OUR GEARSLUT EVOLUTION

[ebon]

let's clear up - let's tell all how we improved - let's say why we've bought our gear - spread some truth - not telling too much, of course

This is MY GEARSLUT EVOLUTION!

1. started with
   - TERRATEC DMX 6FIRE 24/96 + EDIROL MA-7A + Normal Cables
2. added ESI Juli
   - just felt better
3. added RME ADI-2
   - could not really tell a difference == I was too unexperienced
   - went back to ESI DA-Conversion
4. added GENELEC 8020
   - got more of all, I interpreted this as the following: bass pressure, stereo image, tightness, stability - but I just "felt"
   - ABX's failed I couldn't get any stable opinions
   - after a while the most important improvement was to recognize disturbing frequencies and uncomfortable peaks
5. added BENCHMARK DAC-1
   - little difference recognised, more naturalness, clearer softer highs, depth
6. added VOVOX
   - Difference between RME ADI-2 and Benchmark DAC-1 could be told even more, recognize disturbing frequencies and uncomfortable peaks even more
   - Difference between variable and calibrated Benchmark DAC-1 output could be recognized, experience raised
7. added some room corrections
   - sounds were more "concrete"
8. added BENCHMARK ADC-1
   - using as clock
   - every previous difference could be shown up even more
9. added AVALON AD2022
   - very clean, adds brilliant, fresh charakter, stable bass
   - for me too less character I like [warmth, dry old school sounding, mids have to be there]
10. added VOVOX to microphone and guitar signal path
    - more rounded up, and clearer/cleaner highs, cleaner transients, especially on extreme sounds
    - I play Black Metal with many Thrash Metal influences and huge groove [like Iron Maiden meet Immortal], with the aim to get every dynamic of my play and especially my right hand to the record/live]
11. added MARIAN Trace Pro
    - AES/EBU Connection sounded even better [vs. optical of ESI]
12. checked different digital connections
    - little better Coaxial cable had more sound information, less cover than cheap optical cable
13. checked ASIO vs. Windows Sound architechture
    - ASIO was more clear
    - external clock could be used
    - changed everything that affected music to ASIO only Browser sounds connected from PC Mainboard digital Output to Benchamrk DAC-1
14. killed every mp3 I ripped from my CD collection, and ripped them again to lossless [with EAC]
    - Lossless format: APE and FLAC sounded slightly different and WAVE included all minimal advantages I tried to learn the last years
    - BUT: the differences are as small that they collide with imagination, i take WAVE to feel good, and must not make any descisions anymore. If there are some, it must have something to do with my foobar player with ASIO and decoding vs. Windows Soundarchitechture, I don't know.
15. added VOVOX Digital AES/EBU
    - difference recognized
    - Jitter immunity of Benchmark seem to differ with different cables
16. added GENELEC 8040
    - another remarkable step
    - "more professionall", more cleaned up, more stereo imaging, bass punch, everything else, not only flavor
    - it took a while until I could again make stable descisions about disturbing frequencies, uncomfortable peaks?
    - every previous difference could be shown up even more
    - recognized that Frequency adaption at monitors in generall let the sound be more unnatural
17. added more room corrections
    - Bass Traps, broadbanad absorbers
    - after adaption
    - listening to music starts getting simpler
18. right now, all of my live equipement is being modificated by VOVOX wires, [exchanging interal wires, I listend to Amps wich were modificated]
    - Marshall JCM2000 100Watt
    - Marshall 1960AV
    - Jackson SL-1
19. added CROWLEY & TRIPP NAKED EYE ROSWELLITE to my setup
    - using for live and recording
    - supports character of my scream and clean vocals
    - +39db of Benchmark ADC-1 are enough for vocals and Guitars, but I want to have more unique charakter
    - searching for a "real" preamp

with this experience I'm right now trying to get the most out of firstly extreme sounds, that are recorded under "bad" circumstances.
There are many things one have to learn to recognize and first then one may be able to decide and find a constructive way to make every source sound great!
There are ways to get sound out of all recorded material [like correct use/choice of plugins, editing, the optimal recording premises, relooping through nalaog components]

Of course nothing comes close to the overall recording/monitoring perfectionism with the best room and equipement and musicians!

Me, I'm just at the beginning, and looking so much forward to this whole gearslut thing


Greetingz fellas,
and thanks to all of you and this great resource on gearslutz.com

ebon

[ebon]

reposted this one due to thread loss because of server problems.

Sad because of those who ansered before, it was very interesting, perhaps you can repost, too?

[Kadden Heart]

went from:

mbox 2 pro and pro tools with stock plugs, and a few random 57's and MXL's lying around,

to:

SSL 9000J
PTHD4 192 I/O's
sta-level
2 teletronix la-2a
4 distressors
2 fatso
2 1176
2mc76
portico pres (8)
API pres (2x 4 channels)
2 u87
2 fet47
10 57's
4 r122
2 r121
binaural head
d12
d112
d6
beta91
8 421's
2 414
i5
c1000
sm7b
blue bottle
aeron chairs
marshal heads
diezel heads
svt head
random marsshall and rate cabs
yamaha oak custom drum kit
a few les pauls
a few fenders
a few PRS
studio designed by and treated by a few designers from france

and of course i bought out criteria in miami as a secondar studio.

and of course i hire CLA to mix all my stuff for me and bribe him to just use my name.