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| | #61 |
| Gear addict |
Telefunk, Why be condescending and put down my ears? I just made a statement that if one can't get a good sound with the UAD 140, then they definitely have problems. I even included a smiley face after my statement. I'm sure that if I heard one, I would hear the difference. I still think compared to other verbs that I've used, the UAD 140 is pretty good. |
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| | #62 |
| Lives for gear Joined: Jun 2005
Posts: 5,952
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I've used nebula and it is cool. Definitely not as good as a real EMT. A real EMT 140 (Or many other spring reverbs) have life and works so much better in the mix. Night and day difference.
__________________ bcgood ![]() |
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| | #63 | |
| Lives for gear Joined: May 2008 Location: Europe
Posts: 561
Thread Starter | Quote:
The point is when the reverb is REALLY critical, like mixing a movie soundtrack, and there's only a beautifully recorded solo Steinway and a fantastic musician playing it and the track should be really heavily reverbrated, then the difference is really night and day. But if you mix some shitty punk band and the guitar needs some reverb, then, almost anything goes. It's not just about hearing the difference it's about lot of things. | |
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| | #64 | |
| Lives for gear Joined: May 2007 Location: UK
Posts: 9,574
| Quote:
I've been prompted to add a soundfile .... forgot about it completely but I'll do it today... | |
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| | #65 |
| Lives for gear Joined: May 2004 Location: Los Angeles ,Ca.
Posts: 8,853
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my tech just rebuilt the [martinsound] amps/PSU in my 140. better caps.etc.[noise floor dropped,etc] went from great to amazing. nothing sounds like the real deal. |
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| | #66 |
| Lives for gear |
Maybe if we make it a requirement that everyone tattoo "nothing sounds like the real deal" on the insides of their eyelids it will be enough to prevent people from creating new threads that state this very obvious matter. Nothing sounds like the real deal. Got it. Had it before. What new is being proven here? If we're going be that pedantic about the "real deal" then of course all of recording deserves to be constantly derided because of course nothing sounds like live performance. But nobody would go quite that far right? Because we all know this and accept that recording is a compromise and a creative endeavor that isn't necessarily always supposed to sound like the "real deal". The point being to make it sound good using whatever you can at the time of production. If "whatever you can" happens to include a hardware plate verb and you want a plate verb then it doesn't take a stretch in the imagination for you to figure that it's probably ideal to use the hardware of the genuine article than the software emulation. Duh. But I'm willing to bet most folks, professionals included, don't always have immediate access to a hardware plate verb. And if they want a plate verb at the time of production they can either arrange for acquiring one or just throw up the emulation. I'm putting my money on them throwing up the emulation for convenience and cost sake. Also, though the emulation doesn't sound exactly like the "real deal" it still is very good sounding and can be used to great effect on any recording depending on who's dialing it in. Which leaves us where we started with, Duh. Thus ends another episode of Stating The Obvious For No Apparent Reason. It's a very popular show on GS. I wonder what next week's episode will be,...Dog Pile on the Heretic That Thinks You Can Do Great Work ITB or Which is "best". Oh wait, I know... Brown Nosing the Famous Engineer. That's a ratings hit every time. |
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| | #67 | |
| Lives for gear | Quote:
![]() Hook up several vintage gear in a machine room to the internet. Rent the gear hourly to customers around the world, who send their aux sends to a specific gear and get the FX returned thur a live stream. Customer can book the hour thru a agenda, that shows free time per gear. The stream is routed automatically to the right gear. If you want to keep the costs down, ideally the machine room runs for itself, just once a day a technician for checking the installation or for support. But then how would you change the reverb time/presets/sounds/etc? I guess you could run such a business 24/7 asking between 10-20$ per hour per gear. | |
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| | #68 |
| Lives for gear Joined: Aug 2007 Location: Toronto
Posts: 1,043
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Do the UA/Nebula software versions mimic the result of a source hitting a plate which is already in motion? My guess is no. After working with a real EMT 140 numerous time now, I'm trying to figure out why it sounds so much better. |
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| | #69 | |
| Lives for gear Joined: May 2004 Location: Los Angeles ,Ca.
Posts: 8,853
| Quote:
eh ..thread title? 140 vs UAD.. this forum is called "high End" thats where we occasionally sweat the details over all this shit..so yeah pedantic works for me. yes to some its a redundant topic . some folks actually haven't heard the two. I have the plugs . very useful..also use em all the time for all itb recall heavy tv/film stuff.[especially TSAR] | |
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