 adat ins to pass 24 channels from alesis to daw ? OK. Obviously this thread kind of went off on a tangent somewhat with the various options a hybrid setup can offer. So you are basically just using the console as outboard hardware EQ inserts.
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Radar
Sept 9, 2017 17:32:37 GMT -6
via mobile
Post by rowmat on Sept 9, 2017 17:32:37 GMT -6
If you are mainly just recording yourself rather than running a commercial studio and regularly tracking bands inc. drums etc. and are likely to be transferring files into a DAW for editing regardless, then I think the case for paying the premium for a RADAR system is less compelling.
However if you would like to experiment with a standalone multitrack recorder (no computer involved) with an analog console to get a feel for things, then I would still consider a stock Alesis HD24XR (non modified with no additional computer interface) and see how it works for you.
That way you are only out of pocket for the Alesis which you can resell and recoup your outlay if you decide to go in a different direction.
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Post by rowmat on Sept 9, 2017 15:43:01 GMT -6
The big deal with RADAR when it first appeared was that it managed to convert many hard core analog tape guys to digital who had been resistant to DAW based recording because of...
1. The sound... 2. The non intuitive appearance of computer based recording... 3. The workflow.
Although RADAR used mostly the same converter chips as other manufacturers they took more care in the surrounding analog circuitry.
Also RADAR was designed to operate more like a multitrack tape recorder with the traditional physical controls that used buttons. ie. "PLAY", "RECORD", "FAST FORWARD", "REWIND", etc. So it provided a more familiar tactile style of recording than a computer based DAW.
Recording without staring at a computer screen can also help some focus more on the actual performance during tracking as the visual complexity of processing information on a screen can be quite distracting at times for many.
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Post by rowmat on Sept 8, 2017 17:16:17 GMT -6
I demoed the C-725 in my studio on a number of things and I was actually surprised just how versatile this mic sounded, on a lot of different sources with the different modes and patterns. The compression quality in sun mode is breathtaking. We actually ended up using it in "Wide Cardioid", Sun Mode on a Ancient Middle eastern String instrument about 4-5 feet up. And it really did something amazing. It's somewhat unique, but has qualities of their other microphones, plus a larger wider sound than any c12 or 251 I have heard. Though not unlike that tone, its way more broad in the stereo image. Very Large and Full sounding with overtones on the bottom end and softening on the top end. Its bright but super natural sounding. Sun mode softens the attack and adds a really unique vibe. Moon mode has a more pushed back mid range and goes even wider. Its more linear but raises the compression point higher. I actually think this mic would give any C12 or U47 mic a run for the money. Please enlighten me - what are "sun" and "moon" modes? I haven't encountered those terms before. I was given a mic once that someone found in a dumpster. It had setting called "uranus". I tried it but it sounded like arse.
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Post by rowmat on Sept 7, 2017 19:03:09 GMT -6
With two power supplies you should be ok if you wanted to max out the channel count. My CPC connectors turned up but in hindsight I should have ordered those Neutrik Speakon 8 ways. I've just rung a local dealer and they have the Neutriks in stock so I'll pick up some tomorrow. Just wondering how did you wire up yours? With only 8 connections rather than 9 (to allow for separate grounds) it appears two of the grounds will need to be commoned together. Is this what you did? I believe I just tied together the pins that had continuity... I can probably dig up some pics somewhere, but I **think** the below is how is played out. And one power supply didn't have pins 11 and 12 (no meters for that side of the board). 1 and 2 3 and 4 5 and 6 9 10 11 and 12 13 and 14 No worries. There are six grounds all tied together inside the console so 8 pins per connector are plenty after all. I picked up the Neutrik Speakon NL8M & NLT8FX connectors yesterday. I got the metal STX versions. What a night and day difference from the utterly crappy plastic CPC connectors originally fitted! I dunno what they were thinking when those were specified but I'm sure countless numbers have developed bad contacts.
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