Gearslutz.com - High end

Hand-wired, hand-made modern?

bigsbyman — Sun, 19 May 2013 17:55:11 GMT

Who makes hand-made, hand-wired pro audio gear these days (preamps, compressors, etc.)? Almost every time I see a photo of the inside of modern outboard gear, it's got printed circuit boards, tube sockets attached to the PCB, ribbon connectors, small resistors, etc. I've seen the inside of a few LA2A's and they have a hand-wired terminal strip in them. Who else still makes 'em the old-fashioned way (hand-wired point to point, terminal strips, etc)?

Prism Orpheus Mac Setup Help

Noodlez — Sun, 19 May 2013 16:53:14 GMT

I'm looking for some advice for optimum setup for a Prism Orpheus with a Mac Pro (osx 10.6.8) running Logic Pro 9.

So far I have installed the latest software driver 1.0.7 and firmware 1.0.6 is up to date.

Should i route all the Mac built-in internal audio through the Prism aswell, i.e alerts etc..?

Also i am using Logic Pro at 24bit/44.1, what buffer settings would you recommend?..

I will be using mainly VI plugins mainly and effect plugins.

Many thanks,

LA-2A Moving R37 control to front

ghostwriter — Sun, 19 May 2013 15:14:28 GMT

I would like to have the R37 control on the front of my LA-2A.
I'm thinking about either swapping the Zero Adjust with it, or just pushing the Zero Adjust inside behind the front plate and mounting the R37 in it's hole.

Has anyone done this, and if so what problems, if any did you encounter?

Thanks,

The Ghost

"Channel Strip" Setup?

K. Osborne — Sun, 19 May 2013 09:01:46 GMT

Anybody else out there like to have gear in hard wired "channel strip" setups?

Not necessarily stuff that has mic pre / comp / EQ all in one (e.g., API "The Channel Strip"), but for example, I like to run my API pres into API EQs, no patchbay involved. The BAE and Neve stuff has EQ on it already, but one of my UA pres goes directly to a Mercury EQH1. I must admit, I think my Neve addiction made me want the "pre/EQ" thing for every pre...haha

I'm sort of getting into that lately on a lot of pieces just picking the combinations I like the best and making almost like "faux console" setup minus the summing. Makes for less time spent patching while tracking. Makes me work quick. I like that.

I do keep the compressor racks on the patchbay, just because that always changes for me.

Opinions?

New SSL Duality SE

JamesClark1991 — Sun, 19 May 2013 01:19:59 GMT

So my educational institution has recently got a SSL Duality SE console/control surface.

I'm not much of an expert when it comes to desks but I've heard nothing but good about SSL from peers, I was just wondering what sort of league this thing is in? Are we talking professional studio standard? semi-pro? etc.

Also, I was wondering how good the pre-amps in this desk are, would it be beneficial to use say an external DAV BG2 pre-amp for recording instead of the built in pre's? or vice versa?

Any info/thoughts appreciated :)

Pro tools HD ?

wnlively — Sun, 19 May 2013 00:06:43 GMT

With all of the options that there are
Is pro tools hd the top of the food chain or can 6.5 k be spent elsewhere with better resuluts ?

I want to up grade my studio and just dont know which way to go

Im currently using pro tools 10 with a RME interface.
any thoughts?

Any of you ADAM S3A users ever migrate to ProAc 100's

SHIRK — Sat, 18 May 2013 20:52:50 GMT

I've been using and enjoying my S3A's (paired with a Sub10 mkII) for 6 or 7 years now. I feel like I know these speakers inside out. However, I've had a few guest engineers requesting an alternative monitoring system in my room lately. I really don't want to go back to NS-10's. I will keep a pair around if enough people are asking for them, but I feel like there are plenty of better alternatives these days. After some thought and research, I decided to try out a pair of ProAc 100's. I've got them powered by an Adcom GFA 545 II right now. I realize that I'm not getting the full picture using this amp. I'm sorting through my options to upgrade to a more powerful amp in the near future so that I make my final evaluation of the ProAc's. The whole "which amp do I go with" debate is tired. I'm not really looking to get into that. There are plenty of threads here in GS relating to that topic. For the record, I'm considering ponying up for a Bryston B4STT2 as everyone seems to love that combination. Also considering modding an Adcom GFA 555 as I hear that is quite the clean and powerful contender once it is modded...and very cost effective compared to a Bryston.

Back to the monitors... I'm wondering if there are any folks out there who left their ADAM S3A's for a pair of ProAc 100's. And if so, what were your feelings on the differences between the two? What made you change. Were you using a sub? Are you using one now with the ProAc's? Any and all opinions are valid in my book, so long as you used the S3A's long enough to really know them.

I've got the S3A's and Proac's side-by-side right now. I did a burn-in period of about 16 hours of solid playback before really taking a close listen to the ProAc's. I hear obvious differences. But without an amp that can really do the ProAc's justice, I'll refrain from sharing my opinions.

Would love to hear about some of your experiences.

Thanks,

Shirk

Apogee ad 16x and masterlink question

BATTLEFIELD — Sat, 18 May 2013 14:52:56 GMT

Can i go out of apogee ad 16x (have xhd card installed using protools) spidif out into masterlink spidif in and use that d/a conversion. Cause i mix down to masterlink anyway. Do i have to go back into protools?? I monitor out of my console

Sent from my MB612 using Tapatalk

A second tracking compressor

Kyleseglin — Sat, 18 May 2013 14:46:07 GMT

Real simple-- I have an 1176 rev d (clone) and its cool but it's a particular sound, and it sometimes sounds like it cuts out bottom end and emphasizes some sibilance. I like it in the right context though. Looking for something to track through that won't degrade my signal. Looking in the 1k range and I see used daking fet ii and distressors. I've had distressors and was reasonably happy with them for vox tracking. Just wondering if daking will maintain the integrity of the sound on the way in leaving me the option of having a nice un-dirtied recording to play with.

Buzz Audio QSP-20 4 ch mic pre users?

AB3 — Fri, 17 May 2013 23:50:53 GMT

This looks like a tremendous pre at a great price for 4 channels. Anyone tried it? Comments?
THANKS in advance.

Who has studio air conditioning using 'splits'? Opinions? Reco's?

shortstory — Fri, 17 May 2013 23:31:02 GMT

Hi guys- I'm thinking about reconfiguring my cooling situation (AC) in my control room and every air conditioning company wants to sell me a split system.

Thing is- it's my control room and I really don't want it to be so noisy that mixers complain (we are predominantly a mix room).

Do any of you guys have a split system and can comment on them? Or make recommendations on a quiet brand if there's such a thing.

Thanks-

Daking FETII- impressions

Danny Infield — Fri, 17 May 2013 22:14:05 GMT

Hey all!

Just wanted to post some impressions I've had of the Daking FETII after a month of ownership and use on mostly vocals and peaky instruments. I hope this is helpful for anyone looking to try this unit! I'll keep it to a few salient points.

1. compression action- it may use an FET, but it is a very very transparent compressor. Basically like the worlds fastest fader. There is an absence of both the obviously bad artifacts (loss of hi hz, closed in sound, obliterated notes) i was previously able to hear in my prosumer gear when pushed (eurka, la-610) and absence of any sometimes desirable squash sound I hear in other fet comps. Basically, it's not an 1176.

2. release times- IMHO, they are effectively faster than advertized. One of the biggest concerns I'd had before purchase was whether the fastest release time of .5seconds was fast enough for me. I couldn't remember the last time I'd set a release time of more than a second, for example. Now, I'm trusting my ears and the VU meter (if to be believed) here, but it seems like when it releases after the transient passes, the comp "gives back" most of the GR relatively early and then slows up (this on the so-called single time constant, not just the dual/triples). I think this is a good thing. it was able to keep up really well with a happy snare and fast vocals, and the slower release times do i think force you to set it reasonably so it's hard to get it "pumping."

3. "color." There really isn't one. I've heard folks say that the jensen trannies add weight to the sound, but IDK i think the fact that it has them may be messing with their minds. Maybe a touch of mid push with the output on full blast, but nothing really weighty. What, in my experience, the well balanced xformers do allow for which is nice, is you can run obscenely loud signals into it. I have a few pres with exceptional output headroom that sound really good pushed. (and one has no pad... ahh!). I can basically gain those up where i want, and it doesn't clip the daking. I've then been taking some db's off the top for peaks, then laying off the make up gain, and the converters see it as barely in the yellow.

Hope this is of help. Specifically the point about the supposedly slow release times.

-danny

Dynaudio BM-15a Problem

bluevoice — Fri, 17 May 2013 18:21:44 GMT

Hi there

Beforehand: sorry for the long thread but I have a real frustrating and tricky problem.

In my little but nice Homerecordingstudio I record my songs (voice, acoustic guitar and harmonica). Files that I like and are important to me I give to a professional studio for the mastering. I don’t know much about studio technique and mastering. I don’t want to spend much time in trying, tuning etc. and therefore normally like simple solutions and uncomplicated handling.

One week ago I bought a couple of active powered Dynaudio BM-15 Monitors. Of course I need them for Recording/Monitoring but at least as much as a (hifi) speaker for listening music. I always used studio monitors to listen musik (from CD- and later also MP-3-Players). So that side of using my monitors is very important to me.

Now I got a problem with my BM-15s:
Whereas I’m quite content with the way the monitor handles the high and middle frequencies I find the bass/deep lows are not what I expected, especially from a monitor at that price. With about half of the music I listen (also good recordings of Jazz and Classic in wav or apple lossless) the bass is rather kind of humming or in an unpleasant way (to much) vibrating / rumbling / booming than crispy, fresh and defined. I found that this is not a defect but how these monitors really are, as I could listen to another pair of MB-15s. Also the stand, filled with sand and the low-filter of the MB-15s make things only slightly better (also because it’s not possible to point out an tune specific problematic frequencies).

My main concern is not to have a “mega bass” being top of the line in reproducing all the lows down do 20 Hz, but I expect a – as I said – crispy, clear and defined bass (even if it goes down to “only” 35 Hz) that also reproduce the wood of the instruments (e.g. I love Contrabass in Jazz.Music). That second thing alone the MB would do o.k., however with this rumbling, booming etc.

Sure, my room has not the best acoustic and has a size of 20m2 only. Therefore I don’t respect the best results. Still: also under the mentioned circumstances the phenomenon is with it’s distinct tendency unusual and not tolerable. Above that it frustrates me quite a lot.

So I tried to learn something about that phenomenon in some forums (gearslutz and others).
I read, that other people in acoustically better and bigger rooms have or had the same problem with these monitors too. It was also mentioned, that they have a hole between the mid and high frequencies (due to the difference in size between the HF- and the LF-Drivers and therefore nothing especially unusual). I anyway don’t care about that point, because I have not a problem with the BM-15s midds and highs.

The most important posts on the described phenomenon are the following ones:
1. The BM-15 has a weakness between 150 and 400Hz. Could this – beside the frequencies between 35 and 100Hz, which I guess could be the real problem – be also a part of the reason?
And two times I read that
2. The BM-15 really needs a lot of constant power. But they say, the built in amplifier of the active version has not the necessary quality/power the speaker needs. So it would be much better to buy the passive version and a good and strong separate amplifier.

Well, but now I still have the active version and I don’t know whether I can give them back (even though I buyed them only one week ago). If I can’t give them back:
Please HELP!!! What can I do???

Different possible solutions:

A. A good analog equalizer for studio/mixing and musiclistening

B. Analog preamp with EQ, Low filters… for the musiclistening. I would connect it then to an MP-3 Dock (which I haven’t yet) and – over an interface – to my macbook (playing wav and apple lossless files).

C. Digital devices such as Interfaces, Processors etc. for musiclistening. Then I’d connect it to my Mac and my future MP3-Dock digitally (over crossing the internal DAC of the player). Of course the device then should have really good DACs and a good digital EQ.

D. Room- / Tone-Correcting-Systems (e.g. KRK Ergo)

There are quite different opinions concerning these solutions. There are people pretending that even analog EQs make things worse or just don’t help.
Others say, these are antiquated ideas and attitudes and that an EQ can do a good job without raping or changing the signal except there, where it’s intended.
On digital equalizers etc. and especially Room Correctors people are even more critical. Most of the time, the results were not satisfying or often even bad or worse than it was before the correction. And - especially room correctors - are often said to be complicated and that It would take a long time to find out how these devices really work and/or to find the right adjustments (contrary to what the manufacturers usually promise). And that’s what people say who have more or much more experience and know more about studio technique than I do.
But nevertheless there are not few people saying, this was an old idea and attitude and that these kind of tools nowadays – even if they don’t work miracles – can be quite useful and could bring a hearable improvement.

As I said, I normally prefer simple solutions. And I have already spent not little money for the monitors themselves and really didn’t expect some further costs.
That means the solution(s) should be
1. not to complicated, and
2. not to expencive

A dealer told me for example that the Behringer Ultra Curve Pro DEQ 2496 was a good and useful (even efficient) device and in the meantime to be found in not few professional studios (even though many of them don’t like to admit it). And it is quite low priced. I know that the expensive stuff is not always the best and stuff with a reasonable price can be very good.
But still: Can this be? So cheap (some 400 ds) and still so good?

For the already mentioned solutions (without the costs for an MP-3-Dock) I’d be willing to spend up to 1’000 maybe 1’500 ds . If the devices cost more, I’d had to look around for them in the secondhand market.

There is one last option, I’d even be willing to pay more for

E) a subwoofer (although I’m normaly not a downright subfan)

Of course it should – in contrary to the amplifier(s) in the BM-15a – have enough constant/stable power and a precise/stable frequenzy response without holes. It should fit my monitors well, take over the frequencies where the BM-15a have problems to reproduce and transmit only what’s over 60, 80, 100 or 120 Hz (preferably selectable) to the BM-15. If everything fitted very well, in the best of all cases, other correction equipment would be absolutely unnecessary. Could it then even be better as a couple of passive MB-15s with a good amplifier?

Objections and misgivings concerning the sub-solution:

By now I often had the impression, that subs tend to bring along a certain “unnatural sound” respectively an “unnatural or strange” spaciousness. Is it possible to avoid that using TWO subs?

What about the size and power of a sub? Very powerful very low frequencies can cause problems especially in not so big rooms. I don’t want to even have an additional problem, which then has nothing to do with the amplifier/monitor anymore at all.
And as I’m not looking for a megabass anyway, a sub with a 10” driver – same size as the LF driver of the MB-15 – could maybe do it.

At a first glance the two models of Dynaudio seem ideal. Same manufacturer, type and Dynaudio pretends the subs were geared for their MB monitor series:
- BMS9 und BX. Or is the BX to big/strong?

But: If in the MB-15s the problem is the amplifier, couldn’t it be, that there is also the same problem in the active subs from Dynaudio? Maybe a sub from another manufacturer?

If a sub was the solution, which wouldn’t only clearly diminish the problems but even outperform passive MB15s with a good amplifier (maybe in connection with a good and simple analog EQ or so), I’d be willing to pay 2’000.- or more for that solution.

You see, I’m quite helpless.

Therefore I’d be really glad about your opinions and advice

ur’s bluevoice

$15,000 in outboard gear, or one desk?

Woodwindy — Fri, 17 May 2013 17:22:33 GMT

This is a question that I raised in a related post that I felt might derail the OP's question, so I'm breaking it out here:
Using the Audient 4816 as an example, is it smarter for most people to get a product like this with 16 pre's, EQ's, monitoring, etc. than buying all dedicated components? Is the sound that inferior, or that much less flexible? I honestly don't know the answer, even though I've purchased separate pre's, etc. myself. It certainly, from a purely economic standpoint, blows buying separate components out of the water.
Can anyone with specific experience address this? Please keep the discussion to purchasing new gear only, not used.
Looking forward to your experiences!

Using mastering speakers for mixing

dietrich10 — Fri, 17 May 2013 12:00:19 GMT

I master on a pair of Tyler D1 now and putting my 2nd mixing/synth production room back together again.

Dug through similar postings here-time for fresh thread.

Tyler Linbrooks are used for mixing. Not sure if the MM5 would work with the abuse of analog kick drums constantly at different volumes.

D

Who's using 2-slot 500 series frames?

Aphex Tech — Thu, 16 May 2013 20:12:16 GMT

How many of you are using 2-slot receiving frames like the A-Designs 500HR?
A Designs 500 HR Rack | Sweetwater.com
How are you using them?
Record with a mic pre and compressor?
As a stereo EQ or compressor?
Stereo recording with two mic pres?

Neve 8816/8804 Questions?

SDB_12 — Thu, 16 May 2013 18:44:02 GMT

Looking at possible future upgrade ideas...and am curious about using the 8816/8804 combination for both recording and mixing in the studio.

The biggest dilemma for me, is that I love mixing with analog gear, but also love the recall and flexibility of digital (don't we all). So, I really like the idea of having a total recall system for mixing, and would love to use the Neve option in conjunction with X-Rack Eq's or something, for a total analog mixing solution with recall.

Anyways, for the RECORDING side of things...I see that with the combination of 8816/8804 you get direct outs. That's great...so I'm assuming that I could run mic pre's into the ins of the 8816, and then send to the DAW with the direct outs...just like a console?

Does the 8816/8804 have inserts on EACH channel for processing of each track?

Are the cue sends stereo, or just mono? How are you guys using yours for mixing/sending effects in the analog domain?

More questions may arise...

Thanks!

Slate Dragon - My experience

K. Osborne — Thu, 16 May 2013 17:34:31 GMT

Hey friends -

just picked up a Slate Dragon "Analog Dynamics Processor" recently. Got in on VK and I've been messing with it a lot. Thought I would share some thoughts. Obviously it's a halfway to an 1176 knockoff but with added features. I've only used blackface 1176s, so I don't know how it compares to a silver face or Revision E/F/ whatever!

PROS:

-In general, sounds good on almost everything.
-Having 1:1 and 2:1 ratios really gives more flexibility.
-Dry Mix knob is PRICELESS. (I Love parallel compression on so many things)
-Good build quality.
-The EQ switches ("Sheen", "Bite", "Boom") are subtle and very useful.

CONS:

-Unit is REALLY touchy. Extremely sensitive to little tiny changes (maybe it's just me but I've never used an 1176 this touchy). Good and bad.

-Can be a little noisy at high output levels (but so can a lot of gear)

-High pass detector is cool, but isn't super effective. Must be a really gentle slope.

-"Squish" mode aka "All Buttons In" doesn't really do it for me. It's okay but it doesn't really sound like all buttons in to me. Close, but no cigar.

MEH (aka, neutral thoughts) -

-Seems cleaner than a lot of 1176s I've used (again, good and bad). Can't decide.

-The infamous "dragon" logo in the background is VERY hard to see in my studio lighting. Which is good, because it looks stupid. haha.

-The switches are a little confusing because they flip left to right, but the words are underneath them. They also don't mention this in the manual. Obviously you can hear it in action, so you know which way is on, but still, just the principle of the thing.

-The attack and release knobs are reverse of an 1176 (which is reverse to most compressors). But because I view this as an 1176 type compressor, I want to adjust the knobs like an 1176 (ie fast attack is to the right - on the Dragon it's to the left).

Overall - the sound is GREAT. When you run a vocal, bass, guitar, or drum through this thing it just rocks. I mean, has that classic sound, but like I said, a little cleaner, more hifi, which is great for modern music. The EQ switches sound really nice and can do wonders on the front end to add that little bit of extra tone. I love being able to do parallel compression with an 1176 style compressor in analog domain - makes life so much easier. SWEET on vocal, SWEET on bass. The pros definitely outweigh the cons. I don't think Steven designed this to be a "clone" by any means, so most of my 1176 references are irrelevant. Point is, it sounds great.

KUDOS Steven!

First experience with tube preamp and tube opto compressor

bigsbyman — Thu, 16 May 2013 15:42:01 GMT

I briefly played around with the recent additions to my control room, a pair of those Peavey/AMR VMP2 preamps and a VCL tube opto compressor. It was the first time I recorded my voice through that signal chain. I used a simple Beta 58 (all that was handy), and fiddled with the controls while singing. What a sweet, warm, soft sound! I loved the warm compression of the tube-based optical circuit. I reminded me of Sheryl Crow's vocals, and made me wonder what a U87 would sound like through that chain, with a Distressor at the end to add a little crispness.

Does it make any sense to add a Distressor after a tube-based optical compressor to add a little edge to the warm/soft vocals? Alternatively I could use a plug-in to add a little grind.

Neutrik NPPA-TT-IDC 96 Patchbay

jinksdingo — Thu, 16 May 2013 12:13:29 GMT

Hi guys I am selling my Neutrik Patchbay on ebay and thought you might not want to miss out on it.
This is the link if your interested
Patchbay Neutrik Nppa TT IDC 96 | eBay

Best Stereo hardware stereo spreader

aramism — Thu, 16 May 2013 03:02:51 GMT

What is the best, or some of the best (regardless of cost) hardware stereo enhancement units??

this is ONLY for mix buss application for printing a mix with some stereo width prior to shipping it to mastering. currently i sometimes use a waves S1 with very light 1.05 widening to the whole mix but want something hardware instead of using the plug.

fyi S1 currently sits on the 2 track return insert of the whole mix coming back into PT (i have analog summing/comp/eq chain). i'm looking for the hardware to be in the end of the hardware chain before it comes back as a 2track into PT.

PS - please no comments or arguments over ITB vs OTB or whatever else happens sometimes with topics like these. That can be a separate topic not pertaining to this.

Question for NYC engineers/producers. . .

bushwick — Wed, 15 May 2013 22:36:15 GMT

Are there any of you in need of having a place to work, as in your own production room that is attached to a larger recording studio in Manhattan? I am envisioning a scenario like this: You have a monthly rental for a private space that is about 200-250 sq ft that you can park your gear in, located in Tribeca, and as a bonus, you would have access to a superbly built recording studio with all the gear you'd pretty much ever want to use, and would get a reduced rate of the main space for being part of the environment. There is/was another studio that did something like this in Manhattan called The Engine room. I am thinking of something along those lines but with a much, much better main studio, and probably bigger private suites.

Thinking out loud in the community here. Any interest in a plan like this?

If you see me trying to sell another Symphony...

Johnkenn — Wed, 15 May 2013 19:39:58 GMT

just kick me in the nuts...

I can't totally blame myself...I had good intentions to scale down...Sold my Sta-Level, Symphony and other stuff to free up some money...Thought I would scale down and buy an Apollo to cover everything considering the current mayhem of the "music industry"...

Then, Jeff Steiger came over and I had to hear his damn preamps...damnit. Then I desperately missed my Sta-Level...Then I tried mixing some stuff on the Apollo - not that it's all terrible or anything...Then I recorded some stuff into the Apollo...Then I sold the Apollo...Bought another Sta-Level, a CAPI VP528 Missing Link and waiting on a Wally Heider 312...and now finally, another Symphony. (Got an 8x8 for $2K though!)

After listening to this thing for about an hour...well - if I try and sell it again, somebody just kick me in the nuts.

K&H o410 Discovery

Mozart — Wed, 15 May 2013 17:24:48 GMT

HI,

Today, I was checking polarity response on all of my monitors in my control room.

This is what I did:

I have Cricket system and did check all of my speakers to confirm the polarity.

On the K&H o410, I noticed that the low freq speaker is in phase, but the Mid driver and High driver are out of phase?!?!

Is that normal for them?

Can somebody who has them confirm that?

Really strange....

Thanks,

Product Development: Pultec-style EQP1A + MEQ5 in one box

harrypurser — Wed, 15 May 2013 16:08:27 GMT

Apologies if this is in the wrong section.

I am co-designing a discrete inductor-based mix/mastering stereo EQ based on the two major Pultec models (EQP-1A/MEQ5). However, it would NOT be a 'clone', just similar in terms of controls. For example, we'd have 250 and 400 mid-cut options, and also selectable LPF and HPF.

We want that oxymoronic 'clean but vibey' thing, so would go for a transformerless design. Tube gain-stages. PSU in separate box. Stepped controls, natch.

Anyway, we're considering whether to make this as a commercial prototype, so my questions are:

1) Does this sound like a useful product to you?

2) Are there any features you'd want to see? (e.g., particular EQ/filter frequencies, switchable tube/solid state gain-stages)

LA610 or ADL600 for new tube preamp

Janesaid2me — Wed, 15 May 2013 14:48:48 GMT

Dont have a tube preamp...sold my art mpa...miss it...want a higher end tube pre...:)

Saved up about 1200 which seems like i could snag a used la610 for <1000 and a used adl600 for about 1200-1300 if timing is right.

I dont need the extra preamp channel per say of the adl
I dont need the compressor or the eq of the la610 per say
So both a extra bonus features of these units at this point to me...

Question is how do the preamps compare side by side....does one blow the other away....seems like the adl is cleaner and the 610 is darker from what ive read....havent been able to get my hands on either to physically try myself.

Any thoughts would be great here....thanks guys!
Open to other options but really would like to hear peoples thoughts on these two especially if youve owned both side by side.

Placing a bid on a Neve broadcasting console

Tobb — Wed, 15 May 2013 10:43:09 GMT

Hi. Im thinking about placing a bid on an old 24ch Neve broadcasting console built for BBC. I don't know how old it is, only that the seller calls it a "general purpose mark iv", but I couldn't find much on that.
Condition seems good and the master section and PSUs have been refurbished (though I don't know when).

I have no idea what is a reasonable price for this console but I'm guessing around 30k €. I'm grateful for any input at all on this, however. It's a big decision but I think this console could be right for us.

Attached Thumbnails

Benchmark DAC2 hgc versus ...

Yannick — Wed, 15 May 2013 09:30:00 GMT

I was shopping for a new DAC (not really, just looking around if there was already something better than our trustworthy DAC1s, for a sane budget), and I got to listen to the Benchmark DAC2.

In short: it is simply amazing. Think of a DAC1, then think cleaner, more natural, beautiful high end instead of the harshness of the DAC1.
I never heard a DAC in the same price class that completely beats the DAC1 in every domain. The DAC2 just sounds so natural, it is scary.

I organized a little comparison with:
1. DAC1
2. DAC2 hgc
3. Gracedesign M903
4. Weiss dac202
5. Bricasti M1
6. Bryston BDA-2

The Benchmarkmedia DAC2 completely surpassed everything on the list (!), except the Bryston BDA-2, which was extremely close (but no headphone output, no volume control).
The Bricasti M1 was also close, on one of the plenty filter settings. On almost all linear filter settings it was plain and simply surpassed by the Bench DAC2 !

Egret Owners?

Albini — Wed, 15 May 2013 09:22:55 GMT

I'm not seeing much chatter on the Egret which seem like an incredible box when you look at all the features it has crammed into it (I don't even want to attempt to list them all because there are so many).

It has been a couple years since the last Egret thread so I'm sure there has got to be more slutz with it now, right? One thing I found weird is that there are a lot of Crane Song dealers that don't even list it our their website. What gives?

I'm in the market for a DAC and I have been also looking at summing boxes so why not kill two birds with one big ass stone?

Opinions of Egret please!

Is this Preamp List missing anything?

Joshua Wise — Wed, 15 May 2013 05:16:12 GMT

So I have a $17,000 budget to get 16 channels of high quality preamps for my new setup. I wanted different colors and options, but all pres have to be the highest quality. I wanted some APIs, some Neves, some clean pres, some tubes, and some mojo pres.

After many hours of listening to pres from different sources, budgeting, and researching, I think I've finally found a really solid list for my 16 channels. It should all come out to about $14,600, so I'm under budget, which is good, but I just wanna make sure I'm not forgetting any essential (or just very convenient/awesome) flavors of preamps. Another question I'm after: are all these preamps in the same class? (i.e. Will they mix well together?)

For the 500 series pres that have rack-mount twins, I've put their twin in [brackets]

Here's my list:

2x Grace Designs m501 [analogous to m101]
2x Great River MP-500NV [analogous to ME-1NV]
1x BAE 1073MP Dual Channel
2x Classic API VP312
2x Classic API VP26
1x Chandler Limited Germ 500 MKII [analogous to Germanium preamp]
1x Chandler Limited Little Devil Preamp
2x LaChapell Audio Model 583s
1x Universal Audio LA-610 (modded with ECC82 tubes)
1x Mercury M72S/1 MKIII

I just want people's feedback before purchasing 14k worth of preamps. And yes, I know that this is just a forum, and I know how to evaluate and value things I read on the internet.

So, please feel free to give comments/suggestions/feedback! Thanks!

Song mixed through Midas Venice f32 and Burl Mothership

htrisna — Tue, 14 May 2013 23:58:38 GMT

This is a 44.1kHz 24 bit song I mixed for a recent Gospel client. This song is playing through Burl Mothership 32 channel outs into Midas Venice f32 console with Manley Mini Massive, API 2500, Distressors on Master Bus Insert. One is tracked back through Burl inputs to ProTools, the other is the result of being tracked through 32 channels of Firewire from F32 to ProTools, then mixed down through the same chain back to Firewire from F32 to ProTools.

So hopefully this helps those who wants to hear exactly what tracking with the Midas F32 converters sound like. Of Course I prefer the Burl, but they do differ immensely in cost. You can be your own judge on whether this console is a good route for you to take.

https://soundcloud.com/haniel-trisna...ixed-down-with

Want to buy - api 7600

A.Rousso — Tue, 14 May 2013 21:03:36 GMT

Hey guys,

Looking to buy multiple API 7600 units. Get in touch if you, or anyone you know, is selling.

Thanks

U47 FET lost all its top end

Bedlam Sound — Tue, 14 May 2013 20:02:15 GMT

Hi there.

Recently tried using my studios Neumann U47 FET on vocals for the first time, however found it had virtually no top end, almost as if I had put a low pass filter on it. The mic sounds very muddy and no matter how I eq I can't seem to get much top end out of it. Anyone any ideas as to what may have happened? Would a stretched diaphragm cause this?

Thanks.

Cranesong Hedd or Burl B2 for mastering deck

cowboycoalminer — Tue, 14 May 2013 19:39:39 GMT

I'm looking for a bit more mojo for a catch converter. It will mostly be used to record the buss mix from a console but may be used for one shoting as well. I've read a lot about both but would like some feedback from users of one or both. I've even considered a DSD deck but would prefer to stay PCM. Any input would be greatly appreciated.

Next compressor purchase?

bigsbyman — Tue, 14 May 2013 17:19:56 GMT

I'm building a studio, and wonder what advice y'all would give on this topic. I bought a few compressors:

(4) dBX 160A, Distressor w/Brit mode, Urei 1176LN (F), AMS/PV VC/L-2 (2-channel tube compressor/limiter), & an RNC. My Neve console has a limiter on each channel. I think I have a good base of the necessary compressor types. Which compressor should I buy next? I'd like to have two Distressors, two 1176's and an LA2A. Should I pursue that goal, or am I missing something crucial and obvious to everyone but me?

avid i/0,forsell MADC-2

reymusic — Tue, 14 May 2013 04:38:24 GMT

having both units avid 8x8x8 i/0 and forsell MADC-2 along with PT10 witch unit you suggest for the master clock?
Thanks

Favourite EQ with a Chandler TG2?

Mild — Tue, 14 May 2013 00:17:57 GMT

I'm looking to get a hardware EQ (and a tracking comp eventually too!) to pair up with this beast. I've almost been tempted to trade the TG2 in for the TG channel - but I like having the 2 channels for dual mic / acoustics / etc. It's useful enough (to me) to warrant building around it - plus it's great having the TG2 around for running my (rough) mixes through at the end.

What have people liked paired with it? Are there any EQ's that would get me in the direction of the EMI board / TG Channel? Should I bother going stereo? Or is it better to have two different types of EQ?

I'd love any opinions from the Chandler faithful. Thanks for your time! freshflowe

rosetta 200,symphony i/0 ,forsell or burl?

reymusic — Tue, 14 May 2013 00:06:09 GMT

Im looking for the best 2 channel converter for my master bus..I have the rosetta 200 and was thinking about the symphony 2x6/forsell/burl..witch one you guys think would give me a fat and clear sound..the rosetta sounds very good but im looking for something better..thanks

RME Multiface issues... Looking for similar or higher quality audio interfaces?

archfrenemy — Mon, 13 May 2013 19:19:21 GMT

Here is the deal...

I have been using this RME Multiface / PMCIA cardbus for over a decade and 5 operating systems now. There have always been a few driver / software issues here and there, but recently the tech support portion of working in my studio has become a full time job. I would be looking at another RME because I am extremely happy with the sound and build quality, but these Cubase driver issues seem to be equally prevalent in the newer models. So if I can't get my Multiface working then RME interfaces are out all together. What is there around the same price range that is equal or better?

REQUIREMENTS...
I am running Cubase 7.03 on Windows 8 and recording audio @ 88.2k / 24 bit.

I also set my analog inputs to +19 instead of +4 in order to allow for more digital headroom when pushing my preamps to high gain. Compatibility with high gain gear is a must.

A minimum of 4 in 4 out - 1/4" balanced connections are needed. Currently use an 8x8 - 1/4" balanced, which would be preferred. Anything over 8 is kind of overkill, but I could go up to 16 for the right unit.

I am looking for rock solid timing, great sound and no hassle compatibility. I don't plan on changing any of these requirements, so please don't write "buy a Mac and get PT".

AVOIDING...
I am not interested in interfaces with on-board preamps as I have high end outboard gear.

Ideally I would like a lower profile design or rack mount interface, with the possible exception of an analog desk that has decent (bypass-able) preamps and a musical EQ. (Possibly like the A&H Zed R16 if the converter quality is there) I have a 16 channel Mackie mixer that I currently only use to audition instruments in the mix. Having everything ready to record in my board could be a massive time saver...

I am running a Laptop PC, so the connection needs to be something like FireWire / USB / Cardbus. The lower the CPU impact the better.

I don't need it to do midi as well since I have a MOTU MTP AV to handle those duties.

SUMMARY...
General background is that I will be small room recording a ton of different acoustic instruments, electric guitar / bass, synth, vocals, strange sounds, etc. (basically everything but a full acoustic drum set, for now...) By the way, the studio is fully equip when it comes to having good room treatment, mics, pres, comps, EQ, monitors, instruments, connections, all that jazz. Just in case you were wondering if converter quality was worth worrying about. I also mix and master some of these recordings. Mostly ITB work, but there will be multiple A/D and D/A conversions to get my mix through that hardware. Wow that was long.

Vac Rac TSL3/4 NOS valves?

YOHAMI — Mon, 13 May 2013 14:53:49 GMT

Hi, I need new valves for my TSL3, since one of them went dead.

Does anyone here have the TSL4 with the new NOS tubes? should I use the NOS tubes... should I get something else... also I don't see these replacement valves being sold anywhere?

Any advice is appreciated!

Optical converter options for Symphony optical ins

lunar151 — Mon, 13 May 2013 14:41:48 GMT

I have a Symphony with the old school 8x8 module that just has the 8x8 analog, spdif in/out and optical, no aes like the new one. Im tracking drums, Im running 10 tracks, because I have a Burl ADC going into the spdif. I would love to have a couple more channels at my disposal for additional room mics and such. I was thinking of getting a another 8x8 card but I forgot about the optical in, what are my options for optical?

Thanks,

Nate

SSL vs Serpent vs Obsidian 2-Buss Comp

Aeroplane — Mon, 13 May 2013 10:06:37 GMT

Hi,

This has been discussed many times but I feel there is new stuff on the table.
I need one of those and wanted to know your opinion on the following.

- SSL just released the G-Comp for 500 series, it seems to be the obvious choice.It is priced quite high, which is not really the problem but I can't understand why the hell they changed the release times of a compressor that's been around for 40 years ?

- Obsidian is apparently people's favourite, it doesn't seem there is anything bad to say about it, except it is also pricey.

- Serpent Audio just released a 500 Series SSL inspired compressor for half the price of the two above. I haven't heard it and I'm looking for someone who could talk about it ? It does also have a DRY/WET option ( unseen on any SSL comp, except on something like Cytomic's The Glue plugin ) and manually adjustable release time ( much like on an API 2500 ) so a lot of things on his side !

Pretty much trying to find out if I drop the money in the real SSL stuff, or if with progress in the the 500 format I'll be fine with spending half the money on the Serpent Audio. OR Dramstic is just the best SSL comp out there.

Thx !!

500 series to mix or not to mix

Naurashaun — Mon, 13 May 2013 10:02:59 GMT

Hi fellow gearslutz I would really appreciate your input and help, thanks.
Basically I own a decent collection of vintage and new gear but all Is either console, custom racks or 19inch racks. I don't own and I've never used 500 series modules but they really appeal to me!
So my question is

Your opinions of 500 series format modules and if they hold up to 19 inch gear?
Does 500series excel at say eq's and pres but not compressors?
And some of your favourite 500 series gear?

Thanks alot guys I look forward to hearing from you!
(my first thread if I screwed it up I'm sorry)

Eventide H3000 Reverb

elasticc — Sun, 12 May 2013 16:09:20 GMT

Hi,

I am looking at getting the Eventide H3000 plugin, but i was wondering what reverb was used in the hardware H3000 version (new or old)?
Was it the same as the black hole?

As the plugin version doesnt have reverb, i was thinking if the original did have the black hole reverb then i would buy that too and run that into the H3000.

just an idea, any help would be great,

Thanks

Add another AEA R92 for drum recording?

ThomasWho — Sun, 12 May 2013 12:14:28 GMT

Hi guys,

I have an AEA R92 that I like, I`m wondering if I should get a second one for a stereo pair. Main use for the pair would be drums recording-

Anybody tried R92 on Overhead and Room ?

I`m going to try my single R92 on drums soon, haven`t had the chance since I got it. Just looking for some feedback from guys who might have done it.

I`m thinking Ribbon since I`m sick of that high freq sizzle I seem to get from condensers. I`m using a lot of dynamics on other instruments in my productions, so I think ribbon on drums would fit well.

Thanks!

Thomas

How to evaluate an EMT 140 plate reverb?

jtienhaara — Sun, 12 May 2013 06:07:36 GMT

This line of questioning might switch to the Geekslutz forum as I find out more but...

I've contacted someone who has an EMT 140 which "needs to be rebuilt". The plate is apparently fine, and "the buffer" is fine -- though I'm not sure if "the buffer" refers to the springs, or electronics??? In any case I would like to start my plate reverb education right now.

What kinds of issues are common with old, delapidated plate reverbs? What kinds of issues are cheap to fix, and which ones are costly? What are the most important things I should I be asking about and looking for?

I'd also appreciate hearing about the differences in EMT 140 models (mono, stereo, tube, solid state, how many versions were there?).

Please school me GearSlutz!

Johann

Fast microphone with lots of detail

Ryan Gregory — Sun, 12 May 2013 02:39:43 GMT

I'm trying to find a fast mic with lots of detail, and good high end for my own voice. With most mics, I end up reducing quite a bit around 350-500 Hz, and I never have a problem getting enough "body" in the sound.
Most people talk about "warm" and "smooth" sounding mics in a very positive way, and though they are great on most vocals, they aren't great on me. I've had good results with many mics that are largely panned on this site- U87ai, C414XLS, and TLM103, to name a few.
On the other hand, most of the tube mics I've used were less suitable, such as my reference C, sterling tube mics, etc.
So it seems like a solid state mic would be the best choice to add to my locker, and I'm looking for fast transient response, detail, and clarity. I don't mind color as long as it's not boosting the low mids.
Should I be thinking Brauner, Gefell UMT70, Bock iFet? Any of these are feasible. Is there something I'm missing that will blow my mind?

Bricasti M7..... What's your go to setting for....

JeromeMason — Sat, 11 May 2013 23:24:39 GMT

Hey guys, just wondering which setting everyone seems to be using these days.... I know I have the go to's in my 480 that I was brought up on using, but the M7 just sounds so good. I really want to start using it more. I havn't had a chance to really put it on something that would go on radio but I know some of you have.

There are a few I like but was wondering which ones some of you guys have found to be great in translating to radio and which ones seem to work out the best.

I'm mainly looking for drums on this one but if you know some good vocal and instrument ones to use shout them out too! I mainly mix country and contemporary christian stuff. These days though it kind of all seems to flow together anyways.

Thanks!

TR-909 Repair in Los Angeles, CA

stevedemena — Sat, 11 May 2013 23:15:04 GMT

Hi,

Can anyone recommend a good place to take my Roland TR-909 drum machine in for repair. I sold it on eBay and it seems to have some issues. V1 ROM.

Shift key works intermittently
Bank II won't erase and has some strange patterns in it, as if it has "a mind of its own"
Possibly won't respond to MIDI IN data (to be verified)

Thanks. If there are no repair places in Los Angeles I'm open to other US locations. But I'd prefer to save shipping and be able to bring it in and talk to a real person.

Thanks in advance.

Daking Consoles: Still out there?

Steve Phoenix — Sat, 11 May 2013 23:01:07 GMT

Hi everyone.

I was checking out Daking stuff recently (namely their consoles) and upon visiting the Daking website, I found nothing on any consoles being made. Is Daking still in the console-making business or are they only building outboard? How would you describe their sonic characteristics compared to, say, vintage Neves or APIs?

Bass tracking: 1073 vs 1081

KIDBILL — Sat, 11 May 2013 11:19:24 GMT

Which pre would you take if you have the choice to track bass? (mostly precision bass/Ampeg)

Which one is this mic?

jackps2 — Sat, 11 May 2013 10:25:37 GMT

Dunno if this is high or low end, searched a bit, only thing similar I could find was the Violet Design mics, but i'm not quite sure, any help?

Attached Thumbnails

The Deep bass and converters DA only

SmooveG — Sat, 11 May 2013 03:34:24 GMT

Which converter best represents that low octave that seems to be reserved for nice home speakers and subs.
SSL Alpha Link..original
SSL mx...does it go deeper than the previous or
Orion.

My USBPre2 does it but can the multichannels hang?:lol:

What Effect is Dave Grohl Using on his Voice?

JamesClark1991 — Fri, 10 May 2013 23:15:59 GMT

Just found this Foo Fighters track on Youtube and whilst listening to Dave's vocals in-particular I was wondering what effect/technique he might have used to achieve that vocal sound.

https://www.youtube.com/watch?v=BF8JGFgQI_E

Dry vocals from 00:00 - 00:36
Wet vocals from 00:36 onwards

There's some obvious reverb on them and even some harmony vocals at points. But his voice has this weird auto-tune'y sound to it, it's subtle and almost sounds like double tracking (but it's not). I'm not exactly sure what it is.

Was just wondering if anyone more experienced than me could identify what the effect might be.

EQ Dilemma

Drummer Dude — Fri, 10 May 2013 19:31:12 GMT

Hello fellow GS fiends and friends.
Can anyone recommend any EQs that could double as a "Mixing EQ" and a "Mastering EQ"?

I do know there's a difference between these two types of EQs.I can only afford two channels right now. I'm just looking to make the best use out of two channels.
Thoughts on using a "Mixing EQ" for mastering? Thoughts on using a "Mastering EQ" for mixing?

My price range is $1,200-$1,500 a channel.

Thanks

AWTAC Awesome Channels

noah90210 — Fri, 10 May 2013 15:28:08 GMT

I just got a pair of these which I'm currently using in a passive summing scenario utilizing their mix bus feature with a Purple Audio Sweet 10.
They sound amazing.
I have no vested interest in the company, I'm just blown away by the sound of them so far.
Dave, the president of the company, has been great to communicate with and very supportive.

I'll post more when I use them for more stuff as I don't see much written about them yet.

So far quite impressed.

Thanks Dave

Toft/Trident A range Reissue Owners?

Albini — Fri, 10 May 2013 11:54:40 GMT

I have an interest in the Trident A Range reissue. I was wondering if any owners could chime in or give their opinion of the Trident Reissue vs Daking.

They claim the Trident reissue is an accurate reproduction but is it really? It looks like its all on a PCB. I would imagine an original A Range would have been hand wired.

How does it compare to a Daking and does it justify the price difference?

Thanks!

TapeHeads Enter- Vocals recorded onto 2 inch tape vs. ProTools- Practical or Novelty?

Realigion — Fri, 10 May 2013 01:03:27 GMT

For people experienced in using tape, how would explain the discernible difference between the two and is there place for it in modern music (vocals being recorded to tape) or would it just be novelty?

X48 trouble

argyleworks — Fri, 10 May 2013 00:06:31 GMT

Hello All,

Help!! I am using an X48 for show tracks. This thing crashed a few times. lately, it would stop and give out a "BEEEP!!!"

Reboot and would work fine. Thing is, it's getting frequent and was just lucky it happens on rehearsals. I then went to downloaded the latest fimware...
I tried to run the show that crashes over and over and over. Went fine. Next day I loaded the show... It won't even play.grrr

Help!!

UK Music Survey of Studios & Music Producers

The Press Desk at Gearslutz.com — Thu, 09 May 2013 22:22:14 GMT

Music Studios and Record Producers are integral to the music industry. The music industry is a key growth sector of the UK economy. This importance needs to be measured, documented, and celebrated.

UK Music, of which MPG is a member, is setting out to do just that in an ambitious research programme. UK Music is measuring each component part of the music industry to come up with the most comprehensive economic assessment ever undertaken. The research will show how much the music industry contributes to the UK's economy in terms of jobs, exports, and GDP.

This report will be presented to Government and published in the press later this year.

Please take the time to fill in this very short survey: YOUR VIEWS ARE IMPORTANT!!!

QuickSurveys

The information gathered will remain completely anonymous and all data will be officially aggregated.

Please note: Once you’ve clicked NEXT at the bottom of the page, your answers will be submitted and you won’t be able to return to the survey.

Many thanks in advance for all your time – this is a very important process for us all.

Best wishes
Mark Rose
MPG

Cathy Koester
UK Music Office

alternatives to Ditton 66

richgilb — Thu, 09 May 2013 21:24:41 GMT

Are there any cheaper unsung heroes from the past with big cones like the Celestion Ditton 66? I have been trying to get a pair for some time now but my head won't let me pay more than £650. They can go for over £1000 easily now.

Trident HG3 vs Focal Twin6 be

kingrhythm — Thu, 09 May 2013 16:03:47 GMT

Has anybody been lucky enough to hear both and could do a compare/ contrast for me?

I've been using my mackie hr824s for about 12 years and it's time to move on.

Thanks!

Comparing Converter Quality of UAD Apollo 16, Lynx Aurora and Apogee Symphony

R_Muskus — Thu, 09 May 2013 15:47:24 GMT

Hello everyone!

I'm looking for more info on A/D converters and I'm hoping to create a thread that deals with them specifically straying away from talk about pres etc.

I'll be upgrading my personal production rig soon. I'm looking at UAD Apollo 16 (which will be out soon) and the Apogee Symphony 16 analog i/o.

I'm straying away from the Lynx because I would have to get a summing/monitoring box with it in order to get the same zero latency setup that Symphony and Apollo software provide. I've read the Apollo software is better than the Symphony.

The UAD is most cost effective for me seeing that it comes with their DSP and classic plug-ins, but I'm not so sure I wanna sacrifice sound/converter quality in order to get xtra stuff.

I've checked some threads and people mostly talk about the pres on the Apollo Duo/Quad and not really the converter quality. The Apollo 16 does not have pres (which i dont need anyway).

I've read the Symphony is a bit rolled off on top with tighter lows and the Apollo is comparable to the Lynx Aurora which is very transparent. For me I would think transparency is what I would want if I've spent $ on good mic pres. Why would I want to alter their tone at the converter stage?

Anyways, what this all comes down to is converter quality. If the UAD converters are actually as good as the Lynx then the UAD is my choice.

Has anyone in here had the opportunity to compare these converters?

Neve 1073lb and 500HR Rack

Slikjmuzik — Thu, 09 May 2013 12:26:54 GMT

Anybody figure out a way to use the 1073LB with the 500HR 2sp rack by Adesigns? Apparently it doesn't fit due to the output transformer. I'm wanting to just shave the lip of the rack so I can get it in.

Bad idea?

All in all, I'm looking for THE preamp to use in my studio. So far it's been either a Vintech 1272 or my Burl. They are fine, but I have to unplug my snake from behind to make it work or use an XLR patchbay in order to track in the control room easily. The 1073LB would solve this, but I'm told that the guys using it with the 500HR had to shave a bit of the output transformer with a file in order to make it work. Obviously this is not recommended, so I was thinking to somehow alter the actual rack itself. I don't want to get a Lunchbox as that would have to sit on top.

The other option is to get a BAE 1073MP. I wouldn't need the PSU as I already have a 10dc which can power both just fine. Only problem is I'd be back to unplugging to track in the control room AND let's face, there's a part of me that really just wants the transformers that say 'made exclusively for Neve' on them. I know, that parts petty, but it would also look better on my gearlist saying AMS Neve 1073LB.

Any thoughts slutz?

Help Choosing a 16 ch A/D converter! Apogee Lynx PT HD Help!

CodyAMusic — Thu, 09 May 2013 04:13:10 GMT

Okay, first of all, this is my first post after years upon years of voyeurism on this site.. So HI!

Firstly, I don't want to get off-topic here and talk about all of the other ways my setup could be improved because I have very specific needs from this particular rig and in this post I'd like to address the A/D conversion element ONLY.

This setup is being purpose-built for tracking drums (99% of the time) in a large live room. I need sixteen channels of A/D conversion in the most simple and streamlined layout possible - What I mean is, I don't want to pay for a bunch of functions I don't care about. All I want is the best possible conversion for my money. I don't care about D/A or buttons or pres - just conversion into PT.

This setup uses all external high-end pre's (v72 manley api phoenix neve etc) tracking into a mac 2.8 i7 (also have a fully functional but old powermac dual 2.2 something or another - I mention this because it opens up the possibility of a pci card-based interface).

So, as it stands we have all great pre's, into apogee ensembles into pro tools 9 on a pretty decent machine.

My question (finally) is - what would you replace the ensembles with for the "best" conversion quality? I'd go up to $2800 for the converters and if I replaced the ensemble that would give me another $900 or so to play with but would leave me needing to work a different interface into equation.

Please help me solve this "problem" kfhkh

Thanks in advance peachh

RETRO 176 2 Buss

ROCKER STUDIOS — Thu, 09 May 2013 00:17:46 GMT

Thinking of saving for a 2nd 176 for buss duties .Anyone care to chime in on their experiences with the RETRO 176 on the Buss THANKS

John Paul Jones studio sound

stephenmatthew — Wed, 08 May 2013 23:22:49 GMT

Never really hear much about the JPJ studio sound what with all the hoopla about everyone else's noise, but I've been wondering. Always slipping through under the radar, that Jonesy.
Anyway, anyone have any kind of insight on this topic from a decent source? I've heard direct, and direct/amp blends later in the picture, but no definitive account. Definitely an amp here, but I can't say if any of the early on album stuff like this example really sounds like the Acoustic amp or even a dreaded Rickenbacker Transonic.

An early example:
Ramble On - Isolated Bass - YouTube

Rupert Neve Designs 511 500 Series Mic Pre

unmasked truth — Wed, 08 May 2013 19:18:07 GMT

Rupert Neve Designs 511 500 Series Mic Pre. anybody tried this for vocals? rap vocals?

does anyone know if there is any recording of it online using this pre. how is the sound? would like feedback from users to see if its worth picking it up

Wanting to get a mic good for recording bass/baritone voice, etc.

Griw — Wed, 08 May 2013 16:49:47 GMT

Hello!

I am new to recording and would like to buy a mic for my baritone or bass voice (not sure which) as well as high voices, and piano and cello.

I would prefer something like $100~200 or even up to $500.

One time I was using a headset connected to a Audio Interface from my university and I was pleased with its recording quality. It couldn't have been more than $50 dollars. But then they changed the all the headsets that had a low quality recording. But then I found the previous headset lying around and tested it, but without the audio interface, and it had a hint of the previous nice recording quality but was bad, I'm guessing from the lack of audio interface.

It was a plantronics mic that looked kind of like this: Amazon.com: Plantronics .Audio 355 Multimedia Headset: Electronics

If my understanding is correct, is audio interface supposed to enhance the quality of the input and output sounds?

Anyways, I was pretty satisfied with the quality of that headset and so I guess I can a mic that I can be at least satisfied with, for less than $100. Could anyone recommend one?

If a mic is good at recording bass voice, does that mean that it won't be good for recording high soprano voice?

Chandler Germanium on many drum tracks - blends well?

MrVelvet — Wed, 08 May 2013 08:06:58 GMT

Have been a fan of my Germ pre for a while. Love it on many sources, but have tried it on drums only on bassdrum, which I quite liked.

Depending on the mic, I feel that the "Thick" button is just the ticket make a source sound more immediate, but it can also be a bit overwhelming at times.

I'm thinking of adding a few more units for my next drum session. How does the Germ work in the context of a whole drumkit, like using Germ pres on bassdrum, snare, toms, OH's, all with "Thick" engaged? Anybody tried multiple Germ pres on a kit? Is that overwhelming, or does it blend well?

My miking would be U47's for OH's, SM-57 or Josephson e22 for snare, 421's for toms, U47fet plus a dynamic (421 or Beta 52 probably) for kick.

Thanks!

genelec 1033a

dinhtiendat — Wed, 08 May 2013 03:17:51 GMT

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Dynamic complement inside kick to a U47fet outside?

MrVelvet — Wed, 08 May 2013 02:31:22 GMT

Are there any dynamic mics that work exceptionally well for bassdrum in combination with a U47fet outside? I would like to try a combination for my next session, and I usually use a Beta 52 inside kick... Should that be ok, or is it too much lowend to blend with a U47fet?

Thanks!

What happened to the shadow hills quad gama?

jnowicki86 — Tue, 07 May 2013 22:00:20 GMT

I was looking into buying a couple more quad Gamas and they are no longer on Vintage kings website or on Swwetwaters...any info on why or where I could snatch some up?

Thanks!

TK BC-1 vs Overstayer VCA?

limey222 — Tue, 07 May 2013 19:17:29 GMT

Would like some opinions from people who own or have owned both. I'm on the fence about buying either a TK Audio BC-1 stereo buss compressor or an Overstayer VCA stereo buss compressor. I've used the BC-1 and so I know what it can do and I like it very much but it is a bit of a one trick pony by design. It wouldn't be my first choice to track through through in a push, whereas I hear that the Overstayer VCA is very good on the stereo buss but can be called into service either when tracking or mixing individual channels because you can dial in many different flavors . What say all of you?

1073 Style Pre mainly for drum overheads

leftside — Tue, 07 May 2013 13:28:08 GMT

Hey!

Wanna buy a 1073 Style pre for recording mainly drum overheads. What do you recommend? There are so many choices^^ BAE, AMS, etc..?

Thx :)

Near fields to complement my setup

iggy999 — Tue, 07 May 2013 10:15:27 GMT

Hi I'm currently running some genelec 8030s and a set of mixqubes but wanted to complement them with something that would give me some better understanding of what's happening in the low end. Im not overly keen on subs so would prefer a set of speakers without a sub. Having said that I am working in a small 4x5 meter untreated room so am limited to the size of speaker and am assuming they will have to be nearfield. My budget is around the £1-1.5k mark but to be honest id rather spend money on good monitoring before I blow another penny on outboard. I also appreciate I need to treat my room so that is next on my list. Its a bit of a cheeky request but to save me demoing several hundred sets of speakers I was hoping to get a shortish list off you guys and then try those out.

Thanks in advance for any advice given.

Sent from my GT-N7105 using Tapatalk

Upgrading to Orion and Hilo got questions

eh_engineer — Tue, 07 May 2013 04:46:44 GMT

Would this combo work alongside together. Using Brand new Imac witch is all spec'd out. Using the aggregate in macos. Its my first real serious purchase after building a room for two years. Hope I posted this in the right place.

I do need the channel count for I have various rooms all wired out, thats the orion for and the Hilo for the high quality master bus and monitoring controller.

Cheers!

Better MicPre/Compressor for SM7

j25jim — Tue, 07 May 2013 00:12:34 GMT

Hi All,

I currently record: Male Vocals/ Acoustic guitars /Bass
Genre is mostly rock/pop.

My setup is: SM7, Apogee Duet 2, Mac/Logic.

I need to add a compressor to tame the vocals, plus I'd like a better DI bass sound. So I'll also need another MicPre.

I'd like an upgrade on the DUET 2 pre's (They're pretty good_ clean)

BUDGET- $2000 or $2500 if necessary.

I LIKE - pretty much the same "classic" QUALITY sound most like.

1- Which MicPre and Compressor combo would you choose to go with the SM7 and Duet 2 converters.

2- Would the combo give me an upgrade over my current setup in your opinion?

Based on reviews, I'm looking at:

MICPRE - GREAT RIVER ME-1nv/VINTECH X73i (any others?)

COMPRESSORS - DISTRESSOR/Used LA3A (any others?)

I've also thought about spending a bit more of the budget on a CHANDLER LTD or TG2 and get a budget Comp like FMR RNC.

Any thoughts/opinions will be appreciated.

Thank you,
Jim

MP2A vs VT2

Ryan Gregory — Mon, 06 May 2013 23:18:11 GMT

Anyone used both and care to comment on differences between the two? Pretty hefty price increase for the Fearn, is it worth it?

edit- let's say it's for vocals, and stereo mic'ing acoustic instruments, and let's assume all other variables are equal :)

The Lynx Hilo Rack that Lynx Should have Made

SpiritShooter — Mon, 06 May 2013 22:11:50 GMT

The Lynx Hilo Un-Rack

1 Lynx Rack Mount Tray $95
1 2U brushed anodized aluminum rack panel $18
2 Machine shop water cooled band saw cuts $10
1 Aesthetic Lynx Hilo Rack Mount $Priceless!

How difficult is it to recap and replace resistors in vintage gear?

baskervils — Mon, 06 May 2013 13:12:36 GMT

Hi All -

I wondered if someone would be kind enough to share the basics on what I might need if I wanted to recap / change the resistors / repair an old piece of gear? I put a Big Briar Theremin together about 20 years ago, but that is the extent of my experience with this sort of thing. That seemed easy, but it had all of the parts that I needed and I wasn't retrofitting anything.

My Questions:

1) Is it difficult to figure out the types of resistors and capacitors that I need for an old piece of gear, or are they pretty standard?

2) Do I need calibration equipment for most jobs?

3) Did most folks who do this learn on the job from someone else, or is there a 101 course available in a book or online?

Thanks in advance!

High End or since I've had a hit should I...

KungFuLio — Sun, 05 May 2013 23:22:04 GMT

reveal what low end gear I used inacheiving that sound so I can off it as high end gear...

Several years ago I picked up a PCM 42 AND an Ursa Major 282 for 250 bucks. i could easily sell each of those for far more than that right now.

after reading the thread on "you should have API gear", i've come to the conclusion that it's all just fashion. i will submit to the fact that all gear has different sonic qualities. API is the hot brand right now. They maybe even passed up 1073's in terms of "hotness". That said, if I've knocked out a few radio tunes using my symetrix 501 (oops, did i say that out loud?) as my vocal comp, maybe that should become an in demand piece for getting "that sound"... well no, it was just the right piece for that particular track.

I do hope that a few of the artists i'm working with do have megahits because i do have a fair amount of "vintage gear" i'm willing to part with and it seems like most of it finds it's way on a track in some form or another. but i their case, the credit is going to go to the song... those who know me, know i have a pretty reasonable selection of mic's, pre's, processing, etc. no major hits but a reasonable amount of national airplay... lots of great gear and lots of questionable gear used along the way

FWIW, i'm quite happy with a bunch of 1073's and/or 512's on a project. this is just an observation on fashion trends in gear. i guess we slutz are as bad as the kids who put fashion in music ahead of substance in music jkthtyrt

... and if anyone wants to buy my CL501 for $1000 i'm happy to entertain offers. freshflowe

How should I set up my clocking?

woodfoot — Sun, 05 May 2013 23:10:43 GMT

I have recently changed my converter setup and I'm in the process of rewiring my studio but I'm not sure on the clocking set up.

I now have a prism orpheus and an apogee rosetta 800 which will be running off an RME raydat card [by ADAT] and then into my summing mixer and from there I'll go back into the orpheus.

I then have a Lavry DA10 which will go on the AES out of the raydat card to monitor everything .

How would you guys recommend I set up the clocking? I'm thinking have the Orpheus as the master clock but I'm not sure of the best way to do it. Is this even important?

Sorry if this has been done before but I couldn't find any threads where the equipment matched my setup and I was sure how the solution would differ

Thanks in advance

Genelec 8260A - stands and cables

SebastianClausin — Sun, 05 May 2013 22:46:45 GMT

Greetings!

I just bought the Genelec 8260A and would like to know what stands are good for these monsters. From what my research shows, either K&M 26795 or K&M 26785 works. K&M 26795 or K&M 26785 Monitor Stand Genelec. Are these the plates I want K&M 26792-032

What about wallmount for the 8260a K&M 24475 Wall Mount for Genelec - Thomann Sverige

Also which cables do you guys use xlr or digital?

Thanks for all the input

AES cables are not Audio cables Api 525 loses audio

C.Judd Karn — Sun, 05 May 2013 22:14:04 GMT

Hey all, I just discovered a problem and a fix and thought I would share as I searched the net and could find nothing on it.

I recently got a console and used up all of my patch bay plus my tracking mic cables to connect everything in my studio.....

That left me with some Monster Aes cables that I used to connect my api 525.

This caused the api 525 compressor to "drop out", it literally would attenuate some transients way down to nothing and slowly come back up.
It was driving me crazy and I tried everything and every setting on the comp and was about to send it in for servicing.
Luckily, as one last check, I switched the aes cables out for regular mic cables (Xlr) and problem gone!

And yes I knew "AES cables are not mic cables", but I really wanted to get the mixer going...
Now I really know.....I guess haste does make waste :)

UAD Apollo or Apogee Symphony

CJ1973 — Sun, 05 May 2013 22:08:15 GMT

I'm looking at updating my system, which currently is an RME FF800 on a 2008Intel Mac Pro.

My input requirements are 8 in/8 out. However, I am open for 16 in/16 out.

I use Cubase and Logic for most of my work, sometime Protools. I was thinking of the whole Avid hardware route initially, but feel the UAD or Apogee route may just do what I need.

Can anyone suggest some thoughts onto which route I could go etc. Would I need to update my computer? Im open to that. Would love some thoughts.

Thanks!

Best Compressor For Tight Bottom (Low) End? Vote! (Details inside)

Code93 — Sun, 05 May 2013 19:51:20 GMT

What it would be?

Vote for overal tight low end and after that if you can answer your go-to compressor for drums.

distressor stereo link

mlopresti — Sun, 05 May 2013 17:20:22 GMT

I'm looking to pick up a good hardware compressor and i Have the distressor on my radar.

Ideally i want a mix bus compressor, but i'm thinking about just starting with one distressor and see how I like it, and then maybe upgrade to two of them.

Question is, what do i have to consider if i eventually want to use two in link mode?

Can i match any two existing units? I see that lots of folks sell them in pairs on ebay with consecutive serial numbers? Any downside to not purchasing two paired units from the get go- if the goal is to eventually upgrade to two?

thanks

Using Neve style preamp as phono preamp?

Darius1 — Sun, 05 May 2013 09:53:22 GMT

I was thinking of using an aurora GTQ2 with my turntable for sampling, I was thinking of getting one of these, and hooking it up to it.

http://www.computercablestore.com/im...R-10-156-1.jpg

Can I just copy the RIAA curve used in phono preamps using the onboard EQ? Am I breaking any laws? :lol:

Strange question I know..

Solid State Passive EQs (Pultec Style)

DoctorG — Sun, 05 May 2013 05:27:13 GMT

Hi,

I'm looking at getting two channels of passive EQ for track and bus duties - budget up to ~$5K but maybe I don't need to spend that much... The ones below are on my list. My preference at this point is with the EQP-1S3-SS which has extra frequencies, API op-amp etc, but its twice the cost to get two channels.

A-Designs - EM-EQ2
Manley - Mini Massive
Pulse Tech - EQP-1A3-SS, EQP-1S3-SS

Can anyone suggest any others they like in this price range?

Has anyone had the opportunity to compare any of these EQs and if so what did you think?

Planning on road testing the shortlist.

Thanks :)

Talk me about Electric Lady...

KIDBILL — Sat, 04 May 2013 18:34:04 GMT

I enjoy a lot of records done at Electric Lady...
See pictures of sessions from this great studio would be awesome!
Thanks for sharing

hooppie

Which compressor for Dsi Tempest

Portubong — Sat, 04 May 2013 17:09:15 GMT

Hi howdy

I am searching for a versatile compressor for my setup:

Tempest, slim phatty, Tetra

I have Thermionic culture vulture and Raindirk Rm6 eq + pre.

I have a good deal in a second hand Thermionic culture Phoenix Mastering but I have more in my mind:

-Mohog Mofet

-Hand Crafted Labs Varis

-Dramastic Audio Obsidian

-Api 2500

-Bae 10dc

-Chandler Ltd-2

I will use for drums and synths leads and pads

Thank you for all the inputs so far freshflowe

Cheers

A Q for Jim @ SSL (X-Rack)

NUVMUSIC — Sat, 04 May 2013 12:02:37 GMT

Okay, I'm a little late to the party, but just getting started where this 'summing' OTB thing is concerned.

I love the concept of the X-Rack and I'm now in the market for owning one in order to integrate my outboard gear into Logic and Pro Tools. The ideal set up i'm working towards is an 8 input line module combined with 2 x 4 input line modules, the ST master bus and G series bus compressor.

Now, I'm aware that the master bus module's monitor facilities are midi controllable (cool feature btw), and fully mappable to external assignable controllers, which leads me on to...

My question for Jim:
Since you can map midi assignable control to the monitor section of the master bus, why can't SSL implement the same feature set for the 4 and 8 input line modules?

I assume most X-Rack users (with the summing set up) have their X-Racks off to one side of their monitor seating position.
It would be highly useful to have midi control of the said modules which could be mapped to any compatible midi surface controller, keyboard or whatever takes the users fancy.

Surely this wouldn't be hard to implement, since the soft feature (I'm guessing now) is already integral to the modules?

Can this be done?

Anyone here using the Yamaha NS 1000 m?

Lux — Sat, 04 May 2013 11:33:03 GMT

I find these really great for their age/price. (Anyone knowing how Yamaha's mid compare to ATC?)
The Yamaha's reproduce piano and acoustic sources really well. Bass is fast and tight but a little light. Mid/high very good to me. Closed boxes.

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Top 5 most used outboard gear on every mix that can't be replaced with plugins?

Focalpress — Sat, 04 May 2013 06:07:29 GMT

What's your top 5 used outboard gear on every mix can't be replaced with plugins

Booting HDX rig from external Macbook Pro?

mickrich — Fri, 03 May 2013 22:46:57 GMT

Hope somebody can help with this.
I want to boot my MBP into target disk mode then start the Mac Pro containing the HDX cards going to HD I/Os to SSL while holding option and selecting my MBP as the startup disk.
Reason for this is so I can access all my plugins etc which are on my MBP when I go to mix.

My ilok has a PT10HD licence but when I briefly tried this recently PT didn't see the HDX rig in playback engine.
Before I try and troubleshoot why it's not working it would be great if someone has either done this successfully or knows that it can't be done.

Thanks in advance.

Need more channels of Mic Preamps

SoZo — Fri, 03 May 2013 20:13:10 GMT

Looking for more 6 more channels of preamps and don't know which direction to go. I'm happy with what I have but need more channels for tracking drums , drum room , female vox , acoustic etc. I was initially thinking of getting a board but don't think I could get one that I would be satisfied with for the price if I sold the pre's I have and I would loose money and versatility. I have 8 channels of GR-MP2NV's, Apogee Track 2, and an Avalon 2022. Any suggestions which direction you would go, I'm leaning towards VP28's, any other suggestions ?

Realios A9031 mic amps

RoundBadge — Fri, 03 May 2013 18:50:45 GMT

Anyone else try these?
very few people seem to have used these around here.
I've been using 4 for drums,Glyn Johns style.
haven't a/b'd to 3 band 69's yet and haven't heard Henry Hirsch's console.
they have a TON of gain.maybe too much.like an sm57 and royer on cranked amp had to be padded on gain setting 1.
sound close to the old type 79 4 banders but a bit more transparent open.
nice.

SBS Designs Iso-Q2 - 3 band program eq w/ Infinite cut & Sweepable Freq

SBS Designs — Fri, 03 May 2013 18:27:48 GMT

What is the Iso-Q2?

The SBS Designs Iso-Q2 is a unique solid state 3 band Isolator & 3 band program Equalizer with five useable pots. The Iso-Q2 can be used in an effects loop insert, a sub group insert of a live console / studio console or main output of any console. The Iso-Q2 features unique front panel Low and High frequency movable x-over turnover points with 3 bands of sweep able Gain pots with infinite cut, and offers an amazing + 13.7 db of boost on each band from Unity. The Iso-Q2 offers a variable gain on the rear for proper gain staging in any console for unity gain or leveling on any sound system.

SBS Designs Iso-Q2 rear panel I/O & Control

RCA line level Unbalanced inputs & out puts
XLR Balanced inputs & outputs
Switchable RCA Unbalanced effect loop
Master output gain trim

The Iso-Q2 brings the SBS Designs trademark sound to the Pro audio market with a very open & dynamic sound and a tremendous amount of depth that will improve the fidelity of any sound system Iso-Q2 is installed in. Iso-Q2 offers ultimate flexibility to dig into music to reconstruct it like no other processor available to the market place. The voicing of the Iso-q2 is the signature sound that will be found in all of its counterparts in the SBS Designs line.

One of the strongest selling points of the Iso-Q2 is the fidelity & Low frequency & High Frequency Front panel movable frequency points to allow the end user to eq any information in a studio/live PA or to manipulate the source any way they like on the fly and take the crowd and DJ experience to the next level on the fly without any fixed settings standing in your way. These carefully chosen features and our circuit layout allows you to take your sound quality to far greater levels with an astonishing frequency response as low as 8 hz to as high as an amazing 100 Khz the best in the industry.

Applications:

Nightclub & Live PA Touring market (in sub group inserts for a program EQ)
Recording Studios
Touring DJ Market (in efx loops of a mixer as a Performance processor)

See what the Grammy award producers have to say on the Iso-Q2
Pros Talk

For all info on the Iso-Q2
ISO Q2 – Isolator & Program Equalizer

Join the Global SBS Designs Dealer network:
sales@sbsdesigns.com
SBS Designs – Pro Audio & Home HiFi

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SBS Designs SX-3 High end Analog 2 way 3 way Dual Mono X-over

SBS Designs — Fri, 03 May 2013 16:13:55 GMT

SBS Designs SX-3 2way 3way dual mono xover
I wanted to post some info on my new Design that I am bringing to market soon called the SX-3.

The SX-3 is a 2 way 3 way Dual mono Analog X-over designed for Recording studios & any pro application.

The SBS Designs SX-3 is 1RU & features 12 front panel user controls.

3 gain controls for each band & Channel
2 Frequency choice pots for narrow & wide settings that are sweepable.
A Phase pot to adjust the phase from low band to the mid/mid high band if applications have phase issues on each channel.

If you use the SX-3 in 2 way mode the high out is independent so you can go to a high freq device have selectable freq and gain control this will NOT band limit the mid driver in 2 way mode, so your horn will still go up all the way.

The pic posted is a Pre production Prototype,

The SX-3 I/O XLR Bal ins and outs.

SX-3 Internal info:
859 Solder Pads
606 Component Interconnecting Traces
301 Individual Through Hole Components.
115v 230v selectable on rear panel

The SX-3 has been secretly under wraps and in development for well over 2 yrs, and is now FINALLY coming to market.

Serious listening tests will be done on the Annabella A4H loudspeakers & MANY high end studios.

The All new SBS Designs SX-3 has a 10 yr warranty, The Release date, sometime 2013.

sales@sbsdesigns.com

The 1st Attachment is the front panel controls of the SX-3

The 2nd attachment the Waveform is the low and mid freq superimposed together.
This shows it the waveform perfectly in phase after adjusting phase control.

What if speakers or room have phase issues?
The 3rd pic attached to see how much phase shift the SX-3 can offer if needed for speakers or room issues.

No instruments needed, just turn phase knob until low to mid transition sounds the fullest & stop there, its that simple.

sales@sbsdesigns.com

SX-3 Coming sometime in 2013

Specs & Results coming soon!

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SBS Designs SP-1 Tube Device on Demo in Hollywood for the next few weeks

SBS Designs — Fri, 03 May 2013 15:34:52 GMT

I wanted to share here The Incredible SBS Designs SP-1 Tube Device on Demo in major facilities in Hollywood for the next few weeks.

To set up a demo contact sales@sbsdesigns.com

This killer 1 of a kind Tube Device Hand made in America with a 10 year warranty is Now making its way around HIGHLY respected studios with Major engineers & respected industry personalities in Hollywood California.

The response has been nothing short of Amazing with all that have demoed SP-1 in major studios. When asked is there anything available on the market that sounds like or can do for music production or playback what the SP-1 offers? the answer has unanimously been NO. Nothing on the market can do what the SP-1 does or sounds like the SP-1.

What is the SBS Designs SP-1?

SBS Designs SP-1

The SBS Designs SP-1 is a Vacuum tube device that is designed to let the end user Sweeten up and improve the dynamic range of any source.

A carefully designed expansion process will bring out exciting detail that is so often masked by recordings that are compressed and engineered to be mono compatible. The SP-1 will also bring back amazing detail to digitally stored / processed recordings which where subject to data reduction processing.

SP-1 has a sub bass expander and an extended range of top treble expander. These expanders are top quality fully analog which use no vca's and contain no noise or distortion generators. They add dynamic range by controlling the target frequencies with photo resistors.

How does SP-1 work?

SP-1 offers two front panel threshold controls, the Bass & High threshold pots allow the end user to adjust at what level the low frequency and high frequency expanders begin to increase dynamic range, turning down a control all the way bypasses that expander.

These expanders are subtle and employ control feedback systems to monitor the depth of expansion and prevent obtrusive runaway operation, even if the controls are turned up too high. The low frequency expander has a program dependent release time limit, so it will not add any annoying droning or rolling bass to a source.

The high frequency expander operates relative to the overall spectrum of the music being played, so it will not produce over pronounced highs that sound like someone turned up a treble control too far. These expanders will not create something that is not in the recording. The material must contain low and high frequency information for the processor to work with.

The expansion circuit in turn feeds a two stage zero feedback tube amplifier, these tube amplifiers are the same class A types used as gain stages in vintage recording equipment. They are not designed to create tube distortion like a guitar amp, but they will warm the sound by imparting the natural characteristics of the triodes. Part of the reason is that we do not choose exact matched tubes between left and right channels, and the slight natural differences in transfer function between tubes improves the stereo image of an otherwise clinical recording.

SBS Designs SP-1 rear panel I/O & Controls

RCA line level Unbalanced inputs & outputs
XLR Balanced inputs & outputs
RCA Phono inputs
RCA Phono Output
Master input gain trim
How do I sell it?

The SP-1 brings the SBS Designs trademark sound & unique 1 of a kind features & flexibility to the market. SP-1 is for a variety of markets and applications.

SP-1 Applications:

Recording Studios
All Pro audio applications, Live PA & Nightclub
Home HIFI

The SP-1 brings the same open & dynamic signature sound as our other components with a tremendous amount of depth, separation & improved imaging that lets the end user choose the minimum or maximum amount of tube warmth of the bass separate from the top end of the tubes stage with 2 front panel threshold controls.

The SP-1 will improve the fidelity of any sound system or any recording like no other processor available to the market place.

Low & High Frequency Threshold controls:

One of the strongest selling points of the SP-1 is the Low frequency & High Frequency Front panel Threshold pots. These features allows the end user to warm up a source and improve dynamics any way they like on the fly and take a recording in a studio application or on a sound system in a pro/audiophile app to the next level.

What the front panel threshold pots do is adjust at what level the high and low frequency expander triggers. The low & high frequencies are separated, expanded then mixed back together and then sent to the tube output buffers.

Whatever the tube does is a product of the level you choose to set on BOTH front panel knobs in tandem with the level of music going into the unit.

Some other features with SP-1 is the front panel headphone output & a custom HIFI phono stage for turntables

The SP-1 offers a reverse RIAA Phono curve feature:

This feature allows you to run line level sources thru a phono stage for improved dynamics to get line level sources, digitally or Analog mixed closer to the sound of vinyl. The reverse phono curve will allow you to patch any line level source in a phono stage on a mixer.

This feature will come in handy in pro applications if all the lines are used up on the mixer & you can then insert this source in the phono stage in seconds without any disconnecting any cables.

These carefully chosen features and our circuit layout allows you to take your sound quality to exceed greater levels with real user features to enhance the experience.

Headphone out:

The SP-1 features a high quality front panel stereo headphone out.

The headphone feature was for a few applications, The Pro studio market to use as a out to listen to the amount of tube in headpghones or to send to a channel on a board to monitor a mix. It was designed for the home HIFI market for end userser that listen to music with headphones or as a zone out.

Hand Assembly Process:

The SP-1 is a hand made component that takes over 7 hours to assemble 1 SP-1 Tube Device.

The SP-1 has 1200 punches in the main circuit board with 840 hand solder points & over 400 components that are on the main board, This is not including sister boards that stand on the main board. The burn in time is 96 hours to assure each and every SP-1 passes with flying colors before it is released to the public.

Specifications:

Freq resp ; 12 Hz to 30 kHz +/- .1 Db
Rolloff : low = - 2 Db @ 8 Hz , high = - 2 Db @ 44 kHz
Max line level in = + 21 dBu depending on rear pot setting
Max line level out = + 19 dBu
THD thru solid state circuits .03%
Second harmonic distortion thru tube output section .3%
AC Power Draw 25 watts
115v 230v ready

sales@sbsdesigns.com

SBS Designs – Pro Audio & Home HiFi

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Summing Boxes & Automation.

Confused — Fri, 03 May 2013 04:23:48 GMT

Hello slutz!

I have a query. I am running a protools HD rig with Apogee 16x conversion... due to space restrictions a console is out of the question. Currently my workflow is kind of defined by quick and easy recalls. I have a collection of nice outboard gear that mainly gets uses on busses (Ibis, c1, varimu, etc)...

I am wondering what the best way is to incorporate a summing mixer into the setup? Is it feasible to do two runs of conversion?

Protools -> Apogee DA16x -> hardware insert -> Apogee AD16x -> Protools fader -> Second DA16x ->Summing mixer??

This way, when a protools session is opened, the levels are retained... and I can still automate without messing up the compression levels, etc. All that would need recalling is some outboard settings.

Has anyone tried this? Is the second stage of conversion too detrimental to the audio?

Or would I be better off just going with something like a Tonelux OB16 and using it to set levels and pans straight after the outboard hardware (effectively rendering the faders in protools useless)?

The Sum.Mation is so close to what I want, but the fact that the levels are controlled via plugins rather than the faders in protools makes it more hassle than its worth... unless I am missing something? Having to mix by opening plugin windows ain't "do's" for me.

Tape machines and their respective hours of use... ?

poorrichardmarx — Thu, 02 May 2013 20:48:10 GMT

I see ebay listings for higher-end decks all the time (Studer, mostly I guess) that list the number of hours those machines have on them - 1750 hours, or 8000 hours or whatever. Obviously, the lower the better, but at what point does the number of hours of use on a machine start to diminish its quality? Would you expect a machine with 50,000 hours on it to be absolute garbage? Or would 100 hours guarantee great condition? Obviously, these are completely subjective to a lot of other (more) important things (storage, useage, care, etc.) I've just always wondered: at what point do the number of hours on a deck start to affect quality... ? I really have no idea.

Another Sta-Level or settle for 500 compression?

Annonymoose — Thu, 02 May 2013 19:24:48 GMT

I just sold my Sta-level because I'm looking for a new writing deal and thought I would free up some cash in the meantime (considering the state of the industry)...but my wife is mad at me because I kept her up crying for the last three nights...(I keed, I keed).

I've actually gotten a production gig in the last week and have figured I might have panicked a little with selling...so - as psycho as this is, I've got a line on another used one for a great deal.

I loved the Sta for the color and thickness I got with it, not to mention the incredibly transparent gain reduction...But with using the CAPI Missing Links, I'm getting major heft and tone even before compression. Think I could get away with a Brute or something like that? For that matter, maybe I should save the money and just track with the LA2 in my Apollo (sold my Symphony too :( )

Sorry for the geekiness of the thread - just thought I would ask for opinions...

Anyone try the new Millennia HV37 preamp?

adirondack — Thu, 02 May 2013 18:53:57 GMT

Curious if anyone has had the opportunity to try this pre or compare it to the HV3C or Forssell SMP2. I understand it is two HV35s combined in a single rack space. But always interested in user feedback kfhkh

Thanks.

rnd portico 5051 any users?

edtex — Thu, 02 May 2013 15:53:05 GMT

i have a 5088 and was considering adding a few of the 5051 inductor eq modules. anyone used them? any thoughts? can't find a review or user thread anywhere

Genelec 8050 vs Unity Audio The Rock MK2

jacko — Thu, 02 May 2013 12:51:19 GMT

Has anyone had a chance to compare the two?

Currently I use 8050 which, in contrary to popular belief that Genelecs are bad, I really enjoy working on. But I have this thing that I get bored with speakers and I tend to change my monitors at least once a year. What do you think about switching to Unity Audio The Rock MK2?

bURL * whats not to like ?

m.h — Thu, 02 May 2013 09:57:43 GMT

Looking for a new ad and its down to Burl or the new Prism sound or maybe Hilo.

Havent read anyone here say they disliked the Burl stuff at all , more the concept of slight colouration on ad ?

did anyone Not like its sound ?

Step forth and say why.( not because you want transparency on an ad but what you did not like About it actual sound ? )

I am a home producer with alot of lovely sounding old analogues and kurzweil etc and it all sounds amazing at source , so now i need to get this into a pc and make it sound the same or better !

The Burl strikes me as the one for tracking conversion if you want a fast step to good sound ? i like colour , the sound of fat old consoles , the music of early peter gabriels realworld and that sound !

BUT ( theres always a but when considering gear i found )

The other angle is that i am also close to upgrading to a desk / console with some vibe ( maybe toft or allen heath Gl3000 if i can find one in the uk ) and then i begin to wonder if some more transparency would be better like the lynx on the ad .

seems theres a few angles you can take but at the end we all want a pleasing sound ? whats more pleasing - good console to transparent ad or good console to burl ? or is that over the top by that point ?

Forsell lust kicks in from time to time aswell .

I am like a dog chasing its take when i look at options to buy....

In know whatever that all these systems will sound very good on some level.

This threads drifting but back to burl - anyone ever dislike the Burls ' sound ' ?

Recommend a tube preamp that's not one of the usual suspects!

Danny Infield — Wed, 01 May 2013 21:29:39 GMT

Hey all!

OK so I'm in need of a new tube pre, and I want to ask if anyone has any recommendations besides the most popular types. This is not because I just want to be different... it's because I've eliminated many via research or personal experience.

1. Universal audio 610- have it. It's fine, just has low input headroom that can be frustrating and I know there's more colored pres out there.
2. Manley's- bit too pristine
3. Mercury M72s-expensive and rare on the secondary market
4. Tab Funkenwerk- V78M- thought to have build quality issues (please don't flame me... I know many people love them but there are enough issues out there that i'll steer clear)
5. Avalon 737- have it on loan. Even less color than the 610.

I have the clean/api/neve territories covered in solid state. Looking above, maybe I'm not really eliminating the Mercury, just would like alternatives! 500 series welcomed.

Y'all have been very helpful for me in the past on my threads and on others.

Thanks in advance!

tracking AD

paulwall — Wed, 01 May 2013 16:37:43 GMT

Needing to upgrade my pieces as I get back into recording (primarily my own stuff) after a bit of a hiatus. Solo artist, mostly tracking my own things, which span my influences/interests (Radiohead, The National, Beck, Ben Folds, Bon Iver, NOT simply singer-songwriter folk vibe). Vibe and character are important in AD for me, and currently I have for AD and mic pres the API A2D, was a VERY early adopter (might have one of the first 100 units). Lots of producers for friends, so didn't feel like lots of other options were all that necessary. I'm not trying to get tons of pieces to accommodate every sound, just mine. And, I track nearly everything I record, except drums (with fairly heavy emphasis on electric guitar and bass). Not looking for 8-in, just 2 really amazing ins in my conversion.

Having said all that... I've a friend who's selling her late husband's gear, which includes a Crane Song HEDD. But... I also have a friend, a producer, who's recently acquired the Burl B2, and simply raves over it. (And I know there are lots of other things too... even new, to me, stuff like the JCF Latte.) While I know debates about what are BEST A-to-D converters can be an infinite loop and downward spiral of name-calling other people's gear... what I AM looking for/hoping for are suggestions about what are your favorites, and as importantly, why they are (the qualitative comments about it's sound and function in your work are the things most appreciated by me). (Also, not necessarily looking for complete transparency; again, this is a tracking A-to-D. No real aspirations to become a mix engineer.)

Thanks for your time, those reading and responding to this!

(PS: If interested, listen here: paulsebastian's sounds on SoundCloud - Hear the world’s sounds.)

Lowest Priced Neve Consoles?

SDB_12 — Wed, 01 May 2013 16:04:08 GMT

Hi!
I'm wondering what are some of the lower priced Neve consoles that one could find on the used market? Ideally it would be at least 24 channels for mixing.

Anything out there under 20k or so???

'best' workhorse condenser microphone?

Len.Soundsmith — Wed, 01 May 2013 06:56:51 GMT

Hi,

I am looking for a good `all-round` workhorse microphone recording acoustic instruments (strings, percussion, wind/brass).
Small or big diaphragm condenser.

Currently creating a small portable recording kit (4 track pre amps, 4 microphones) for recording in different countries; probably outside the typical studio environment.

Preferably the microphones should have multiple polar patterns.
Price range somewhere between an akg 414 and an neumann u87.

Cheers

Tascam DA-3000

nickknack — Wed, 01 May 2013 06:25:30 GMT

Ok so this product should be launched in another month or so at the cool price of 999 usd.

I am a staunch supporter to a medium I have never used but I am sold on the principle of DSD and master recording.

I have joined in on a few others threads of a similar nature and learned a little in the process.

After doing a bit of research into the new Tascam da-3000 and the old Korg MR2000 I still am left with a few questions that a few of my knowledgeable gearslutz members may be able to answer.

1) If one should like to use/chain more than one da-3000 in series then how are they linked.. ex.. word clock/ spdif 3.

2) latency is there any and sync... how is this achieved.

3) Which is cheaper.. compact flash or SSD

Ok so in theory if one chains 4 of these units together then essentially you have a high res recorder capable of recording and playing back 8 channels/ tracks so is it possible to use these 8 as your stems ( drums, bass, keys, vox)

Then would you need the 5th DSD da-3000 to archive the master after mix down.

If some of you could answer these questions then that would be greatly appreciated.

Cheers

I want to run 48 Outs for a console, anyone want to pick brains?

herecomesyourman — Wed, 01 May 2013 04:08:38 GMT

Hi guys.

I'm debating going with a Burl Mothership (16 In 48 Out)

But...after starting to raise money for console with 32 inputs that's to my liking, stepping up to the Burl might be a phase two sort of deal when I can get the money together.

I've got the option of buying a used Radar 24, which are STELLAR sounding for a reasonable price, but my worry is transferring tracks over afterward and having something that keeps up in terms of higher resolution feeding back into the desk to mix down might not be intuitive work flow despite the obviously great quality.

I honestly don't need that many ins. (16 is fine)

Another idea was to buy some used Apogee 16X's

But I've been trying to see the best way to link up three 16XDA's (Maybe MADI?)

I'm working Pro Tools Native with this rig, but thinking about upgrading to HD Native as well...(Which is also an expensive move), I just found the right console for the right price...and it's time for a change.

I know that SSL Alphalinks get a good rap on here, maybe two of them would link up well...but it seems only the newer more expensive models can handle high track counts at 88.2K to 96K.

I prefer to work with higher resolutions of late for many reasons.

On the cheap I could pick up a few used MOTU 24 I/O's and link them, but years ago I proved with a volt meter that they were skimping on phantom power with the pres on their traveler units...so it's not even the fact that they're cheaper products targeted at pro-sumers that turns me off...I just couldn't get over that. Plus it's all TRS inputs that seem loose in the back of those guys. I just wonder how long they would last...at least if I buy something that retains it's value I can sell it later on when I swap to the burl stuff.

Any thoughts?

Good move or bad move?

Systanatic — Wed, 01 May 2013 03:19:01 GMT

Avaon 737, uad apollo duo, dangerous d box... Sell to get ssl nucleus?

Is it worth it? I really want one but very expensive for a controller i would have to sell gear off i decided my avalon since it comes with ssl pres what do u think?

Neumann M7 vs. K47/49?

Mr. Kelly — Wed, 01 May 2013 01:10:19 GMT

Any folks out there in microphone land be willing to convey what they heard as differences between the two above-mentioned capsules?

I am going to put one of them in an M49 recreation, and I'd like to hear opinions as to which you preferred and why.

Any thoughts? Thanks for any help you can offer!

Hedd 192

AllAboutTone — Wed, 01 May 2013 01:04:43 GMT

My 1st piece of Crane Song gear. I am impressed. Very tasty on the 2 buss, Today I was tracking vocals with it, I gotta say you can use this unit on anything "I hope".
I haven't got around to using the convertors yet, I bet they are sweet, the processing alone is worth the $$$$, also works well with my 33609.

Huge thumbs up.kfhkhkfhkhkfhkh

Audient 4816 users - need help with cue sends

stevelindsay — Tue, 30 Apr 2013 22:19:37 GMT

Hoping an Audient 4816 user can help me out here. I'm having problems getting a stereo cue send sent out of the desk to my headphone amp, I can only seem to get cue sends through my headphones in mono.

I have my headphone amp (L & R inputs) cabled to the FOLDBACK A L&R outputs on the desk. I'm using the CUE A sends on each channel, and engaging CUE A L&R in the STUDIO/FOLDBACK section. Some of the channels I'm sending from are panned either hard left or right, however all I am receiving in the headphones is mono. Have tried both pre and post cue sends.

I've tried assigning CUE A on each channel to the small fader path and using the pan control there, but still no luck.

I know I can get a stereo mix in the headphones if I engage the control room mix in the STUDIO/FOLDBACK section, but that would also send any long fader movements which I don't want to do. Anyone with a 4816 help me out?

Why does track width not affect alignment level?

unfiltered420 — Tue, 30 Apr 2013 21:50:14 GMT

I have always wondered why a 1/4" and 1/2" machine with the same tape formula are aligned to the same level? The 1/2" can handle a lot more signal before saturating, so why align to the same level. I know it can be altered, but it seems that alignment level is usually talked about in universal terms rather than referenced to width. This has always puzzled me.

£10k studio upgrade

Sustance — Tue, 30 Apr 2013 20:00:13 GMT

Hi, I've recently come in to some cash and wondered if YOU had £10k free to buy any bits of kit for YOUR studio what you'd get?

I'm an electronic dance producer who is currently strictly in the box. I work from a very well acoustically treated studio.
Below is my kit list:

Dynaudio BM6A Monitors
Mac Pro with Logic and every plugin under the sun
Focusrite Scarlett 8i6 sound card
Access Virus KC

So, I've been reading lots about summing...also I like the idea of bouncing stems through some sort of tubes or valves to fatten up.
I'm also interested in hardware stereo compressors, EQ's, maybe even a TLA desk of some sort or something similar.

Basically, I want to finally buy some hard wear that will make a noticeable difference to my production/sound design/ mixing sonic results.

If anyone wants to through any ideas regarding software feel free also.

£10000 UK sterling is the limit :)

Looking for great all around compressor....

JeffreyC — Tue, 30 Apr 2013 19:59:41 GMT

Hi all - since I got some great advice regarding my recent preamp purchase - Aurora Audio GTQ2. I thought I'd ask about a great all around compressor in the $2k - $3k range. I've been using plugins for compression but would like to use hardware to compress a little on the way in, compress individual tracks, and compress on 2 buss.

I'd appreciate any feedback/suggestions. Here are a few I'm looking at -

Aurora GTC2; UBK Fatso; Distressor; Manley ELOP; 1176 clone; UA 2-1176;

Here are some of my mixes -

9 Lanterns

Radiant Replica

My needs: I record vocals, acoustic guitar, piano, bass, electric guitar, KB/piano, and sometimes my upright piano in my home studio only. I usually program drums and percussion sounds, but sometimes track drums too.

Current gear:
RME Fireface 800
Aurora Audio GTQ2
Mics : Beesneez Arabella ; SM7b ; Senn e865 ; Audix i5 ; SM57 ; Beta SM58 ; Beta 52a; Senn e609 ; Neumann KM184’s

Great Hardware Rental Places In LA

M2E — Tue, 30 Apr 2013 17:14:32 GMT

Looking to rent some outboard gear in LA.
I use to use Audio Affect in Burbank but, I can't find them anymore.
Any places drop off and pickup anymore as well?

Any idea's?

I'd appreciate it.

Thanks,

Marckfhkh

Best ad in a dat machine

jachin boaz — Tue, 30 Apr 2013 14:49:54 GMT

anyone got any recommendations for a good dat machine with nice ad ? i know most will have ' old ' chips and not be as ' advanced ' as newer ad/da etc but isnt radar old and yet sounds good ? whats the best dat machine you ever heard ?

Expanding studio: Icon vs LFA Desk

Thumper — Tue, 30 Apr 2013 09:30:31 GMT

The facility I run currently has a procontol teamed with an accel hd3 rig, teamed with waves mercury plus ssl, soundtoys, NI packs... We're fully loaded for a mid sized for hire production facility. Our facility serves the freshly booming music community, as well as sound design outsourced from local video production companies. Everything from a hip hop group that wants to spend $300 for 3 songs start to finish, to a rock band with a $35k budget, to a voice over spit n shine for a local ad spot.

We've outgrown our current facility, and are looking for a new building with 3 different studios. The "A" room being exactly what it is. The best it can be music wise. The "B" room, which one again is exactly what it sounds. To do everything you need to do when you don't need the big live room and 20 mic pres. The third room is to be a full video production studio and edit room. Green screens, basic sim weather, red cameras... Someone else more familiar with the film/video production is taking care of that, however we still want to be able to do vo, ADR in that studio.

We currently have two hd3 accel systems in heavy use. I max out a rig doing music mixes quite often, but they are solid and I can get work done.

Now here start my questions:

Avid hdx seems to be awesome for dealing with sessions over a centralized server. Does this actually work? What about sessions being used in two places at once? If we're doing ADR, and the edit department is doing edits, does it update the current session? Say the talent is in house, nailing ADR, and the edit department is falling behind, can it be done in real time over the network?

Same as, band is tracking bass guitar to edited drum tracks. Assistant is kicking ass at editing drum tracks, but not as much as the bass player. Do sessions have a "refresh" button to bring in audio tracks by section, intro verse 1 chorus bridge, or do sessions need to be finished and "saved as" and re opened on the main pt hdx rig?

Are waves going to do aax dsp versions of their plugs? Soundtoys?

The last question is the most important.

Currently, we have a procontrol with extra fader banks that I can't remember when I've touched last except to show the Vegas mode to rappers for a cell phone video, or to get super rough level settings. I feel more comfortable using a mouse and keyboard because I learned pt connected to a lfac. (Did not go to full sail or the like... Interned from the technician side).

This is the last questions; the most important ones.

Are the icon desks worth more than the pretty Vegas mode? And being able to have physical faders whom I feel more comfortable adjusting with a mouse?

I want to move more into the analog realm. We have plenty of fantastic outboard gear ( minus time based effects). Everything from chandler gear, summit, ua, Manley, ssl, real neve, distressors, a fatso... We're on our way in the analog world.

Should we bite the bullet and get a ssl 4k, seeing that I love the black eqs and dynamics? I can do so much with the desks routing and character.

I went to la to check out a duality, and it just didn't seem like a true ssl without the small fader and limited bussing to me, so we won't go that way. It sounded great, but I just felt so limited I wasn't comfortable.

I know companies are supplying new tr/automation computers and power supplies. Does this mean that the desks might be getting a new fresh breath of life? I love the sound, but in actual use they are so antiquated. I lost plenty of chicks having to buy 3.5" disks at a local nerd store the last time I mixed on a 4k.

The other point: The procontol sucked, we all know that. It was around for 15 years and is now useless. Will it be the same for the icon in 10 years? Even earlier with the exponential way that technology advances? Am I right I thinking that its just a gigantic useless, albeit beautiful mouse?

We need to grow. I don't like the icon option (because it might be outdated in 4 years, haven't spent time on one). However a classic analog console makes me nervous because of integrating with the future. How much longer will vca automation work with a protools rig?

Lots of heavy questions I know... If anyone wants my job, let me know. Ill start the bidding at $1.

Question for UAD Apollo users / routing

mkain — Tue, 30 Apr 2013 09:27:40 GMT

I'm thinking of buying the Apollo and I had a question in regards to the routing.

If my mic was plugged into input 1 and I wanted to send it directly out of outputs 4 and 5, for example, how would this be done? Can it be done via the console software?

Replacing TFT Screen in Euphonix CS2000

StuartMac — Tue, 30 Apr 2013 08:01:03 GMT

The 10" TFT in my CS2000 has died - it's so pale I can barely see a lot of the info on the screen - and I'm trying to source a new one. Any ideas?

Cathedral Mics Notre Dame vs Flea 47 (and other 47s)

drkoosh — Tue, 30 Apr 2013 05:57:11 GMT

Has anyone had experience with these side by side and how the Notre Dame (or even the Regesnburg Dom) held up against the Flea (or other 47 clones)?

Rtz 9762 vs Pacifica

Blklasy — Tue, 30 Apr 2013 05:34:34 GMT

Looking for a high quality solid state preamp. Must be two channel and capable of sounding great on any source. I'm a mix engineer by trade so all of my gear is aimed towards mixing. I've used a significant amount of high end pres but don't currently own any. I'm finding myself doing a lot more tracking lately and need to take the plunge into more mics and pres. Narrowed it down to these two. Let me know your thoughts.

Lynx Hilo Digital / Analog Routing Question

ctekmusic — Tue, 30 Apr 2013 01:38:42 GMT

howdy About to order a Hilo and looking at various ways of integrating it into my setup.

Currently I'm using a RME RayDAT PCIe to connect my separate multichannel converters (32x32 over ADAT), and was hoping I could integrate the hilo via the spare SPDIF Coax and AES ports on the RayDAT. I know that I can connect them, just not sure if Hilo can route the signals the way I want.

Here's how I want to internally route the Hilo:

AES In -> Analog Out (XLR)
Analog In -> AES Out
SPDIF Coaxial In - > Analog Out (TRS/Monitor)

Is this possible?

There is always the option to use it over USB, I'm on a mac so I could setup an aggregate device but ideally I want to have all my converters going through the RayDAT if possible.

Who is this artist? (French? Band/song called "your love")

unfiltered420 — Tue, 30 Apr 2013 01:33:35 GMT

D.W. Fearn VT-7+VT-5 Tutorial Part 1.mov - YouTube

about 10:50

Mixed by Tom VDH (tried pm but no response). Amazing tune.

Who is this artist? (French? Band/song called

unfiltered420 — Tue, 30 Apr 2013 01:31:28 GMT

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HARRISON 2824 or NEVE 51?

gasparini — Mon, 29 Apr 2013 22:58:41 GMT

hello to everyone!
is better HARRISON 2824 or NEVE 5114?
thanks everyone, I'm in doubt and should I choose quickly ....

Elysia xpressor or distressor

Kyleseglin — Mon, 29 Apr 2013 18:56:37 GMT

Looking for a comp to track vox with in addition to my 1176-- it's a revD style and it's very smooth.. I don't always want it on the way in. I used to have a distressor and didnt really appreciate what it did until I no longer had it. Now I'm wondering if I should rebuy a distressor or get something like an elysia xpressor that can work as a tracking comp (I think?) and then I can throw it on a drum buss or guitars or 2 buss. Wondering if the xpressor will do what the distressor will do in terms of tracking vox

Avid Omni. What's the verdict now?

kikumotoallstars — Mon, 29 Apr 2013 15:06:00 GMT

Hi Guys,

I'm looking at buying a new monitor controller but could also use additional I/Os / pres to compliment my Avid 16x16 I/O so the Avid Omni seems a logical choice. However, I've heard of a number of problems with the Omni including fan noise and faults with the pres also. Now the smoke has cleared did the Omni turn out to be a dud or are the problems only isolated?

Thx 4 your time,

K

Philips EL3671 preamp module..

Hans A — Mon, 29 Apr 2013 14:25:38 GMT

Hi yall!
I have got a couple of old school pre amps from Philips.
It's germanium based, made around 66 i think.
I've been trying to hook them upp but its just a mess with cables everywhere, and my reverse engineering skills is not on par with the complexity of the circuits.

I've searched GS for other threads and have contacted people in those threads for information and a few of them have helped with documentation, but i still miss part of it.
Most notably the schematics.
It would be awesome if some one reading this may have some info or maybe schematics on this module.

EL3671

Would be great to get them up and running :)
Best Regards Hans A

Pro Ac Studio Tower

Lux — Mon, 29 Apr 2013 07:15:30 GMT

Anyone knowing if theese would be a step up from B&W 802 Matrix s3?

Attached Thumbnails

Atc scm11a

Lux — Mon, 29 Apr 2013 06:33:31 GMT

Heard this protype at swedish "LLB mässan". I liked it very much, though the noise in the hall was disturbing.
They stood next to the SCM 25, and I could easily switch between. The SCM11 a Pro did not need to be shamed in that company. I spoke to the designer, and they are still fine tuning/ testing them. (The have a new high frequency driver which is ATC' own). In production this summer probably.

Attached Images

500 series preamps and compressors

Nikolaos — Sat, 27 Apr 2013 23:28:52 GMT

Hi!
Im in the search for some 500 series preamps and compressors.
I have an SSL AWS900 and I'm trying to spice things up a bit. Actually I would like to get some Neve and Api modules plus some "exotic" ones. The point here is to have different possibilities. Fast and slow transparent and colored, you get the picture. I must say that on the dynamics side I am going to buy anyway an 1176 and an la2a, so that should be considered.
Also, what chassis is good other than the api? Radial?

Thank you very much.

My Studio plan. I’d love to hear your thoughts Slutz…

slaughtrhaus — Sat, 27 Apr 2013 22:47:53 GMT

Long time lurker, first time poster, so go easy on me please, guys. I’ve been recording for almost 20 years now, but mostly demos or albums for buddies or my own bands, mostly working on pro-sumer gear. I’ve had a few opportunities to work in some nice rooms too with Neves and SSL’s and all the Distressors and GML EQ’s you could handle. Point being, I’ve been around a little.
I’m selling off a business and upgrading my gear to a new level. I’m tired of always wishing for stuff, so I’m going to get it. Don’t try and stop me, I know studios don’t make it big the same as they used to, that isn’t what this is about. The fact is, I am going to record music for the rest of my life, and I have an opportunity to spend a relatively modest amount of money 20-25k to make it a much better experience every time I do it. I’m also connected enough in my local scene to get a few gigs here and there, but I have no obligation to make money with this investment, it’s all gravy. Also, I have a space to put my gear with decent enough acoustics and nice high ceilings, and no obligation to make money for the space. Point to this being, it’s not about whether I can make money, it’s about having the ability to make kickass recordings that I can be proud of.
I have put together a plan of what gear I’d like to buy. I’ve done a lot of reading and research, a lot of it on GS, so thanks in advance for your help. I have a few things already, but it is mostly not on the same level as the gear I am buying so I am going to get rid of most of it, adding to the budget as I go. I’m also mostly interested in buying vintage gear that is tried and true, possibly collectible in some way. That way it’s also an investment that retains its value or grows over time. I have a spreadsheet worked out with all the current values and such, so if this looks like a lot of stuff for the money, shop around yourself and see, it can be done.
Mics: (all vintage)
Kick: EV RE-20, AKG D-20
Snare Sennheiser MD-441, SM-57
Overhead: Neumann SM-2, Modded Oktava MK-12’s
Toms: Open to suggestions here, I own the Audix D-2’s and a D-4, but I’d like better.
I also own a Bluebird mic, but I find it to be pretty low-rent in general.

Mixer:
Looking at Studer 269’s mainly. It’s the correct size and with the right features for my budget. Curious about the preamp quality and eq’s as the plan is to use these mostly and get some outboard pres and eq’s later. I’d like to use it as a summing mixer too as well.
I’m also curious about the Studer A779/Revox MR-8. If anyone has any relevant links or info on these please post it. I’ve read some forum posts claiming the preamps are the same as bigger better Studers like the 169/269. Also, are those rca’s on the back stereo line in/outs? There are 2 pairs per channel…could these be used for summing?

Compressor choices-
Urei 1176 stereo (I’ve been told I HAVE to have this for drums)
DBX 160 stereo (on a lot of pro-lists)
SSL G-comp (another really strong recommendation)
Studer comp/limiter (on mixer, noidea what they sound like)
I’d love to hear some opinions on compressors for specific drums and drum bus compression.

Monitors: I am pretty set on these choices but open to suggestions.
Focal be6 solo
Avantone mixcube (splitting a pair with my friend)
Vintage Yamaha NS-10m’s (instead of mixcubes)

Digital:
SSL Alpha link 24 i/o Computer rig as well. Logic Pro, mostly Reaper these days.

I already have a tape machine and access to better ones if I need them, and a tech who is happy to work on stuff for me all day long, really cheap and really good work. I know the room is just as important as any of it and like most of us I can't build my own, so I’ll make do with what I can get. I’ve got a decent control room and adjacent vocal booth, 1000 sq. ft. tracking room with 14’ ceilings and a couple iso booths if needed, so for now the room is good.
So give me some ideas for what I’ve missed/forgotten whatever. I know I need noise gates but I have no idea which ones to get, for instance. Also some pre/eq choices to supplement the Studer woud be great suggestions, so far I am thinking a Neve channel strip and an API would be just the thing…
Thanks in advance Slutz!

Help me find a pair of Mic Pres with EQ < $3000 total

K. Osborne — Sat, 27 Apr 2013 18:09:27 GMT

Hey friends -

I've got a cool little setup that I'm pretty happy with, some nice mics, treated room, some BAE 1073s, APIs, UAs, Vintechs, Millennias, some outboard comps. Been looking for some additional channels of pre/EQ for stuff like toms, kick, guitars, additional BGVs. I generally record stuff multi, but occasionally I'll get live dates where I'm in need of 16-24 channels of ins. I'm a commit-while-tracking sort of guy so I don't mind EQ and compression on the way in, especially if it's nice stuff.

I've already got quite a few of my bases covered, but I'm looking for something different. I've really been looking into these pieces:

A Designs Pacifica + Outboard EQ
Daking Mic Pre/EQ pair
Aurora GTQ2

My goal is to get two channels of Preamps with EQ (just basic tracking EQ, nothing crazy needed. High pass would be nice, low shelf, high shelf, etc. I thought of getting the Aurora but I've already got the BAEs, I'm kind of looking for something a little different. Particularly, I really want something that rocks on bass DI, toms, rooms, and kick. Those are the channels I seem to be needing a better signal from when I do these live dates. I usually will use the BAEs on kick and snare, API on vocals, guitars, whatever, Millennias on rooms, UAs on just about anything.

I'm down with 500 series, but I don't have an empty rack available for a frame, so I think at this point I'd prefer regular 19" units.

Any advice on the Daking, Aurora, Pacifica+outboard EQ would be great. Trying to keep the total cost around $3000 (ie., 1500/channel strip).

EMT 266 limiter help

lore — Sat, 27 Apr 2013 12:21:09 GMT

Hi ,
i just scored an EMT 266 but right channel doesn't sound like left one , seems it has more high freqs .
i tried to switch emphasis jumpers ,assuming i did it correctly ... but can't solve the problem .

Anybody has the manual or some advice please ?

Apogee Symphony vs Allen Heath GSR24m

Pimentel — Sat, 27 Apr 2013 03:39:33 GMT

Hello Guys!

My name is Rodrigo, I'm a Brazilian Studio Owner and in our setup we have a Apogee Symphony with 32 I/O (16 analog&16Adat) and a Allen Heath Gsr24m.

Actually, we use the Gsr like Just analog Board.
Inputs-(Mic>Preamp>Eq>Insert>DirectOUT to Apogee)
Outputs(Apogee>LineIn Gsr24>Monitors and Headphones)

But, the Gsr is a converter to (with the firewire interface)

The question Is: If, we decide use the Gsr like a conversor too, have we percept a big difference?? (probably any deterioration or degradation in comparison to the apogee AD/DA??). We have thinking Sell apogee, too buy some analog inserts to Gsr!!!!!!

Thanks a lot!

R.Pimentel

Listening to True High End Monitors Was A Idea For Me

RickGobe — Fri, 26 Apr 2013 23:43:38 GMT

BAD IDEA!!!!!!!!
I had the Focal twins now for about 6 months. I thought these were good monitors and they are at their price point BUTTTT today i did something stupid and i listened to Barefoot and Lipinski monitors and now i want to throw my Focals out!

Burl ADC with 192 pro tools help!

mucainsane — Fri, 26 Apr 2013 21:53:50 GMT

Hi Slutiez! Sorry about being such an amateur in that but I'm in a kind of a trouble.

I'm running a production room with a Pro tools HDX plus AVID 16x16x16 interface, using all analog connection for mixing /tracking. Have Never used BNC, AES connections in my life

I"ve just bought a Burl Bomber ADC Converter, but I'm quite confused on how to connect it with my gear! :facepalm:

I bought it because i was told : I could track AD straight to pro tools 02 inputs, but I could also mixdown the pro tools Mix into the burl...

Just don't know how to do it both!

The Burl comes with:

To XLR analog in, but there's no analog out... So i guess the out must be digital somehow, right?

Then there's the World Clock's section .

There are 02 world Clock in and just one OUT via BNC cables. Why's that?
How do I connect the burl with the Avid 192?

Then there's a section with the AES connection on the BURL. It doesn't show if it's in or out. just show 1 and 2 . On the AVID interface has 1 AES in and 1 AES out...

Also, I have with me 02 BNC cables ad 01 AES cable.

Could someone help me with that?
It will be much appreciated!

Cheers

2013 Recording Industry Golf Tournament

The Press Desk at Gearslutz.com — Fri, 26 Apr 2013 21:24:56 GMT

2013 Recording Industry Golf Tournament
KMD Productions/Karen Dunn
Monday, June 24, 2013 from 12:00 PM to 5:00 PM (PDT) Malibu Golf Club, Malibu, CA
Registration: 10:30 p.m. Shotgun Start: Noon

Tired of spending hours in the studio?
Need a break from that cubicle?
Never see any of your friends?
Need to touch base with the great outdoors?

Come join Honorary Chairs Ed Cherney and Al Schmitt for a day in the sun at the 2013 Recording Industry Golf Tournament
Monday, June 24
Malibu Country Club
Noon Shotgun Start

Golf. Malibu. Cigars. Tequila. Scotch. Good food. Hang time.

What could be better?
How about:

A $1,000,000 Shootout
A $10,000 Hole-in-One
A $1,000 Chipping Contest
Entertainment
A Silent Auction
A Raffle

Proceeds will directly benefit the music and recording program at A Place Called Home (A Place Called Home). APCH is a dynamic community center and safe haven in South Central Los Angeles. Music and recording are key components of the organization’s program offering, and the APCH youth band performs and records on a regular basis.

Here's a chance for you and your company to network, hang with industry friends and support a great cause! We offer a wide range of sponsorship opportunities that can fit your budget and maximize your exposure at this star-studded event! For sponsorship opportunities, click here.

To sponsor the tournament or sign up your foursome, click here!

For more information, go to Recording Industry Golf Tournament.

List of high-end outboard gear with Digital I/O available?

neve1064 — Fri, 26 Apr 2013 19:27:06 GMT

Is there a list of high-end gear that has AES/EBU or S/PDIF ins and outs on Gearslutz? A few units I know of are the Crane Song HEDD 192 and T.C. Electronic's Finalizer. I'd like to know what the options out there are. I'm looking for compressors, E.Q., pre amps, limiters, etc. Or please list your preferences in the digital domain processor world you find considerable as being high in quality. I'm not interested in plug-ins at this point.

Thank you very much for your time and help. kfhkh

If you haven't used ClassicAPI products - you should...

Johnkenn — Fri, 26 Apr 2013 15:46:46 GMT

I'm honestly floored.
I had never really considered the ClassicAPI stuff before, because the closest I've come to soldering is spreading mayonnaise on sandwhich bread. But, through the wonders of Gearslutz and Facebook, I've kept up with the rave reviews all the products have gotten. Jeff Steiger and I had spoken a few times on Facebook and he mentioned that he was coming down to Nashville - so long story short, he (and Scott Leibers) stopped by and brought some of his products.

I've often bemoaned not being able to really get that "console" sound at home and had rightly deduced that it probably just wasn't possible without buying, well, a console...I'm talking about that thick, punchy, weighty, non-thin, non-sheeny sound associated with not having $100k invested in your studio. I usually track in large studios and bring my tracks home for some overdubs, Vocals and mixing...and while I've been generally happy with the results of what I recorded at home, it still felt like it was missing something.

Enter the VP528 Missing Links...I'm not technical, so I'm sure I'll mess some of this up, but the missing links are basically the extra goo that the console adds after the mic pre/EQ stage. It's the extra iron that is essential for the sound of these classic pres. It has two stages of transformers, selectable hi cut and lo cut, a master fader and a hard bypass.

We added the missing link chained in after my Helios Type 69, singing through a Miktek CV4. Honestly, I expected there would probably be a difference, but I thought it would be subtle...you know, considering we're talking about a mono recording and all...I expected to be able to hear much more of a difference if several tracks were recorded with the ML's and that's when you would really be able to tell the difference. But it was pretty dramatic. The bottom was definitely bigger, the top rolled off a little and the mids tamed - it was catching the transient peaks and rounding them off where they weren't as harsh. I was pretty damn happy...

But the real magic started happening when using the Hi/Lo cut. Jeff also brought his vintage Ela M 251 (formerly spat upon by Dolly Parton). When we hooked it up and I sang through it, it was fantastic. Mid range information for days, creamy, big bottom...I thought I was ruined. While the CV4 is a fantastic mic, it still has that Chinese sizzle (I still love it and it has much less than other mics on the market btw). Sooo - We set the hi cut at 18Khz and the Lo cut at 40Hz. And lo and behold - it was amazing. No more Chinese capsule syndrome. Beautiful beefy lows, fantastic midrange and an open top without the sizzle. Needless to say I ordered two then and there. I can't wait to run everything through them. This is the solution I've been wanting...

Then we hooked up his new "Heider" 312 pre. Huge. Huge bottom, better midrange and top than my RND or my Helios. I'm buying that too.

Sorry for the long-winded post, but I just can't say enough about the products that I tried. Jeff is a genuinely great guy and I'm an absolute convert. You should be too. He's making stellar products and these rack makers should give Jeff millions and just have The Missing Links standard in every 500 rack made.

Sony C800G

JeromeMason — Fri, 26 Apr 2013 05:56:15 GMT

Could someone help me out with finding where to buy the exact replacement tube for this mic?

I don't want any knock offs or ones that "will work but...." I just can't seem to find anywhere that sells the tube and heat shield for it.

Thanks!

SMALL monitors for traveling

djinfuze — Fri, 26 Apr 2013 00:40:11 GMT

Hey guys. I am going overseas for a couple months this summer and I need a set of highly portable monitors to be able to work on my projects. I do primarily composition and electronic music. So far, I have seen the adam a3x, genelec 6010, kh120, yamaha hs50, focal cms40. What are your opinions on the best monitors for the job? Any I'm not considering in that list that I should? Keep in mind I will be working with these sitting on a desktop in an untreated room. I would love for the speaker to be small and light enough to fit in my existing gear bag (pretty large) but I doubt that will be possible. That being said, they need to be durable. I use Adam P22s and Yamaha NS10s in my normal studio in NYC. I gravitate towards the mini adams naturally because I like that tweeter, but those things don't seem particularly road-worthy.

Let me know what you think!

Heading to a high end studio. Pre/Mic questions...

tommyhayes31 — Thu, 25 Apr 2013 21:21:22 GMT

hi guys. heading to Phat Planet Recording Studios - Orlando Florida - Audiophile Quality Recording, Mixing, Mastering, Production to track piano and vocals before taking the session to ireland. These guys have an awesome collection of mics and pre's... a lot of which im uneducated on.

Any nice suggestions for pairing mics/ techniques?

list is on the site!

It's a female vocalist and the band i'm building around it will be very similar in sound (same players) to David geraghty. I want a thick organic sound. Any questions, fire away!