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Shure level loc yikes $$$$
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cajonezzz
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#1
1st March 2007
Old 1st March 2007
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Shure level loc yikes $$$$

Just watched one of these go on ebay for 315.00

Is that the going rate nowadays, and--- is it worth grabbing one? Is there something out there that will do similar, with the same vibe?


I've only ever used one in passing.
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1st March 2007
Old 1st March 2007
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Quote:
Originally Posted by cajonezzz View Post
Just watched one of these go on ebay for 315.00

Is that the going rate nowadays, and--- is it worth grabbing one? Is there something out there that will do similar, with the same vibe?


I've only ever used one in passing.
What is the proper name for it? There is no link or ref to go by.
cajonezzz
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1st March 2007
Old 1st March 2007
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1st March 2007
Old 1st March 2007
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Quote:
Originally Posted by cajonezzz View Post
Just watched one of these go on ebay for 315.00

Is that the going rate nowadays, and--- is it worth grabbing one? Is there something out there that will do similar, with the same vibe?
I sold one 3 years ago for $500 when they were really popular.

I paid $25 buck for it initially.

Capitalism at its best.

If you are smart you can build your own.


Quote:
Originally Posted by cajonezzz View Post
I've only ever used one in passing.
Are you a public speaker? Politician maybe?

Its a podium mic compressor.
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3rd March 2007
Old 3rd March 2007
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Craig, in my opinion they're not really worth it. Really a one trick pony and its a trick easily achieved with many other cheaper/better boxes if you look around and can be creative.

I have a symetrix compressor/limiter where if you engage the limiter section and clip the make up amp (you'll need something to pad down its output) you can do the trashy, distorted room mic thing much more effectively...
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3rd March 2007
Old 3rd March 2007
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Are you talking about the 501??? I've got one as well, but haven't touched it in years... I'll give it a try!

really just curious after reading the Tchad Blake post about the 441/level loc on the Bad plus drum sound.

I'm in experimentation mode with max 3 mics in the little booth at home, trying for really unique tones... having a ball. This sounded interesting tho..
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3rd March 2007
Old 3rd March 2007
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Quote:
Originally Posted by cajonezzz View Post
Are you talking about the 501??? I've got one as well, but haven't touched it in years... I'll give it a try!

really just curious after reading the Tchad Blake post about the 441/level loc on the Bad plus drum sound.

I'm in experimentation mode with max 3 mics in the little booth at home, trying for really unique tones... having a ball. This sounded interesting tho..
Yes, its the 501 with the toggle switch. This is a 57 through one with the output clipping slightly. You can get much more aggresive with it, if needed.

http://sfrecording.com/junk/RoomMic.mp3
#8
3rd March 2007
Old 3rd March 2007
  #8
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Level Loc

Quote:
Originally Posted by cajonezzz View Post
Just watched one of these go on ebay for 315.00

Is that the going rate nowadays, and--- is it worth grabbing one? Is there something out there that will do similar, with the same vibe?


I've only ever used one in passing.
Just to let you know that almost every one I've ever tried sounds different. They are old and have all been repaired in crazy ways which make some sound great and others like nothing.
Don't pay more that $100.00 for one. Not worth it.
Get yourself any of 500 stomp box compressors out there and drive it home.
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12th March 2007
Old 12th March 2007
  #9
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Quote:
Originally Posted by dokushoka View Post
Craig, in my opinion they're not really worth it. Really a one trick pony and its a trick easily achieved with many other cheaper/better boxes if you look around and can be creative.

I have a symetrix compressor/limiter where if you engage the limiter section and clip the make up amp (you'll need something to pad down its output) you can do the trashy, distorted room mic thing much more effectively...
In my experience (with the Drewtronics Sherlock clone), the LevelLoc does something different than standard issue trashy distorted sounds. One big difference is the release time - it's pretty slow. If you run a drum mic through a stomp box, you get a thick/continuous wall of fuzz. The LevelLoc, in contrast, sucks a loud transient down to a tiny blip, waits a sec, then whooshes the gain back up. The result is not a continuous wall of fuzzed/limited sound, but a kind of delayed blooming of whatever ambience is hanging in the room. I believe this release time varies by how hard you're hitting it, but it's not a directly controllable parameter.

Whether it's "worth it" or not is another matter entirely... and yes it is a one trick pony. You could kind of emulate one with a limiter, maybe with a delay (50% wet) on the sidechain to emulate the delayed release effect. Just setting a long release time wouldn't do the trick, b/c it holds it down for a bit, then whooshes up rather quickly (shortish release time). Adding a delayed signal to the sidechain would keep the limiter mashed down in reduction for longer.

Leigh
#10
12th March 2007
Old 12th March 2007
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Quote:
Originally Posted by leigh View Post
In my experience (with the Drewtronics Sherlock clone), the LevelLoc does something different than standard issue trashy distorted sounds. One big difference is the release time - it's pretty slow. If you run a drum mic through a stomp box, you get a thick/continuous wall of fuzz. The LevelLoc, in contrast, sucks a loud transient down to a tiny blip, waits a sec, then whooshes the gain back up. The result is not a continuous wall of fuzzed/limited sound, but a kind of delayed blooming of whatever ambience is hanging in the room. I believe this release time varies by how hard you're hitting it, but it's not a directly controllable parameter.

Whether it's "worth it" or not is another matter entirely... and yes it is a one trick pony. You could kind of emulate one with a limiter, maybe with a delay (50% wet) on the sidechain to emulate the delayed release effect. Just setting a long release time wouldn't do the trick, b/c it holds it down for a bit, then whooshes up rather quickly (shortish release time). Adding a delayed signal to the sidechain would keep the limiter mashed down in reduction for longer.

Leigh
Yeah, I have hear you Leigh. Its just damn expensive for that one sound, you know? The DBX 166, when hitting room mics hard, has a similar release to it, but still not quite the same.

I mostly mix now a days, so I generally look for tools that are a little more flexible unless they do one essential trick stupidly well.
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12th March 2007
Old 12th March 2007
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Yeah, they command a lot of cash for what's essentially about $25 in Rat Shack parts.

I bought one in Scottsdale AZ a few years ago for $50...could never get it to do much of anything for me so I ended up selling it here for several times what I paid which was STILL probably on the low side. Really...somebody bought it within the first hour and gave me $50 MORE then my already ludicrious asking price!

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#12
12th March 2007
Old 12th March 2007
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Quote:
Originally Posted by Jay Kahrs View Post
Yeah, they command a lot of cash for what's essentially about $25 in Rat Shack parts.

I bought one in Scottsdale AZ a few years ago for $50...could never get it to do much of anything for me so I ended up selling it here for several times what I paid which was STILL probably on the low side. Really...somebody bought it within the first hour and gave me $50 MORE then my already ludicrious asking price!

Interesting that you would slam the guy who bought it from you. Since that person was me. I still paid less from you than I would have off of ebay which is the reason I bought it.

dfegad Guess I will think twice about who I buy from!!!!

Michael (The over priced buyer of gear) Greene
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#13
12th March 2007
Old 12th March 2007
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Ouch.
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13th March 2007
Old 13th March 2007
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I love mine- Use 'em all the time.
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13th March 2007
Old 13th March 2007
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Quote:
Originally Posted by dokushoka View Post
Yeah, I have hear you Leigh. Its just damn expensive for that one sound, you know? The DBX 166, when hitting room mics hard, has a similar release to it, but still not quite the same.

I mostly mix now a days, so I generally look for tools that are a little more flexible unless they do one essential trick stupidly well.
Oh yeah, I hear you too... just explaining the differences for those who haven't heard one...

Leigh
#16
13th March 2007
Old 13th March 2007
  #16
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Quote:
Originally Posted by leigh View Post
In my experience (with the Drewtronics Sherlock clone), the LevelLoc does something different than standard issue trashy distorted sounds. One big difference is the release time - it's pretty slow. If you run a drum mic through a stomp box, you get a thick/continuous wall of fuzz. The LevelLoc, in contrast, sucks a loud transient down to a tiny blip, waits a sec, then whooshes the gain back up. The result is not a continuous wall of fuzzed/limited sound, but a kind of delayed blooming of whatever ambience is hanging in the room. I believe this release time varies by how hard you're hitting it, but it's not a directly controllable parameter.
I'll let you guys in on a little secret. The Shure SE-30 line mixer with a built in limiter does something very similar and can be found for as little is $30 on ebay.

I bought two and use them on stereo room mics sometimes.

Awesome.

Crazy wheezing gasping compression that I don't even get from my 1176.

Kind of a transient duck followed by a rush of cymbal swoosh. Really cool as an effect.

Disclaimer: I've never used the Leveloc... so I don't know if it's the same sound. But from your description, I would guess this thing comes close.

The SE-30's have transformer balanced outputs and a mid-range push that gives them a semi lofi tone. Great effect type compression boxes. Only bummer is the 2u rack space.
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13th March 2007
Old 13th March 2007
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Here's an example of the SE-30 for those who are curious....


The SE-30 is on a room mic and the fader is being ridden up throughout the entire passage so by the end, the drum sound is mostly just the SE30 squishing a room mic.
Attached Files
File Type: wav SE-30 Example.wav (5.19 MB, 1714 views)
#18
13th March 2007
Old 13th March 2007
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Wow. Highly vibe-ish.

Thanks for sharing, Norman!
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13th March 2007
Old 13th March 2007
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Quote:
Originally Posted by leigh View Post
In my experience (with the Drewtronics Sherlock clone), the LevelLoc does something different than standard issue trashy distorted sounds. One big difference is the release time - it's pretty slow. If you run a drum mic through a stomp box, you get a thick/continuous wall of fuzz. The LevelLoc, in contrast, sucks a loud transient down to a tiny blip, waits a sec, then whooshes the gain back up. The result is not a continuous wall of fuzzed/limited sound, but a kind of delayed blooming of whatever ambience is hanging in the room. I believe this release time varies by how hard you're hitting it, but it's not a directly controllable parameter.

Whether it's "worth it" or not is another matter entirely... and yes it is a one trick pony. You could kind of emulate one with a limiter, maybe with a delay (50% wet) on the sidechain to emulate the delayed release effect. Just setting a long release time wouldn't do the trick, b/c it holds it down for a bit, then whooshes up rather quickly (shortish release time). Adding a delayed signal to the sidechain would keep the limiter mashed down in reduction for longer.

Leigh

That's a very cool idea. It's like a hold contol on a gate or the sustain portion of a synth envelope.
#20
13th March 2007
Old 13th March 2007
  #20
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I've never used the Level-loc, but I do have a Shure SE30. It's a gated compressor with 4 inputs and adjustable "response rate". I'm sure it's somewhat similar as it can smash a sound and then very slowly release it.
I've also found that the mic in my 20 year old boom box does a similar thing.
Neither of these are pretty to be sure, yet they're gorgeous!
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