Rupert Neve's Portico compressor SMOKES
#31
28th April 2006
Old 28th April 2006
  #31
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Quote:
Originally Posted by slipperman
Get with DE PROGRAM... Senor SB.

We don't need no steenking ottoreleazz...

SM.
---------------------------------------------------

slippy ! hahaha

but we do we do ...or at least i do many times. ol' rupe had it on the 33609 ,
actually he had 2 of em. now he's taking it away .... WHY ????
put it back !!!!!!!!!!! how can you slam a 2 buss without it???
how can this thing smoke a 33609 with no steenking ottoreleazz... ??????
maybe its awesome for kissing it 1 db for that neve hot sauce spicy flavor - but man oh man .....PUT IT BACK !!!!!!!!!!!!!!!

s
#32
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by Greg Wells
Thanks, j. d. I truly did join to spout off about this thing 'cause I couldn't contain myself. I don't like the look of the Portico's, don't like the Portico mic pre at all, but flipped over this compressor. Flipped.
We just recently relented and got one of the 5042 (tape fx) units sent down to us here in Melbourne. I say "relented" only because I *really* don't like the half-rack format - such a tedious waste of space in most situations. But since the 5042 is not available in any other form factor... not sure if that's what you mean when you say you don't like the look of the Porticos, but it's a serious practicality hurdle IMO.

I haven't spent a lot of time with the 5042 unit yet, but initial impressions are very favourable. thumbsup

Quote:
Originally Posted by Greg Wells
...Also, Rupert's tape thing is pretty incredible, but I really wish it had a "blend/mix" knob on the front. It's either on or off.
Hmmnn... There is already a graduated "Saturation" control which gives you more or less color and edge. Not sure what effect you would be looking for from a blend/mix knob or how that would be different from what the Saturation knob does. Would you care to elaborate?
#33
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by Greg Wells
I am not "pimping" anything. I heard this compressor yesterday in my studio and it made me ridiculously happy. My bold title stating this thing "smokes" came from total enthusiasm, not from trying to hawk gear. I joined gearslutz last night for the sole reason of daring to share that information... and all the folks here realize that people have different taste and need to hear things for themselves. Duh. I have zero affiliation with Rupert Neve and paid for this product like everyone else.
When i first saw your name I was like "is that who i think it is?" - then i went to your site to make sure...and I just have to say the work you did with Jars years and years ago, I think it was there best sounding stuff to date, when I looked and the linars and saw the same guy playing drums and bass I was impressed, i love what you did on that cd...but its sad you dont like the 5012, ah what to do now haha
#34
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by joemeekfreak
When i first saw your name I was like "is that who i think it is?" - then i went to your side to make sure...and I just have to say the work you did with Jars years and years ago, I think it was there best sounding stuff to date, when I looked and the linars and saw the same guy playing drums and bass I was impressed, i love what you did on that cd...but its sad you dont like the 5012, ah what to do now haha

in relation to the portico pre, i have to say it is now on my radar for my next pre-amp purchase and it is because to me, it was the best pre i heard in the 'listening sessions' posted on the, oddly enough, 'listening sesssions' website! it went up against a great river, an api and a sebatron, i think, and to me it was the best sounding over-all pre. now, i have mainly stuff built in the 60's and 70's for equipment now, so i go for a 'vintage' sound all the way and the portico sounded the most like a vintage piece to me...

and yes, i am most interested in the compressor now! thanks for the heads-up!
Greg Wells
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#35
28th April 2006
Old 28th April 2006
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jars of clay/tape knob blend conundrum

Thanks, Tom. I certainly appreciate the kind words. I rediscovered that record a year ago and freaked out, contacting the band... they all love that record too. We had a fantastic time making it and they're great people. We mostly recorded that record in a big log cabin converted to a studio outside of Franklin, TN. I think it's a post production facility now. You could see Hank Williams Sr.'s old white mansion across the field. I remember when I'd cut drums, there was a huge pond down the hill filled with Canadian geese, and I'd leave the window open. If you solo the room mics, you can quietly hear some ridiculous honking.

j.d. - I haven't run the gamet of all the Neve clones being made. I used some Vintechs on the Deftones several summers ago and thought they sounded good, although (and I find this with every Neve 1073 clone) they just don't sound as deep... not as rich in the low end. I will rent 1073's from Design FX here in Los Angeles, and often have the good fortune to work with Joe Chiccarelli who has the gear rack of doom... the nicest 1073's I've heard. In my studio we're currently using the BAE for vocals and the Chandler LTD-1 for a multitude of things. By the way, and this is a different animal, the Avedis mic pre's from Brent Averill's shop are gorgeous and huge sounding, and VERY cost effective. I have 11 of 'em. Again, I don't work for Brent Averill!

Darksky - I'd like to blend the tape emulation in or out, rather than just have the "engage tape" button in or out. The saturation knob isn't what I'm talking about. If you have the saturation knob all the way down, to the left, you still hear tons of tape emulation. We've found that every so often the tape emulation is too much of a color change and it would be brilliant to have control over the amount of "tape-osity".
#36
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by Greg Wells
Thanks, Tom. I certainly appreciate the kind words. I rediscovered that record a year ago and freaked out, contacting the band... they all love that record too. We had a fantastic time making it and they're great people. We mostly recorded that record in a big log cabin converted to a studio outside of Franklin, TN. I think it's a post production facility now. You could see Hank Williams Sr.'s old white mansion across the field. I remember when I'd cut drums, there was a huge pond down the hill filled with Canadian geese, and I'd leave the window open. If you solo the room mics, you can quietly hear some ridiculous honking.
Haha, that made me laugh, you seem like a really cool guy too, i'm most impressed, in fact, if i ever get some label to give me some real money to go record a record, i'm gonna look you up...cause come on, who doesn't want honking in there tracks from geese in the pond

I'm just curious though, on a real note, after you record and produce a record, do you have any say in how it gets mixed, or who mixes it? I feel that's my weakest link, at what I do personally. So anyone you might recommend that likes to work up and coming talent? Not trying to boast, i just hope I'm up and coming haha
Greg Wells
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#37
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by joemeekfreak
anyone you might recommend that likes to work up and coming talent? Not trying to boast, i just hope I'm up and coming haha
Sorry, do you mean can I recommend some good mixers that are up and coming, or... I'm easily confused!

I always insist on being very picky with who mixes. Sometimes I mix myself if I think I'm right for it, sometimes my friend and super talented engineer Joe Zook mixes, or sometimes it goes to one of the usual suspect overpaid mix gods. On the more pop projects I'm sometimes involved in, I have less say. However, just about everyone mixing records at that level is very personable and great to work with. They want the producer and artist to be happy.

Thanks everyone for the nice comments on the Jars of Clay record "Much Afraid". The producer Stephen Lipson did a stellar job, pushing all of us to be as creative and good as possible. I was so proud of that record and always felt it kind of lived in a vacuum other than on my iTunes. It's truly great to know people are listening out there... that's what it's all about... I'm getting all corny now.
#38
28th April 2006
Old 28th April 2006
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Yeah, I guess I got carried away and my mind was going faster then my fingers doing the typing, I was trying to say "what mixers do you know that would work with up and coming artist" - I guess a up and coming mixer is what I should be looking for.

But yeah, I loved a lot of the songs on that CD, the record seemed to be Beatle inspired to me, or at least really british sounding with the string arrangements and mixing...maybe that project might have been ahead of its time, at least Crazy Times had some succes on radio, the tea song was my personal fav. But geez, your resume is impressive...although, if you could not make songs like unwritten not so catchy so radio doesnt play them every 5 seconds that would be great haha
Greg Wells
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#39
28th April 2006
Old 28th April 2006
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For what it's worth, I highly recommend Joe Chiccarelli as the world's greatest ears.

Also, Joe Zook is an up and comer mix diety. Check him out at: www.joezook.net
#40
28th April 2006
Old 28th April 2006
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Looks like Joe Z does a lot of work with you, Joe C is I'm sure out of my budget for my next project...I guess i'll contact Joe Z and see what he says, seems to have a very impressive resume like you. Thanks for the info, i'm pretty amazed someone as big as you would talk to the little guys, i shouldnt even be in high end, they normally try to keep me in my place down in the low end territory haha...thanks though I really apprecaite it, and hey, if you're ever bored producing big singles and wanna hear some of my stuff, i'd be more then happy to send ya a cd to listen to
#41
28th April 2006
Old 28th April 2006
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Joe Zook is the bomb. He's going to be the next big mix guy. He mixed our cd on columbia a couple of years ago...ya gotta love jz!
#42
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by indie
Joe Zook is the bomb. He's going to be the next big mix guy. He mixed our cd on columbia a couple of years ago...ya gotta love jz!
holy cow...i know you, you dont know me, but i bought your first cd on rocketown because of one song i loved so much "if i could i would" - ahh, man, brings back memories. I read a great article once about how you called colleges to get gigs but they wouldnt talk to you because you were the artist yourself, so you started saying you were someone else and it worked...and sadly enough, i'm currently doing that, but sssh, don't tell anyone. Seriously though, you and your wife are awesome...this whole gearslutz place makes the music biz seem to much smaller, and smitty sounded better when you were playing with him, just my opinion though
Greg Wells
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#43
28th April 2006
Old 28th April 2006
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Group hug!

Micah, I remember Joe played me your stuff a year or two ago and it sounded great. Continued success!

Tom, just like I do, Joe C. and Joe Z. and any real music lover has a sliding scale when it comes to the fee. If the schedule permits and someone really wants to work with you, they will. Even JJP told me the same thing the other day. It's the way it should be.
#44
28th April 2006
Old 28th April 2006
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Does a sliding scale include eating off the value menu at mcdonalds? Cause that's how i roll

I dont think I can explain how encouraging it is to see people that are doing what they do because they have a passion for it, not for the $$$

Alright, i need to get off here and start recording so I have something to show for my time, and dont forget what i said, i'd love to send ya a cd, so if you wanna email me with an address its tom at tomwehrle.com - and i'm not looking for anything from you, like for you to pass it on to so and so, just for you to listen and maybe tell me your thoughts on it. And I won't stalk ya, i'm broke, and live in St Louis far from LA...man I miss in n out burger...maybe i should up the ante to in n out burger instead of mcdonalds $.99 menu
DRC
#45
28th April 2006
Old 28th April 2006
  #45
DRC
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Hello shit Greg I just realized your the guy who did "Poses." Rufus has yet to make a better record. The production on 'Tower of Learning' is great stuff! Ok enough gushing....

Is the power supply on the Portico one of those cheap little wall wart jobs? Ive heard some complaints about that on all the stuff.
#46
28th April 2006
Old 28th April 2006
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Quote:
Originally Posted by DRC
Hello shit Greg I just realized your the guy who did "Poses." Rufus has yet to make a better record. The production on 'Tower of Learning' is great stuff! Ok enough gushing....

Is the power supply on the Portico one of those cheap little wall wart jobs? Ive heard some complaints about that on all the stuff.
As far as I've read, the Portico's have a "lap top" type power supply. I'm a little sceptical about that too.
#47
28th April 2006
Old 28th April 2006
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I'm pretty sure its the same as the 5012 which is what I have, and i think the idea is that there will be less interferance to deal with
#48
28th April 2006
Old 28th April 2006
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My Recordings/Credits

Quote:
Originally Posted by DRC
Hello shit Greg
Hello shit Greg?
#49
28th April 2006
Old 28th April 2006
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Wow, I knew I recognized that name too. Greg, if you have a minute and don't mind me asking, what did you do on that Deftones record? Most Deftones fans don't dig that one as much, but I think it sounds HUGE. Thanks!
Greg Wells
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#50
29th April 2006
Old 29th April 2006
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Sometimes I am shit... it's okay.

The very talented Pierre Marchand did most of the "Poses" record and it's my fav. Rufus record as well. I did two tracks on it... "Across the Universe" and a radio remix of "Cigarettes and Chocolate Milk". Pierre does amazing work... would love to meet him one day.

On the Deftones last record, I was originally co-producing with Terry Date until 3 months into it when my pregnant wife threatened to kill me because I was out of town for weeks at a time. She was right... in the end credits it says "additional arrangement ideas" or some ridiculous credit. When I left we hadn't recorded many vocals yet. Chino took over half a year to finish the lyrics and vocals on that record, and the only song I had any input on vocally was "Minerva", which wound up being the single. I continued to work with Chino beyond that record and produced much of the Team Sleep record, even wound up mixing most of it.
#51
29th April 2006
Old 29th April 2006
  #51
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Can ya feel tha love...

The Greg Wells love-fest continues:

I love the production/mixes listed on your site and I didn't put it all together that you were a common thread until I saw it all in one place - great work, man.

Hope I'm not stretching your patience for this thread too much, but I'm curious about how much of your mixing is hitting tape these days.

Yes, I managed to scroll through all the photos to see the gear...
#52
29th April 2006
Old 29th April 2006
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Quote:
As far as I've read, the Portico's have a "lap top" type power supply. I'm a little sceptical about that too.
This, imo, is one of the big advantages of the Portico range. The power supply is a seperate 12V DC power supply.

These things are designed to fit into racks and expand anyway you want to go. It would be crazy to have built-in power supplies for each module in a large component system. Most of the real high end preamps have seperate power supplies, that are far more exotic that 12V DC. (Fancy trying to find a power supply for a Chandler in a hurry???)

You can run Portico stuff off a car battery! Or any 12V DC source with enough current! That means you don't have to worry about the power supply failing in the future - you will always have plenty of cheap off-the-shelf options to keep you running. Or go mobile with a battery.

Keeping the power supply external decreases noise and heat. These class A style suckers make enough heat as it is - they are the real deal.

Obviously external power supplies also keep the size, weight and cost down.

It's a good thing.

The lap-top style PSU is a switching power supply. These are way superior to transformer-based PSU, that can radiate hum for mile and catch fire when left unattended.
#53
29th April 2006
Old 29th April 2006
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Re: Deftones, etc.

Greg, I did not know that. I thought Terry Date always worked solo. You must have impressed Chino for him to have you do team sleep. I picked that up and thought some songs were great and some not. That foreign flag song is beautiful.

Any cool stories or insights about the Deftones record? Minerva is my favorite track. I just love Chino's voice. It sounds like there's a bazillion guitar tracks on that song and maybe even a synth or string sound in the background? All without keeping the drums from sounding huge.

I have to ask because he's a hero of mine....can you tell us anything about Terry Date? I have scoured the planet for an interview or any kind of info about him but cannot find it.

That's an interesting connection there, with you then doing the next Otep record too. I'd love to ask you about that, but speaking of kids I need to put my three year old to bed!

Thanks soooo much!!
#54
29th April 2006
Old 29th April 2006
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Quote:
Originally Posted by joemeekfreak
holy cow...i know you, you dont know me, but i bought your first cd on rocketown because of one song i loved so much "if i could i would" - ahh, man, brings back memories. I read a great article once about how you called colleges to get gigs but they wouldnt talk to you because you were the artist yourself, so you started saying you were someone else and it worked...and sadly enough, i'm currently doing that, but sssh, don't tell anyone. Seriously though, you and your wife are awesome...this whole gearslutz place makes the music biz seem to much smaller, and smitty sounded better when you were playing with him, just my opinion though
Hey thanks Tom...you do what you gotta do to get the gigs!
#55
29th April 2006
Old 29th April 2006
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Quote:
Originally Posted by Greg Wells
Group hug!

Micah, I remember Joe played me your stuff a year or two ago and it sounded great. Continued success!
Thanks Greg! Love the gtr tones on the Cheyenne stuff.
#56
29th April 2006
Old 29th April 2006
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I see a lot of discussion about the Portico compressor, tape emulation and preamp, but almost nothing on the EQ. Any good?
Greg Wells
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#57
29th April 2006
Old 29th April 2006
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Is the Portico EQ out yet?

Forgive me, this is going to be long.

Terry Date is a heavy rock band's dream producer. I learned a lot from working beside him for 3 months until I had to choose between finishing the Deftones record and not pissing off my tyranical manager at the time, or face imminent castration from my pregnant wife. (What a stress free summer THAT was... I chose my family and fired my manager)

I believe Terry always works solo and, to his credit, was welcoming and open to producing with me. Terry works differently from me and it was interesting merging the two approaches. He allows the band to come up with their own ideas first, whereas I will often suggest something from the gitgo. He's very patient and I am to a point, but not like he is. If something takes weeks to get, he's usually willing to wait it out. Terry's an incredible engineer, and brilliant at making the band feel comfortable in the studio. He taught me a lot about how the producer is the leader, yet to never draw attention to yourself... it's all about the artist/band. His studio etiquette is tight and I now give every assistant that works with me the same information. It works.

What Terry does with the Deftones is just sick... listen to those mixes. The mix of "Minerva" blows my mind. "My Own Summer" is like a religious experience.

Credit has to be given to the un****ingbelievable Deftones themselves. The sum of the parts equals a gazillion times more than the whole, if that makes any sense. When those guys plug in and start playing, it's this insane chemistry, like lightening in a bottle through 500 Marshalls. Forgive the stupid metaphors. I'll never forget the first time Chino brought me up to Sacramento to meet the band. They're all nice, funny as hell, and around midnight they plugged in and played some new songs. I just about shit my pants... could not believe what I was hearing. They collectively make this otherwordly "roar" when the heavy sections kick in... in a way that no other band does. And they pretty much all grew up several blocks from each other. My neighborhood didn't have a talent pool like that when I was a kid. Abe is a powerful and sick drummer, Chi's completely twisted bass parts are a perfect counterpoint to Stef's guitar prowess. Stef is an insane guitarist... so talented. Frank approaches the music almost like a jazz musician creating tones and melodies that no other DJ is doing (that I've heard). Chino is so talented that it's not fair. He's a real artist, like a painter, and objectively sees the overall arc of a piece. He also makes the best mix CD's and driving around Sacramento with him playing this great music is something I won't forget.

I regret that I had to leave the project before it was even half over but I learned I'm a family guy and want need to see my wife and kids. I love them way more than the music, as corny as that sounds. I'd probably be a lot further ahead in this business if I worked weekends and pulled 15 hour days all the time like all my competitors do, but I feel my kids wouldn't know me and vice versa.

I was happy and grateful that Chino called again after the Deftones record and asked me to work on Team Sleep's record.

The Deftones led to my working on Otep's second full length record, "House of Secrets". An exec at Capitol Records called me in to meet with him because he'd heard about me though Terry Date and a couple of other people. He said "I've got this artist Otep... would you be open to working with her?" I met Otep several days later at my studio and we had an instant chemistry, something that rarely happens for me because I'm crap in meetings. We're still good friends two years after making that record, and I couldn't be more proud of the work we all did together on it. Otep, like Chino, has way too much talent for one person... and always knows where and when the ship needs to turn. She's kind of a raving genius and far more musical than she gives herself credit for. Evil J, her chief comrade and musician extradinaire, was a blast to work with and one of the most stunning bassists out there. Otep kept referencing Joey, the drummer from Slipknot, during the first month of recording, so much so that I finally said "why don't just get Joey to play?" I tracked him down through my (new) manager and 5 days later Joey Jordison was in my studio killing everyone with his drumming. After the first night was over, he humbly said he'd never been asked to play on anyone else's record and thanked us so much for the call. He's sooo fast, and equally fast to come up with crazy unique parts that fit the song perfectly. I wound up writing much of the record with Otep, which I didn't anticipate, and she and I pushed each other to lots of new places. I love that Otep is a woman in a very man-dominated genre, and that she has a clear message of redeeming yourself through expression, through art. She's had as tough a life as you can imagine and has transformed herself into not only a brave and fiercely inspired poet/singer/performer, but also a hero figure to so many girls out there that have been dealt a similar hand.

If anyone's still reading, to answer Mr. Incredible's question about how much of my stuff is hitting tape, the answer is whenever it's right for the project. For instance, on the Otep record, we recorded to both a Studer 24 track and Pro Tools but everyone unanimously chose the digital tracks... even in the mastering stage. I'd mixed the record to 1 inch tape as well as straight into Pro Tools. Howie Weinberg picked the digital mixes. For that kind of music, you want every bit of detail and attack. The smoothing thing is a detriment to that kind of aggressive music, at least that's how we felt. But when working on something more organic and more traditional sounding, tape is the way to go from start to finish. I find that if you don't have tape multitracks, that mixing from ProTools to a 1/2 inch or 1 inch machine imparts that glorious tape coloration on the mix.

I'm all wound up now.. apologies for the incessant rant! Whew.
#58
29th April 2006
Old 29th April 2006
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Quote:
Originally Posted by Greg Wells
Is the Portico EQ out yet?
The 5032 is a pre-EQ combo. I have not seen any reviews here other than my own but I've had a couple in my rack since December. It's a classic Rupert Neve design, very sweet and musical, you can really crank the highs without any harshness, and the curves of the hi and low shelves are very useful. RND tells me they plan to release a 5-band (3 sweepable bands plus the shelves) later this year.
#59
29th April 2006
Old 29th April 2006
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Updating my post here, the Neve Portico Compressor is indeed a great compressor!

I've had it for a while now and it does great duty on mix buss, drum compression, vocals, acoustic, all kinds of sources!!

I did however experience a problem with it though - one of the compressor channels went silent not long after it was installed in the rack. We tried various tests and it was indeed the compressor.

We called Rupert Neve's factory directly and spoke with some folks who were very helpful and we shipped the compressor back to Neve. They fixed it and turned it around promptly, total time about 2 weeks for the process.

It's back in the rack and sounding great!!
#60
29th April 2006
Old 29th April 2006
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Quote:
Originally Posted by Fletcher
Which is really bloody annoying. The bottom line to any of this is that any reputable shop will be happy to take the unit back if it doesn't fit the users sense of aesthetic. There are maybe a 1/2 dozen shops in the US that have been made Portico dealers... those 1/2 dozen shops are pretty straight up. All of them have reputations to protect and there isn't a single compressor sale that is worth the hit to the shop's reputation for cramming a product down someone's throat when they don't want the thing.

No two of us have the same sense of aesthetic. One man's ceiling is another man's floor and all that. The only way you can tell if something smokes for your applications is to try it in a variety of applications and make an educated decision. People whose work you've never heard are welcome to have an opinion which when coupled with the "sheep factor" can lead to a love fest frenzy around a new piece of equipment that nobody will talk about after a few hundred units are sold... but the bottom line is that only someone who uses the equipment can determine whether or not that hardware is right for their applications or not.

The only thing pimps can do is get the 'ether' up and start the conversation to gain some publicity for a new piece of hardware... and while I'm sure that sells some steel to a few within our ranks who are easily taken... it doesn't lead to long term health for anyone involved.

Bottom line is that you need to listen for yourself before you make any decisions... fukk the pimp bullshit...
I'm glad to see you again, Fletcher.

___________
Insomnio
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