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IIZ Radar Studio
Old 6th July 2017 | Show parent
  #31
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adam_f's Avatar
Quote:
Originally Posted by darnell828 View Post
Oh Well. It was a beautiful dream while it lasted. A computer that worked and sounded better than anything else.
IZ is alive & kicking.
Old 12th July 2017
  #32
Lives for gear
 
brucerothwell's Avatar
 

Perhaps this will help.... just received this in my inbox this morning:

Quote:
MESSAGE FROM PAUL C

Hello,

Allow me to reintroduce myself. My name is Paul Clark and I am the new Owner and President of iZ Technology Corporation—makers of RADAR.

I joined the company close to two years ago—almost to the very day—but I've actually been associated with RADAR from the very beginning when I was the President of Creation Technologies Inc.

After 25 years, Barry Henderson is stepping aside and leaving me in charge of this iconic line of pro audio equipment. The good news for you is that I am surrounded by an incredible team of people who have been involved with RADAR from the very beginning as well. And they're responsible for more important things than I am—like product design, engineering, manufacturing, sales and technical support.

We will continue to support our legacy products—found in 1000s of studios around the world and used by major artists and producers including Max Martin, The Arcade Fire, Margo Price, The Black Keys, D'Angelo, Stevie Wonder, Daniel Lanois, U2, Matt Ross-Spang, and many others.

We're also working diligently to bring new products to market that build on the heritage of RADAR (legendary sound quality, reliability, and customer support) while being more aligned with what musicians, producers and engineers are currently looking for.

We thank Barry for his incredible passion and energy and wish him the very best in his future endeavours. If you have any questions or thoughts we'd love to hear from you.

Sincerely,
Paul Clark
President
iZ Technology Corporation | RADARrecording
[email protected]
1-800-776-1356
Old 12th July 2017 | Show parent
  #33
Lives for gear
 
nobtwiddler's Avatar
Yep,
Knew something was brewing.
Especially when Barry didn't return calls. (which was unusual for him)

Let's see how this pans out?

Paul says he was there since the beginning, well, so was I...
My first Radar 1, from Creation Technologies, to Radar Studio today.

Onward and upward....
Old 12th July 2017 | Show parent
  #34
70% Coffee, 30% Beer
 
Doc Mixwell's Avatar
Wishing Barry and Paul the best of luck!!
Old 12th July 2017
  #35
Here for the gear
I've spoken with Paul Clark, once before buying and then after when he walked me through a drive re-assignment on the phone.
He knows as much as anybody at iZ about the product and they all seem to have a great patience for any of us that is less tech-savvy.
I love my RADAR studio!
Old 13th July 2017
  #36
Gear Nut
 
2busdriver's Avatar
 

Congratulations IZ! Sounds like great news for everyone at IZ and those rooting for them. I too had a new Radar I back then, great stuff. Hoping to get back into the latest box not too far off - really glad that the future is looking good.
Old 4th February 2018
  #37
Gear Maniac
 
dbluefield's Avatar
 

Still...waiting.....I hope they get it going...got a call through , but paul seems to be busy....

Upgraded and unhappy:(
Old 4th February 2018
  #38
Lives for gear
 

I’m curious, why do people still buy these things? My last song finished on my MacBook had 185 tracks. What’s the purpose of these? No diss just curious
Old 5th February 2018 | Show parent
  #39
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by LuXx View Post
I’m curious, why do people still buy these things? My last song finished on my MacBook had 185 tracks. What’s the purpose of these? No diss just curious

This one is a thread I'm bringing back from the dead, mainly to answer this question, and to communicate something to people who might not understand why a solution like an IZ is worth the price of admission.

People who need to sum to analog, and/or track live with 16 or 24 tracks would favor something like an IZ ADA since it's in an all in one solution that can connect to MADI or Digilink, or AES, and so on.

People who are used to tracking with a tape machine, and who only really use DAW's in a minimal sense would favor a Radar system for the familiarity.

But in the case that LuXx brings here with 185 tracks on a session. I have to ask "why so many tracks?" Do you ever comp anything? That sounds like a disorganized mess.

I'm constantly trying to slim things down in PTHD sessions. And I have 64 gigs of DDR4 2800. I can run a mess of plugins native and hundreds of tracks no problem.

Still, it's ram/processing inefficient to run that many tracks. Especially when you can automate in the box. You're cutting into the power you could put into automation and plugins dramatically.

I find that I favor simplifying a mix as much as possible. So I'm barely touching faders unless something needs to be automated, OR if I'm using a Bus fader. Things clean up, phase/imaging improves. And it's much, much easier to maintain and improve upon a balance.

After comping everything down I typically go to 24-32 tracks and 4-8 buses in stereo. The twist is each bus has what I would run on a 2 Bus in terms of plugins, tweaked from a starting point they all share for the instruments running to each bus. I get much, much better phase response this way, and things just sound massive, and much more "analog" without feeling noisey/harsh.

I get that it's easy to just add a track to tack on a tiny part here, and a tiny part there, but in the end you're introducing a lot of noise floor via blank sections on channels hitting bus routing and compressors, all while bogging down your systems resources in the process. It might sound alright at a glance but you can easily make jumps in clarity without much effort by comping things as much as possible.

Working analog where you have limitations teaches you this quickly, and working in digital with no frame of reference to those limitations can form bad habits.

I'm not ragging on you, I'm seriously trying to impart something that will hopefully improve your workflow. Please don't take this an attack. I'm saying you can grow from this.

As for the quality of IZ's stuff, it's up there with Prism and Mytek, which are the two other heaviest hitters on the block in my experience (and I've really scoured the earth trying to find the best possible converters for my rig).

I use a Prism Titan via Digilink, but I don't need anything over 8 tracks ATM. If I wanted to add another 16 or 24 channels I would probably buy an IZ ADA...but for the rig I'm currently using it's more likely I'll go to 16 max and settle on another Titan. I'm just not working sessions that would require more than 8 mics live of late, since I'm mixing and mastering primarily. So having 10-14 would give me enough flexibility in a pinch.

If I wind up moving to a bigger space I think I'll still want to keep things on the smaller side, but if that changes IZ is the first on my list to try.
Old 5th February 2018
  #40
Gear Nut
 
Saxon's Avatar
The Radar converters sound fantastic, and...the world's best recordings have been made with 2, 4, 8, 16 and 24 tracks.
Old 5th February 2018 | Show parent
  #41
Gear Addict
Quote:
Originally Posted by LuXx View Post
I’m curious, why do people still buy these things? My last song finished on my MacBook had 185 tracks. What’s the purpose of these? No diss just curious
some of us old folks just long for the good old days of making records on tape. we enjoy the flow of working on a multi track vs. a daw. pressing those transport buttons just feels good.

seriously though...radar rules. i've been a long time radar user. it was the first digital format that convinced me i could move on from the tape world.

the radar converters sound amazing. anyone who has used them knows this. there is just something special about those converters.

even when i moved on to doing most of my stuff in protools due to the realities of the music biz...i used my radar converters to feed my daw. to this day, they are still my favorite converters. they just sound right to my ears.

i've also made a ton of rock records just on radar using it basically like an analog tape deck that has undo and easy editing capabilities. for a lot of the projects i worked on, using radar with a console, not looking at a screen at all, was the ideal workflow for me and the bands.

i've always found that something gets lost when you are making a record with a group of people staring at a computer screen all day rather than just really listening.

on projects that i needed more tracks for the production required, i just used protools, but radar was always used as the main tracking machine.
Old 5th February 2018 | Show parent
  #42
70% Coffee, 30% Beer
 
Doc Mixwell's Avatar
RADAR Studio and RADAR machines are popular among Audio ENGINEERS. Not DAW producer people with 185 tracks.
Old 5th February 2018
  #43
Gear Maniac
 
dbluefield's Avatar
 

Basically this version of radar should do everything I really need since it operates in both Operating systems. Windows & BeOs. Now all music production done in the DAW or track like a tape machine in BeOS.- Import to DAW program later. UAD octo integrated as well for more plugs than Ill ever need.

They rebuilt my radar24 with 24 nyquist converters into a brand new machine - after 14yrs of ownership -

All I/o's hard wired to Trident 80B console - virtual instruments and DAW , mastering etc.

I simply need a little help to integrate Kontact
Old 6th February 2018 | Show parent
  #44
Lives for gear
 

Quote:
Originally Posted by Doc Mixwell View Post
RADAR Studio and RADAR machines are popular among Audio ENGINEERS. Not DAW producer people with 185 tracks.
Its 2018, if youre an artist (I am) and youre not also an audio ENGINEER, youre in trouble ha
Old 6th February 2018 | Show parent
  #45
Lives for gear
 

Quote:
Originally Posted by crestifer View Post
some of us old folks just long for the good old days of making records on tape. we enjoy the flow of working on a multi track vs. a daw. pressing those transport buttons just feels good.

seriously though...radar rules. i've been a long time radar user. it was the first digital format that convinced me i could move on from the tape world.

the radar converters sound amazing. anyone who has used them knows this. there is just something special about those converters.

even when i moved on to doing most of my stuff in protools due to the realities of the music biz...i used my radar converters to feed my daw. to this day, they are still my favorite converters. they just sound right to my ears.

i've also made a ton of rock records just on radar using it basically like an analog tape deck that has undo and easy editing capabilities. for a lot of the projects i worked on, using radar with a console, not looking at a screen at all, was the ideal workflow for me and the bands.

i've always found that something gets lost when you are making a record with a group of people staring at a computer screen all day rather than just really listening.

on projects that i needed more tracks for the production required, i just used protools, but radar was always used as the main tracking machine.
Great reply, thank you. Respect!
Old 6th February 2018 | Show parent
  #46
Gear Addict
Quote:
Originally Posted by LuXx View Post
Great reply, thank you. Respect!
i'm a musician first. then a producer and engineer. i learned how to engineer because i wanted to make records the way i wanted to hear them sound.

so i learned.

i've always loved workin on tape and radar is the closest to feeling like that.

there is just something i will never get used to about looking at music on a screen.

i'm not a luddite. i love many things about digital. convenience, affordability, access.

i could not make records like i did with the artists i wanted to without digital.

i just love radar for my basic tracking. i can run sessions like we are on tape, setup very low latency cue mixes, etc etc. and...it sounds right to me.

i can also do very quick edits between takes, and punch ins so much easier than on a daw.

then i get the stuff in protools, and if necessary...i can edit more things or mix.

the other thing i'll say about radar...it never crashes. i used radar 2's for years...rarely had any down time.

they are solid machines.
Old 6th February 2018 | Show parent
  #47
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by LuXx View Post
Its 2018, if youre an artist (I am) and youre not also an audio ENGINEER, youre in trouble ha
I agree with you 100%. I was an artist first, and I will always make music in that respect. Times have changed as you say, but I'm also a professional engineer, and now a software developer, etc. So I get Adam's points as well (not to mention that I know Adam writes and performs his own songs going back to his days at Mercenary too if I'm not mistaken). Adam deals in high end equipment, has relationships with a list of the best boutique manufacturers, and was trained by Fletcher is a major talent as an engineer in his own right to boot. He's no slouch.

His and my mentality is that you separate roles a bit when you trade hats.

So final point on the IZ stuff: If you were tracking a lot of live musicians for a project and had IZ Radar or ADA as your large format converter system to get live takes, you would be incredibly happy. They are some of the best sounding converters money can buy, and a league above a ton of newer generation technologies which suffer from cheaper components post globalization of computer and machine parts circa 2007-2008. I know Death Cab For Cutie for instance cut the majority of their LP's on a Radar in this way for example, and those albums sound incredible.

But more importantly, concerning my notes to you...I meant what I said about comping tracks. I know I'm just the non-famous mentee of a top 40 mix engineer who was at the heart of millions of albums sold, but if you need someone to pick brains with about slimming down 185 tracks to something manageable without losing anything...PM me. I don't mind giving advice to help you for real.

You will net gains in stereo imaging, depth of field, etc. And overall balance will improve in the box. But leaving things at large track counts like that, with only small bits of ear candy on most tracks, self generates a ton of noise you don't want or need. Slimming it all down to 24-32 is what I would advise, on a song by song basis. Even Chris Lord Alge keeps things at 48 tracks max I believe, leaving 8 tracks free on his 56 channel SSL for parallel processing, or maybe even just dedicated as channels for tracking drums in his live room. Though I would bet most songs get comped down to 24-32 tracks because there just doesn't need to be all that much going on.

Last edited by herecomesyourman; 6th February 2018 at 09:43 PM..
Old 7th February 2018
  #48
70% Coffee, 30% Beer
 
Doc Mixwell's Avatar
Lox, dood...Its 2018 and you (...also a Fab Engineer) don't understand the purpose of a 24 track Digital Recorder?
Old 7th February 2018 | Show parent
  #49
70% Coffee, 30% Beer
 
Doc Mixwell's Avatar
Here comes....Brah...I worked for Fletcher for 5 years....i WORKED for him. He is a friend. Yea I learned from him, and yea I assisted him, but you have some serious comprehension problems.
Stop trying to "tell my story"....
Old 7th February 2018 | Show parent
  #50
Lives for gear
 

Quote:
Originally Posted by Doc Mixwell View Post
Here comes....Brah...I worked for Fletcher for 5 years....i WORKED for him. He is a friend. Yea I learned from him, and yea I assisted him, but you have some serious comprehension problems.
Stop trying to "tell my story"....
What is your problem? Lol

There arent many things I dont understand little buddy so please, stop with the condescension, thanks.
Old 6th April 2018
  #51
Lives for gear
 
Ephi82's Avatar
 

I bought a RADAR 24 about 8 years ago from a NYC studio that used it day in and day out without ever a problem. I am just having the first ever problem with this unit, and will be installing a new hard drive with sw upgrade next week. This is a machine that has been inservice for over 15 years. The only other equipment that I own with that kind of longevity is my 1967 BF Pro Reverb!

What a lot of people don't realize is that the RADARs have great converters but a heck of a lot of care and work went into the analog stages that feed and come out of the converters. IMO, this is why these units sound MASSIVE. For me, a 59 year old analog man in a digital world, I have a 24 track recorder that sounds as good as anything out there for the monumental sum of $3,300
Old 7th April 2018 | Show parent
  #52
Lives for gear
 
deuc647's Avatar
Quote:
Originally Posted by herecomesyourman View Post
I agree with you 100%. I was an artist first, and I will always make music in that respect. Times have changed as you say, but I'm also a professional engineer, and now a software developer, etc. So I get Adam's points as well (not to mention that I know Adam writes and performs his own songs going back to his days at Mercenary too if I'm not mistaken). Adam deals in high end equipment, has relationships with a list of the best boutique manufacturers, and was trained by Fletcher is a major talent as an engineer in his own right to boot. He's no slouch.

His and my mentality is that you separate roles a bit when you trade hats.

So final point on the IZ stuff: If you were tracking a lot of live musicians for a project and had IZ Radar or ADA as your large format converter system to get live takes, you would be incredibly happy. They are some of the best sounding converters money can buy, and a league above a ton of newer generation technologies which suffer from cheaper components post globalization of computer and machine parts circa 2007-2008. I know Death Cab For Cutie for instance cut the majority of their LP's on a Radar in this way for example, and those albums sound incredible.

But more importantly, concerning my notes to you...I meant what I said about comping tracks. I know I'm just the non-famous mentee of a top 40 mix engineer who was at the heart of millions of albums sold, but if you need someone to pick brains with about slimming down 185 tracks to something manageable without losing anything...PM me. I don't mind giving advice to help you for real.

You will net gains in stereo imaging, depth of field, etc. And overall balance will improve in the box. But leaving things at large track counts like that, with only small bits of ear candy on most tracks, self generates a ton of noise you don't want or need. Slimming it all down to 24-32 is what I would advise, on a song by song basis. Even Chris Lord Alge keeps things at 48 tracks max I believe, leaving 8 tracks free on his 56 channel SSL for parallel processing, or maybe even just dedicated as channels for tracking drums in his live room. Though I would bet most songs get comped down to 24-32 tracks because there just doesn't need to be all that much going on.
I think i remember reading CLA has an assistant do all his edits and comping to 48 channels before he even walks into the studio to mix. TBH, i never understood why so many tracks exist in one song but again i do this as a hobby, ask me how to save someones like and im ur man, ask me to engineer a song like CLA and ill say, i have no idea how.
Old 7th April 2018 | Show parent
  #53
Lives for gear
 

Quote:
Originally Posted by herecomesyourman View Post

After comping everything down I typically go to 24-32 tracks and 4-8 buses in stereo. The twist is each bus has what I would run on a 2 Bus in terms of plugins, tweaked from a starting point they all share for the instruments running to each bus. I get much, much better phase response this way, and things just sound massive, and much more "analog" without feeling noisey/harsh.

I get that it's easy to just add a track to tack on a tiny part here, and a tiny part there, but in the end you're introducing a lot of noise floor via blank sections on channels hitting bus routing and compressors, all while bogging down your systems resources in the process. It might sound alright at a glance but you can easily make jumps in clarity without much effort by comping things as much as possible.
Can you go into more details about this please?

I'm confused - are you talking about an analog mix, a DAW mix, or hybrid?

It really peaked my interest!!
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