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Crane Song Ibis + Hendyamps Michelangelo... or Chandler Curve Bender?
Old 6th August 2020
  #1
Crane Song Ibis + Hendyamps Michelangelo... or Chandler Curve Bender?

Hey All,

I have been diving in like mad here in the foriums to get a sense of the high end eq thing, as I am currently looking to purchase.

As is well known the Curve Bender seems to be a champion... but it is oh so very expensive. With good used deals, I could for a similar price pick up both the Crane Song Ibis and Hendyamps Michelangelo.

Not looking for a super deep breakdown of all the above, as I have read tons about them in these forums and don't want to waste your time... unless you just would like to get deep, of course!

What I am curious about is a straight up decision. Get the Curve Bender, or get both the Ibis + Michelangelo. Do do ye decide?
Old 6th August 2020
  #2
Quote:
Originally Posted by prophei View Post
Do do ye decide?
Never buy anything based on someone else's personal biases. Especially pieces that cost what you are asking.

Find a way to try it out yourself, preferably in your own studio, in front of your own speakers. Its the only way to really judge if it fits the bill for what you are looking for.

You just don't know where people personal preferences and biases are coming from and do they line up with your own.

If you don't want to heed the advice, then the old "Hi End" adage applies: Buy them all. Keep what you like and pray you can find someone willing to take what you don't like off your hands in this bad world economy.
Old 6th August 2020
  #3
Lives for gear
 
loji's Avatar
Thrill speaks truth ..

It's important to hear it within your own chain .... with the Michaelangelo in particular, it will sound very different depending what is feeding it / what it feeds ..

The old school way has always been, buy low, learn it, then sell high ...

that's much more difficult to do in the current climate

The flip side, is there is much more gear available much more affordably than ever before! ... prices are down, if you've got the scratch, use it to your advantage.

Personally I'd say the Ibis + MA is pretty flexible / compliment each other .... but who knows if that is what you need for your specific production style
Old 6th August 2020
  #4
Quote:
Originally Posted by thethrillfactor View Post
Never buy anything based on someone else's personal biases. Especially pieces that cost what you are asking.

Find a way to try it out yourself, preferably in your own studio, in front of your own speakers. It's the only way to really judge if it fits the bill for what you are looking for.

You just don't know where people personal preferences and biases are coming from and do they line up with your own.

If you don't want to heed the advice, then the old "Hi End" adage applies: Buy them all. Keep what you like and pray you can find someone willing to take what you don't like off your hands in this bad world economy.

That is great advice... and perfectly sums up one thing I miss about when I was still living in SoCal. In LA, it is easy to hear/touch/test all this kind of stuff properly. Ever since I have moved to the bay area, I can't find anyone that carries this kind of equipment, which has been painful.

Dropping 5k+ on audio gear without using it first is definitely a terrifying prospect.

That said, I don't have the spare $$ right now to grab it all. Best I could do is grab something and return it cause I don't like it, but without comparison possibilities, that doesn't solve the initial problem.

Last edited by prophei; 6th August 2020 at 07:20 PM.. Reason: clarity
Old 6th August 2020
  #5
Quote:
Originally Posted by prophei View Post
Ever since I have moved to the bay area, I can't find anyone that carries this kind of equipment, which has been painful.
Then plan a day trip( with your mask/social distanced of course) and go to LA to listen in person.

Or find a couple of studios that may have them and book some time and try it out there.

The money spent in traveling or booking time in studio will pay off (or write off on taxes) in the end. Because you will know for sure and not be guessing the entire time.
Old 7th August 2020
  #6
Quote:
Originally Posted by thethrillfactor View Post
Quote:
Originally Posted by prophei View Post
Ever since I have moved to the bay area, I can't find anyone that carries this kind of equipment, which has been painful.
Then plan a day trip( with your mask/social distanced of course) and go to LA to listen in person.

Or find a couple of studios that may have them and book some time and try it out there.

The money spent in traveling or booking time in studio will pay off (or write off on taxes) in the end. Because you will know for sure and not be guessing the entire time.
Again, I see your logic, but that is just not in the cards right now. Twins on the way and the wife wants me around. ;-)
Old 7th August 2020
  #7
Quote:
Originally Posted by prophei View Post
Again, I see your logic, but that is just not in the cards right now. Twins on the way and the wife wants me around. ;-)
So then wait. What's the hurry right?,
Seems you have your hands full with life.

Why add more to the plate? " Each day has enough trouble of its own".

(Trust me , the gear will be there waiting for you when you can take the time).
Its worth it for these types of purchases.
Old 7th August 2020
  #8
Quote:
Originally Posted by thethrillfactor View Post
So then wait. What's the hurry right?,
Seems you have your hands full with life.

Why add more to the plate? " Each day has enough trouble of its own".

(Trust me , the gear will be there waiting for you when you can take the time).
Its worth it for these types of purchases.
I sold a rare synth to get the funds to flesh out my mix situation for the long haul with the assumption I won't have any cash for a while. Having one super nice EQ that is on the vibey side is the last piece I am missing.

I want something that sounds glorious on the mix bus, but still have enough power to get detailed if I need it to.
Old 7th August 2020
  #9
Quote:
Originally Posted by prophei View Post
I sold a rare synth to get the funds to flesh out my mix situation for the long haul with the assumption I won't have any cash for a while. Having one super nice EQ that is on the vibey side is the last piece I am missing.

I want something that sounds glorious on the mix bus, but still have enough power to get detailed if I need it to.
Just from my experience and please take it with a grain of salt, but no one piece of hi end gear really stamps "vibe" over eveything especially EQ's and compressors.

Most Hi end gear is designed to the widest bandwith possible, low distortion, transient detail possible etc by the designers.

Gear only gets "vibey" when you do something it wasn't designed for (pushing for distortion) or use its inherent quality to enhance something that was "vibey" to begin with.

Basically if you run each all of the units flat and level match them, there is very little difference between each sonically( i know its heresy).
Its until you boost or cut that you start to hear the functional differences and then it becomes more of how its used then how it sounds. But the "vibe" has to be there to begin with.
Old 7th August 2020
  #10
Quote:
Originally Posted by thethrillfactor View Post
Just from my experience and please take it with a grain of salt, but no one piece of hi end gear really stamps "vibe" over eveything especially EQ's and compressors.

Most Hi end gear is designed to the widest bandwith possible, low distortion, transient detail possible etc by the designers.

Gear only gets "vibey" when you do something it wasn't designed for (pushing for distortion) or use its inherent quality to enhance something that was "vibey" to begin with.

Basically if you run each all of the units flat and level match them, there is very little difference between each sonically( i know its heresy).
Its until you boost or cut that you start to hear the functional differences and then it becomes more of how its used then how it sounds. But the "vibe" has to be there to begin with.
I don't disagree. There are units that tend to impart less of their own flavor than others with that push and cut though. I would like something that does it with a flavor, and obviously one that I like. I tend to prefer things with their own character. Even if a good EQ starts with little flavor, as you pointed out, it's really all about the few percentage points gained in awesome.

No doubt that it all starts with the content though. Great gear is not going to fix what sucks!

I have a pretty wonderful setup these days, but a stellar outboard EQ is that missing piece. I suppose that for really clinical stuff, I would use plugins from my HDX system... so I want something I would be willing to play hands on as I record. Sometimes, outboard can belike an instrument.

What do you use that you feel that way about?
Old 7th August 2020
  #11
Quote:
Originally Posted by prophei View Post

What do you use that you feel that way about?
Honestly?
Nothing. I almost never ever EQ the mixbuss and only on a rare occasion use mixbuss compression anymore.

I get everything sounding the way I like before the end. I like things wide an open and am just used to that an prefer it.

I tend to prefer gear(Eq's/comps) that sounds wide, deep and open not with any real forceful sonic stamp.

Sure makes doing recalls much easier.
Old 7th August 2020
  #12
Quote:
Originally Posted by thethrillfactor View Post
Honestly?
Nothing. I almost never ever EQ the mixbuss and only on a rare occasion use mixbuss compression anymore.

I get everything sounding the way I like before the end. I like things wide an open and am just used to that an prefer it.

I tend to prefer gear(Eq's/comps) that sounds wide, deep and open not with any real forceful sonic stamp.

Sure makes doing recalls much easier.
Fair enough. What fits that bill for you?
Old 7th August 2020
  #13
Quote:
Originally Posted by prophei View Post
Fair enough. What fits that bill for you?
Getting things happening on the way in. Finding the best musicians i can afford to overdub or record together to do parts I can't play myself. Reamping and micing plugins and real synths to get more depth out of it.
Processing the plugs,keys, drum machines to get them to fit how I want as song is being produced. If everything is done well, by the time its mixtime there is very little processing needed because its all done at different stages of productions. Also the talent has been recording to these changes so they readjusted themselves as well.

By the way i tested each EQ you are inquiring about for my outboard rig and didn't ended up buying any of them.(I don't have many spaces in my desk for outboard gear so what ever i choose has to be used at some point and not just take up spaces in my rack).

I was hoping I could use the Michelangelo for my instrumental "mids" return (keys and the like) but to my ears it shrunk the left and right image too much and added a color that i would have to EQ after and to me it was too much work. So I passed.
The Chandler Curve Bender I was sure could replace my original Massive Passive EQ which i sold years ago for processing the mids in vocals and while interesting at times, seemed only to work for certain types(great in a mixture with Zener limiter for a rock drum buss but if you aren't doing much rock these days?) which i just wasn't doing enough so i passed.
I was getting a great deal on the IBIS and again thought it might be useful for mixing vocals, but its the same thing, it has a certain stamp that works for somethings and not others. So I passed.

I thought going in that i would end up with at least 2 of them and ended up with none. Who woulda thunk it? Goes to show its worth it to listen and try for yourself.
Old 7th August 2020
  #14
Lives for gear
 
DougS's Avatar
 

+1 on the Michelangelo. Don't have the others so can't offer a comparison. Sure all three are great. The Aggression knob on the Michelangelo offers some nice tube vibe. Very nice to be able to dial it in irrespective of levels. I use it on mix bus.
Old 7th August 2020
  #15
Quote:
Originally Posted by thethrillfactor View Post
Getting things happening on the way in. Finding the best musicians i can afford to overdub or record together to do parts I can't play myself. Reamping and micing plugins and real synths to get more depth out of it.
Processing the plugs,keys, drum machines to get them to fit how I want as song is being produced. If everything is done well, by the time its mixtime there is very little processing needed because its all done at different stages of productions. Also the talent has been recording to these changes so they readjusted themselves as well.

By the way i tested each EQ you are inquiring about for my outboard rig and didn't ended up buying any of them.(I don't have many spaces in my desk for outboard gear so what ever i choose has to be used at some point and not just take up spaces in my rack).

I was hoping I could use the Michelangelo for my instrumental "mids" return (keys and the like) but to my ears it shrunk the left and right image too much and added a color that i would have to EQ after and to me it was too much work. So I passed.
The Chandler Curve Bender I was sure could replace my original Massive Passive EQ which i sold years ago for processing the mids in vocals and while interesting at times, seemed only to work for certain types(great in a mixture with Zener limiter for a rock drum buss but if you aren't doing much rock these days?) which i just wasn't doing enough so i passed.
I was getting a great deal on the IBIS and again thought it might be useful for mixing vocals, but its the same thing, it has a certain stamp that works for somethings and not others. So I passed.

I thought going in that i would end up with at least 2 of them and ended up with none. Who woulda thunk it? Goes to show its worth it to listen and try for yourself.
Yeah, no doubt! I feel like I live in a pro audio void. It is frustrating. Trust me, I would rather spend some hours with each before spending. Right now I am still narrowing the list. Maybe I'll figure out a way.
Old 7th August 2020
  #16
Quote:
Originally Posted by prophei View Post
Maybe I'll figure out a way.
At this level its my opinion that its a must. It really is the only way to know.

Gearslutz is all about the hyperboles isn't it?

You know "Night and Day", " Depth for miles", " Wide as a house", "Tall as a building", " Fat, thick and bassy like nobodys business", but the truth its really all one's personal spin on things. And behind those personal spins there are all kinds of personal biases. How you hear things? What kinds of things your experiences makes your ears attuned to? What type of sounds your ears favor? Buyers biases justifying expensive purchases, how your room is voiced in terms of treatment, monitoring choices, playback converters, etc.

The way to "cut through the mustard" as they to hear it in person yourself. Also you get a feel for the knobs, the tactile interface, the response when you turn the knobs, etc all color and influence how you hear things.
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