How many of you Master Maestros use the Weiss Gambit gear?

We have recently begun to offer the line, and my immediate impression is that it is superlative sounding audiophile gear; among the best I've ever heard. Not to mention that it has beautifully designed ergonomics.

As I have been dubbed Weiss "specialist" here, it would be very helpful to hear your comments and critiques of the Gambit gear. What peice(s) do you have? How do you like it? What do you use it for? How does it work and sound? What have you found to be its strongest application?

Y'know, that kind of thing would be great. I'm pretty new to it myself, though I've seen it in mastering rooms for years and years now, and am spending every free moment listening and pushing buttons.

Thanks for your your contributions!heh

Hello Drew,

I've got the EQ1 MKII about a year now .. next to my nseq-2 ....

I use the weiss after the digital source .. to make a more balanced sound and cut out the offending EQ parts of the mix ... after the weiss ( AES/EBU ) I go to the DA converter into the analog chain ...

high Q's which are much more difficult on the analoge gear are great to control high freq stuff like hi-hats, shakers and cymbals .. just to get it into proportion .... also like to control a bit the low-end and sub-low .. but sometimes add them again with the nseq-2 or sometimes the tubetech smc-2b. I even can stand it on accoustic guitar ...

it's a great EQ for gaining volume instead of using compression/limiting by balancing the freq range ... with those 7 bands you can gain a "lot" of volume ... 7 bands are NICE !!!!!

The Weiss is "always there" to cut out the cardboard sound on drums ... sometimes when the mixes really suck .. like no gain above the 3 Khz .. you can be real cruel .. not acceptable to me ... but if there's no remix ...... you have to do it ... or leave it alone ..

Just love the ERGO of it .. it's freaky the way the light's follow you're touches of the 7 bands .... it's just a GREAT tool ... really never looked back to my waves ... and compscreen.

Can I get a Manley MP now ..... :-)

Greetings Wim .. still learning ...

www.inlinemastering.com

Summary: It's great gear. Can I repeat that?

The EQ1-LP is a nice 1-2 punch. I'm glad that linear phase equalization became available because I've always disliked the "instrument moving forward" effect when the corresponding frequency band is raised. Now you can just tweak the tonality without changing the shape of the depth of the mix. Conversely, if you want more edge, go for the minimum phase, or if you need to mess up the depth, go for the minimum phase. Linear phase does soften the transient response probably because o the pre-echo, so watch out for that. Use gentle q's and the time domain artifacts become less problematic (that goes for LP as well).

I always adjust the equalizer for good tonality, I've never considered it for "volume" like the other poster. If some sibilant S is bothering you, I adjust it with the DS1-Mk2 generally, and possibly the equalizer in combination, and if by not the equalizer, and if by some collaborative effect if makes the recording louder, then fine.

But to adjust an equalizer in order to make a recording louder seems to be going about it bass-ackward to me. I listen for tonality first and foremost.

Got one here in stock with your name on it!

Now to me, that would be an amazing chain: a combination of Weiss converters and processors, along with a Manly MP mastering version and a Pendulum ES-8 Vari-Mu.

That would be the chain of !

I've got an EQ1mk2 and DS1mk2........extremely useful gear - not go-to gear for "mojo" or "vibe", just fixing and sculpting that last few percent.

Mr. Katz ( Bob)

I just ment about 1 db or 1.5 dB which I think I can win on average volume by balancing carefully a mix .. the best I can ...than by just turning the limit on the L2 ...

not talking about LOTS of dB's ... and tone and feel is alway's first ... but when I get unbalanced mixes where there are just a few peaks on a few freq peaking about 2/3 dB above the rest ( and not intended by the mix-engineer ) I just give that spot a little dip ... and listen to the tonal effect/balance of the song ..

Do you think that's a sensible approach ...

Greetings Wim.

Hello Darius ... all okay !!! .. really enjoyed the masteringforum on gearslutz and the discussions ... have been reading to much/to late/to long :-)

I use a Weiss Gambit Hydra-X to interface a Pacific Microsonics Model One HDCD converter to a Masterlink (converting 24 bit 88.2kHz AES two-wire to one-wire). It's a neat little gizmo, and as far as I know it's the only stand-alone product that does this. Only thing I don't like about it is the wall wart supply with the peculiar choice of 1/8" power connector.

DP

I also use the stock EQ ahead of DA in an analog loop. Very useful, good ergonomics ...

Finest digital EQ available; sound, features, and ergonomics.

I've been using and trusting Weiss gear for many years now. It's probably the only digital gear I've seen not only hold it's value but appreciate!

Daniel and his team design the gear to be very upgradable. I've got a fair amount of Weiss gear in the rack.

EQ1-LP:
My first piece was the Weiss EQ1 - back when it was only 48k, no upsampling. It has since been upgraded 3 times. I recently put in the linear phase board and I don't think it's gone back to minimum phase since. That's saying a lot because the minimum phase mode still sounds amazing - easily outperforming most digital EQ's. I've added a lot of other great EQ's over the years for color but because of it capability and sonics, the Weiss EQ1-LP may be my "desert-island" EQ.

DS1-MkII:
Absolutely the most flexible, transparent digital dynamics box on the planet and hands down the best digital DeEsser available.

SFC2:
Weiss sample rate conversion is the best I've heard. I've tried every software conversion I could get my hands on for the Mac platform and the Weiss SFC2 beat everything I compared it to - in real time! The great thing about the SFC2 is it's actually 2 complete real-time converters in one box.

DAC1-MkII:
One of the best D/A converters on the planet. The Weiss DAC1 belongs in an elite category that few converters can even come close to.

I'm a fan of Weiss gear!

I can imagine some more cruel/slutty combinations ..... Show me the MASSSSIVVVE ... just joking ... holiday first with the kids ...

I love my Weiss gear.

EQ1-LP/DYN: If I could only have one eq, this would probably the one I'd take to the proverbial desert island. I find the dynamic eq so useful for controlling harsh or too loud areas of a mix in a subtle way that a frequency specific compressor cannot do. And I do have one of the best in the TC 6000 w/dynamics package, which I use much less for that function since getting the Weiss.

In fact, I like to have the dynamic eq always available and so I have never tried the LP eq as one has to reboot the unit to switch over. it doesn't take long but if I started using it and then decided I needed the dynamic eq, I'd then have to find a substitute for the LP band that I had just setup. If Daniel had the DYN only as a less expensive option, knowing what I now know, I would have just bought that!

The sound of the eq is very subtle and transparent and a perfect compliment to my Manley Massive Passive and my problem child but often magical sounding NightPro EQ3-D.

DS1-MkII: I've had this for several years and used to use it a lot as a deesser. With the EQ2-DYN useful for mild and medium deessing, I find I can free up this unit to use as a bus compressor. I use it a lot in parallel compression mode, for music that either doesn't need much compression or music that sounds better with analog compression. in parallel compression mode, at least the way I use it, it just seems to add a subtle lift, or detailing, to the program. This same mode is often useful for raising the bottom end in a very useful way. When mastering music that demands a louder level, this unit works very well before my digital peak limiter.

Andy,

Silverbirch Productions.

EQ1-DYN
DS1-MK2
SFC2
ADC1-MK2 (with mic pres)

They're good.

We Lacquer Channel guys bought 2 of the Levinson/Red Rose branded Weiss EQ's a couple of years ago. Basically, the Gambit EQMKII with a different logo.

Everything about them was first class. Really powerful, clean sounding, easy layout, etc, etc.

Nonetheless, we sold both of the units shortly thereafter. We weren't using much if any digital processing on our projects. The consensus between us was that our other stuff sounded better. The Zsys eq, for example, isn't nearly as ergonomic but sounds better to my ears any day of the week. The botom end especially.
Despite the fact that the EQMKII is obviously a quality product - I don't miss it at all.

Like anything else, though, this is just my own experience. I sold my massive passive years ago for the same reason. People thought I was crazy. So, I tried one out again recently and still wouldn't use it. VariMu included. So if you like this gear then I'd suggest ignoring me.

The Weiss DS1, however, is something in use in both LCM rooms and can be amazing
if used right (that is the hard part) Setup is unusual but it's effects are certainly on a lot of records. Won't be selling this one any time soon.

Daniel Weiss is helpful, appproachable and always there when you need him!

Good luck

phil

I bought one of these eqs from Phil and in combination with the Fairman it serves me well.

Agreed

How are ya, Brian!

How's my memory?
I seem to recall you were interested in the unit at the time as a possible way to tune your room?

The Weiss must be a pretty good foil for the Fairman, I bet?
Like to hear a Fairman one day. They were everywhere in the UK when I was there in 2003.

One guy who I visited- Dick Bettingham at 360 mastering had recently had a flood and there was severe water damage to all his Fairman stuff. Ouch!

Hope he had a good insurer?

see ya,

phil

Howdy Phil ... yes I toyed with that first idea and instead have used it for sharp cuts and the occasionally tiny little boost, against the more broad boosts of the TMEQ. The fairman low end is killer but not tight, so they work well together there too. Until I find an analog alternative, it's a winner thumbsup

What are you guys using for eq now?

Brian, Like most guys I probably lean on some Eq's for certain things.

I'm tubeless at the moment - but open for anything really.

Right now I'm using..
Focusrite 315 ( great tone shaper and filters) Spent a ransom on recapping.
api 500 (lean and fast. aggressive mids. I'm always between 500 and 5k on this)
Neve 32087 (stepped 1081. Great foil and alt. to the 550. Slower darker and fab mids 1200 to 8K for me on this one)
Sontec 432 (even the wrong eq choices sound good. Softer than most but still the wrong word. Sweet is better. Never harsh and of the 3 bands I like to be around 100, 1k -4800, and 6k8 -10k) 19k is nice too.

If I didn't have this I'd get the excellent GML 9500 which is used by the other guys here.
Not really a sontec replacement though.

Digital? Every plug-in ever and I barely never ever use them
Zsys2 eq (which I dont enjoy using I actually like the sound of a lot. 100hz and below is great and the mids 1k2 to 8K are aggressive. in fact the whole thing is colourful but a lot of people hate this one!) The 6 channel one is easier to use and you can bypass each band. I saw Tom Coyne use 2 weeks ago to great effect.

For me these choices sound good as a whole - meaning they combine fairly well.

It's amazing how much I'm not thinking about EQ's these days?
I might be the only guy who really doesn't care that much about that new passive SPL (do disrespect though I have a spl comp and like it...)

I'm finding that something NEW gear wise new will not radically improve or even change what I'm doing.
I'm finding that not changing stuff and learning to use what I have is making the biggest difference so far.

I'm still working on a rough 'round the edges vanity site but there might be pics of the gear on the studio page?

Phil

Hi! Yes, of course. I just never thought of nor even consider that EQ'ing can help make it louder, that is, doing it on purpose. If "louder" is a byproduct of the EQ'ing then I guess, so much the better. For example, I dislike it if someone carves out the bottom end to make it brighter and louder and get more room for the RMS level. If at all possible, I "carve out" bottom end if it needs it.

For me, eq'ing to make it louder on purpose would be my last resort, not my initial purpose.

It's a clean tube thing, not Toobey. But something SS would be nice.

I'd say you have plenty to think about already thumbsup

I'm thinking about adding one SS eq as a compliment. The SPL is interesting to me, as is the Firlotte. API seems a no brainer as well.


Hey, how about that Ted Jensen ...

Oh, NOT bragging in the slightest! I'm just marvelling how I haven't been consumed by the gear thing lately. Trust me here - I'm one of the biggest 'slutz ever to come out of Canada!!


Ah, talk to Noah Mintz about a Firolette (sp?) He has his Sontec modded by Steve. He loves it!
Api is geat but not exatly flexible or versatile - but you know that!



ok, Brian. Wanna know how cool I am?
Of the 5 analog pieces Ted has in his main rack I have the same 4 in my main rack. The only difference is that our Neumann de-esser is still on the lathe.
oh yeah, the other main difference - I'm not Ted Jensen!

best,

Phil

hei guys,

I will visit Daniel Weiss after the AES in Paris in his company (company is abou 20 minutes from my hometown in swiss). if there is anything I can ask for you, pm me.

here, WEISS is used at radiostations/TV to work on the soundstage of the output they send. Friend of mine uses all the stuff regularly and he sais: very reliable.

cheers George

I'm selling the Weiss EQ-MK II mentioned above ... please visit the Classifieds.

Not a PM, but could you ask Daniel about the Powerhouse?

How is it coming? When will it be available?

Thanks.

Laser

Hopefully Daniel can respond as well but I just corresponded with him via email and he said he hopes to have something to show at AES SF.

EQ1-DYN-LP user, I like it. If I could change one thing, it would be the snapshot storage/recall system, in about 5 different ways. That says, it still does snapshot storage better than my massive passive...

Presently finding the dynamic mode in use more often than the linear software.

I'm guessing if I were fortunate enough to have one (the dyn unit) of these I'd be most often using it for two tasks: tightening low end, and smoothing out harshness at 2-4k. Does this line up with you experience or are their additional techniques I havn't thought of?
Thanks

Mostly it sees use for de-essing, but that may only be because I do not have a dedicated de-esser. Also sees regular use controlling wonky toms and kick drums.

"WONKY"! I love that. I have a mix right now with a "Wonky" tom problem. I'll try to de-wonkify them through Weiss Wonk Remover!

everytime a tom, somehow, somewhere, gets de-wonked, i get a nickel.