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Would you pay $6k for a Vintage Blue Stripe 1176? Virtual Instrument Plugins
Old 17th August 2008
  #1
Pastor Obviedo
Guest
Would you pay $6k for a Vintage Blue Stripe 1176?

They're asking (VK) $6k for a Rev B Blue Stripe, these are RIDICULOUS times.

BTW, you can get a NEW Purpe MC77 for $1650 dls.

PO.


Old 17th August 2008
  #2
I wouldn't. The last Blue Stripe i had (around 2000) i purchased for $1100 and i think i sold it for $1450. I don't think its worth at the most $1650.

But one thing the Purple sounds nothing like the Blue Stripe on vox. The Purple has the hard mid forward thing going on vox while the Blue Stripe is softer and has more air as well as more noise.
Old 17th August 2008
  #3
Pastor Obviedo
Guest
Quote:
Originally Posted by thethrillfactor View Post
But one thing the Purple sounds nothing like the Blue Stripe on vox. The Purple has the hard mid forward thing going on vox while the Blue Stripe is softer and has more air as well as more noise.
So, on vocals the purple is in one word... BETTER!
Old 17th August 2008
  #4
.

probably depends on the vocal, no? that's kind of a large generalization...

.
Old 17th August 2008
  #5
Quote:
Originally Posted by Pastor Obviedo View Post
So, on vocals the purple is in one word... BETTER!
Its not $4500 better though.

It also depends on the vocal. The ideal situation is to have one of each and you choose based on the task at hand. But if it meant shelling out $6K i would gladly pass. Honestly i don't think there is one compressor or any piece of outboard gear around today that is worth shelling out more than $4500. A Fairchild, EMT 250 or mastering Sontec maybe $5K at most.

Anything more is just ridiculous IMO.
Old 17th August 2008
  #6
outofphase
Guest
Quote:
Originally Posted by thethrillfactor View Post
Honestly i don't think there is one compressor or any piece of outboard gear around today that is worth shelling out more than $4500. A Fairchild, EMT 250 or mastering Sontec maybe $5K at most. Anything more is just ridiculous IMO.
Actually I think exactly this about Protools and plug ins not vintage gear. heh
Old 17th August 2008
  #7
Lives for gear
 
Dirty Halo's Avatar
 

No.

As previously said, the Purple is as good, if not better.

THEN you have more money for even MORE gear!

-andrews


P.S. Sometimes console are partly worth their price for added client "wow" factor, but the Blue Stripe, isn't going to impress anyone except all us and again, many here think the Purple MC77 (1176) is JUST as exciting!



-andrews
Old 17th August 2008
  #8
Quote:
Originally Posted by outofphase View Post
Actually I think exactly this about Protools and plug ins not vintage gear. heh
ProTools is a different story. I see it a purchase more like a console and a tape machine than a piece of gear. Clients will definitely book work if you have ProTools and the plugs they need. In 22 years in pro audio i've never booked a studio or had someone book my place because of a Blue Stripe 1176. Its popularity is based on 2 things:

1) The article FLetcher wrote years back in mixmag talking about it.

2) The fact that CLA says he uses one for mixing vocals. Which is funny in itself because he clearly says that his is broken and he refuses to fix it because he is afraid it won't sound the same. So if you are a guy that's hanging on his nuts, you will be dissapointed when you pick one up for $6K and realize that VK goes through that thing with a fine tooth comb so it will not sound "broken", but the whole idea is that CLA's is broken so it will never sound the same.
Old 17th August 2008
  #9
outofphase
Guest
Quote:
Originally Posted by thethrillfactor View Post
ProTools is a different story. I see it a purchase more like a console and a tape machine than a piece of gear. Clients will definitely book work if you have ProTools and the plugs they need.
You can buy a 888 for $80 dls on ebay, and your $1400 Blue stripe is being selling for $6k, that's what I'm talking about.

Quote:
Originally Posted by thethrillfactor View Post
2) The fact that CLA says he uses one for mixing vocals. Which is funny in itself because he clearly says that his is broken and he refuses to fix it because he is afraid it won't sound the same. So if you are a guy that's hanging on his nuts, you will be dissapointed when you pick one up for $6K and realize that VK goes through that thing with a fine tooth comb so it will not sound "broken", but the whole idea is that CLA's is broken so it will never sound the same.
Honestly, do you believe his 1176 is broken? Jim Williams can jump in with this and tell you that you can't get a decent sound from a broken 1176, In fact you can't get a killer sound with a broken 1176, blue, purple or yellow. This is misleading information and you know that, and BTW CLA is using Retro's 176 on his vocals this days, maybe his Blue Stripe is indeed broken.

Said that, I WOULD NEVER pay that for a Blue Stripe. heh

OOP.
Old 17th August 2008
  #10
Lives for gear
 
toolstudio's Avatar
 

Until people hear that CLA switched to Retro 176s for his vocals......

6000$ is crazy.

But if people pay that amount, why shouldn't they sell it to them ?
I mean finally it's business....

Had a blue stripe some years ago, and it's the only vintage comp I ever
sold..... but that means nothing, maybe I haven't found the magic (just the noise :-))

wolfgang
Old 17th August 2008
  #11
Quote:
Originally Posted by outofphase View Post
You can buy a 888 for $80 dls on ebay, and your $1400 Blue stripe is being selling for $6k, that's what I'm talking about..
An 888 isn't a PTools system.

Also i've never met one person with a studio where there PT system didn't pay for itself 20 times over.

I can't say the same thing for outboard gear. That's why there is the GS classifieds and over 3600 pieces of outboard gear for sale on Ebay.




Quote:
Originally Posted by outofphase View Post
Honestly, do you believe his 1176 is broken? Jim Williams can jump in with this and tell you that you can't get a decent sound from a broken 1176, In fact you can't get a killer sound with a broken 1176, blue, purple or yellow. This is missleading information and you know that.

Said that, I WOULD NEVER pay that for a Blue Stripe. heh

OOP.
Of course i believe it.

One of my favorite pieces of outboard that i own is my pair of 2254/a's and one side has been recapped and the other isn't. Also each side is calibrated differently, but guess what i don't hesitate on using it on stereo sources(like the mixbuss) even though each side is different? Why? Because i am used to the sound and over the years i just learned to compensate. Also that each side sounds different works on individual sources. Bass goes on the left with the old original caps and lead vox can go in the other with the modern caps. You should hear the thing on piano.

Same goes for my Edison Spatializer which is always set to stun, but it does weird **** where one sides output is hotter than the other. So i literally have to feed each side at different levels by ear. Is it exact? Nope. But guess what it sounds good how it is and if i fix it probably won't sound the same(it probably willsound like **** because its a Behringer). But it gets even better when i run the Edison through the 2254's on bypass. Now i got imperfect working gear through imperfect working gear. But guess what it sounds like...
Old 17th August 2008
  #12
outofphase
Guest
Quote:
Originally Posted by thethrillfactor View Post
Of course i believe it.

One of my favorite pieces of outbaord that i own is my pair of 2254/a's and one side has been recapped and the other isn't. Also each side is calibrated differently, but guess what i don't hesitate on using it on stereo sources(like the mixbuss) even though each side is different? Why? Because i am used to the sound and over the years i just learned to compensate.
Cool but that's not broken, sorry.
Old 17th August 2008
  #13
Quote:
Originally Posted by outofphase View Post
Cool but that's not broken, sorry.
Well my definition of broken is different than yours.

To me "broken working gear" means gear that is working in a way that it wasn't originally designed for based on something technical or mechanical wrong with it.

Not broken in a way where its not passing audio which in the studio would render it pretty much useless.
Old 17th August 2008
  #14
Gear Addict
 
philosi's Avatar
 

I paid 1800 for a blue stripe about 4 years ago. Financially it was a good investment. Too bad I'll never sell it!
Old 17th August 2008
  #15
Lives for gear
 

Quote:
Originally Posted by outofphase View Post
...Honestly, do you believe his 1176 is broken? Jim Williams can jump in with this and tell you that you can't get a decent sound from a broken 1176, In fact you can't get a killer sound with a broken 1176, blue, purple or yellow. This is misleading information and you know that...
In my opinion it's definitely broken, or at least not working correctly. The unit was in our shop a couple of years ago and we discovered a miswire in the preamp circuit that caused unusual things at certain levels and frequencies. We fixed it, but Chris was bummed about the change in sound and had us restore the "fault". The other day he was talking about having us refurb one or two other 1176's that he picked up, but I don't think he wants the "broken" one touched, ever, unless it completely dies some day.

It's funny that the story about the broken 1176 got out. Is it in an interview?
Old 17th August 2008
  #16
Quote:
Originally Posted by David Kulka View Post
It's funny that the story about the broken 1176 got out. Is it in an interview?
.

i believe someone was playing it too loud at bono's house heh

.
Old 17th August 2008
  #17
Lives for gear
 
T_R_S's Avatar
Would you pay $6k for a Vintage Blue Stripe 1176?

No I would sell it for that then take the money a buy a 33609
Old 17th August 2008
  #18
Lives for gear
 
Mr.HOLMES's Avatar
I see it like this.
The music will be played later on MP3 players and with radio limiters etc.....
I would not buy it for so much $$$ this is one reason why I like clones they are not bad and make sound too who cares if I had a original Blue Stripe 1176 on my mix??

NO ONE.

As far it is not a nostalgic hobby by you DO NOT BUY IT.
Old 17th August 2008
  #19
Deleted User
Guest
Sure, why not..

It does sound really great, i sold one and kept one and
also sold the Purple which sounded cold to me. They
couldn't touch the sound of my pair of D models on
musical parts, but on vocals there's a certain 60's vibe
which is really great.

If you have a lot of money and are earning everyday
why not, they are really hard to turn up.

Lucky i bought mine 10 years ago. 6K whooo
Old 17th August 2008
  #20
Lives for gear
 
colinmiller's Avatar
 

Quote:
Originally Posted by outofphase View Post

Honestly, do you believe his 1176 is broken? Jim Williams can jump in with this and tell you that you can't get a decent sound from a broken 1176, In fact you can't get a killer sound with a broken 1176, blue, purple or yellow. This is misleading information and you know that, and BTW CLA is using Retro's 176 on his vocals this days, maybe his Blue Stripe is indeed broken.
Actually Richard Marx for example always uses the same 1176 for recording vocals because it's broken and it's the only one that gets him that sound. Because the unit is broken it adds a nasty distortion that helps the vocal sit just right in the mixes of his songs.
Old 17th August 2008
  #21
Lives for gear
 
jchadstopherhuez's Avatar
 

if i had 6 grand to blow on some gear....quite sure it would not be on a single 1176.

i have used a few blue stripes...they all sounded GREAT. i personally would rather have 4 purple 76's. i find them to sound GREAT as well....albeit a slightly DIFFERENT great.

the $$$ to sound ratio is just not high enough to my ears.

if it is a magical sound to you....and it does what you need EVERYTIME...and you have 6 grand layin around...why not ?

none for me, thanks.

best,

jchristopherhughes
Old 17th August 2008
  #22
Quote:
Originally Posted by Mr.HOLMES View Post
who cares if I had a original Blue Stripe 1176 on my mix??

NO ONE.
Well the person who should care the most is you since you are getting paid tons of money for your expertise to be able to differentiate between the two.

And that whole stupid excuse about people listening on MP3's and radio limiters doesn't hold any water here in the High End. I don't know where you came from but i came from a time where people were paying $250-$350 an hour in the studio and taking their final mixes home on ****ty cassettes that the studio would charge $20 each. Imagine busting your ass for 3 days straight in the studio and having judgement calls on quality based on a ****ty normal bias sony cassette.

But guess what we worked with it anyway. If i were to think about every wacked out listening scenario out there in which people listen to music from kitchen clock radios, little shower radios, cell phones, laptops, tv sets,boomboxes,noisy cars,trucks,airplanes, my elevator guess what? You would work yourself up in a frenzy. Bottomn line is you have to get the mixes to a level where first you are happy with it, then the clients(artists,producers,managers) and then hopefully the record labels.

If you notice the public doesn't factor in this because if its not approved first by the others it will never see the light of day and reach the masses. I hate to say it but the public will consume whatever its told to so it can be on an MP3 or a cassette or a CD but if they think its cool & the latest and greatest thing they will buy it.

But before it even gets there, first of all you as the engineer have to feel comfortable with the mix before you claim that yes this is my best reprensenation of your ideas(the clients). In order for that to happen you need the right tools with its many colors that will help you to get there. So yeah you may be the only person that can hear the minute differences between the Blue Stripe and the clone but if those minute differences inspire you to do your best than yeah its worth the expense. If you don't feel its so than you don't buy. But to criticize or judge someone elses choices based on what they personally hear and how it makes them feel because of it is down right dumb and pointless.

Yeah the idea in the end is to hopefully get from A & B. But there are a million points on the line. Based on what your aesthethic is you will hopefully develop your own taste to pick the ones that you can string together to get you there.
Old 17th August 2008
  #23
Lives for gear
 
whitepapagold's Avatar
 

Quote:
Originally Posted by David Kulka View Post
In my opinion it's definitely broken, or at least not working correctly. The unit was in our shop a couple of years ago and we discovered a miswire in the preamp circuit that caused unusual things at certain levels and frequencies. We fixed it, but Chris was bummed about the change in sound and had us restore the "fault". The other day he was talking about having us refurb one or two other 1176's that he picked up, but I don't think he wants the "broken" one touched, ever, unless it completely dies some day.

It's funny that the story about the broken 1176 got out. Is it in an interview?
David- you should market that as the "CLA Blue Stripe Mod"... I bet you would make a killing! And it would be hilarious to watch people bring in functioning gear for you to make NOT WORK CORRECTLY for once!heh

Thats a twist!
Old 17th August 2008
  #24
Lives for gear
 
Dirty Halo's Avatar
 

Truly ridiculous...

To anyone arguing against Thrill's logic, with all due respect, that is NOTHING but amateur wanna-be B.S.

Sure, you're entitled to your opinion, BUT I'd advise against taking a stance as "right" or "wrong" to those people who are actually making perfectly good results with "broken," modded or any form of gear.

We all use what we have and even tweak to taste. CLA "plays" his gear, however it is operating and it works for him. I find myself doing the same.

Are you going to tell me that Eddie Van Halen's guitar is "broken?" (Please rise above the inevitable smart-ass retort)

So, please. let's get over the "word" and understand the sentiment. Make sense?

-andrews
Old 17th August 2008
  #25
Lives for gear
 

Too funny about CLA´s broken 1176 ,heh now expect to pay up to $7000 for a broken one.
Old 17th August 2008
  #26
Lives for gear
Well, I agree that I personally would not pay 6K for one; but if I was making as much money as CLA then money would be no object for what the Blue Stripe has to offer.

How many of you (besides Thrill) have had time to work with a vintage (NOT recapped) Blue Stripe in a proper mixing environment (by proper, I mean a real console with real inserts and no BS latency issues) ??

I consider myself fortunate because I know someone who owns just such a Blue Stripe and will let me borrow it from time to time. And I can see why he would not want to take any chances having it "fixed" by any tech. The frickin thing is an absolute monster on male tenor rock vocal; it's ballsy and gritty with a tremendous amount of air, and you can tuck the vocal down as far as you want in the mix and it still cuts through dense "wall of sound" high track count mixes like a sharp razor through warm butter. It's also the best thing by far I have ever heard for adding balls and hair to electric bass. The MC77 ( I have one and use it as an insert for snare) is clean and sterile by comparison, not even anywhere close IMO.

Nothing else sounds like it, and that is why CLA does not want his fixed.
Old 17th August 2008
  #27
Lives for gear
 

Quote:
Originally Posted by sage691 View Post
Nothing else sounds like it, and that is why CLA does not want his fixed.
I think everyone gets that, nothing strange about it IMO. What´s strange and even funny is the clueless whordes who thinks they can obtain some kind of secret recepie this way.
Old 18th August 2008
  #28
Quote:
Originally Posted by thethrillfactor View Post
Well the person who should care the most is you since you are getting paid tons of money for your expertise to be able to differentiate between the two.

And that whole stupid excuse about people listening on MP3's and radio limiters doesn't hold any water here in the High End.
I agree.

Quote:
Originally Posted by sage691 View Post
How many of you (besides Thrill) have had time to work with a vintage (NOT recapped) Blue Stripe in a proper mixing environment (by proper, I mean a real console with real inserts and no BS latency issues) ??
Me!

I own 10 different types of 1176's incluiding Purples, re-issues, rev D's, Rev F's, 1178's and of course Blue Stripes, no one react, compress or sound the same.

Obviously Vintage King should have bought this thing expensive or they are just brokering on this one or even worst... the demand from Europe for these units is insane and that drives the prices too, although Thrill's 2 points make a lot of sense too. heh

Best regards.

delcosmos.
Old 18th August 2008
  #29
Quote:
Originally Posted by Sounds Great View Post
It could also be that outside the US, 6,000 US dollars is not what it used to be.
Yes Sir, even in Mexico!


Best regards.

delcosmos.
Old 18th August 2008
  #30
Lives for gear
 

No. I'm willing to bet that more gear will be poping up for cheap as people really start to need money.
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