Legendary Audio announces Gold Channel - Page 2 - Gearslutz
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Legendary Audio announces Gold Channel
Old 5th August 2020
  #31
Here for the gear
 

Quote:
Originally Posted by JAT View Post
I don’t see the problem with this product, except the price.
Ask for an introductory price to solve that problem. Thanks!
Old 6th August 2020
  #32
Quote:
Originally Posted by Billy Stull View Post
Hi DomiBabi,

Thanks for your interest.

Let me address the U47 questions first.
Many people have tried to replicate the original U47. The fact is the U47 mics were not consistent. They varied somewhat for many reasons, but all were excellent when first manufactured thus showing up on the hit artists of the 50’s. As you know, as the years go by they have gained the reputation of the Holy Grail of microphones but at the same time they are in the state of deterioration. It’s difficult to find one that performs as well as they did when they were originally manufactured. Many attempts have been made to try to replicate the original performance but the tube is not available, and the transformer, or the hand work, or…
I approached it from a different direction. I sought the “sound” not the construction. The sound of the Buddy Holly U47 is in my brain because I owned and used it in recording sessions for many years. This is the sound of one of the best U47s as exemplified by Norman Petty flying to Germany to the Neumann factory and choosing this one by ear and using it to record Buddy and others. The correlation is: original U47’s are considered by many as the best mic ever made. Recording modern singers (of which I listed some examples) with a good U47 is regarded by many engineers as optimum-although difficult to find and expensive. I’m not saying anyone wants to sound like Buddy Holly, I’m saying that revered microphone is one of the best. Listen to Blackbird by Paul McCartney which is just Paul, an acoustic guitar, and a U47. It’s easy to hear the tone and characteristics of that mic. If you listen to some Buddy cuts in Clovis (such as Everyday) you can hear the sound of that microphone.
All that to say we used analog components and my sense of sound and Kevin’s mastery of circuits to create an analog replication of the sound of the U47 used to record Buddy Holly. There are no digital components whatsoever in the Gold Channel. As a way of further explanation, it is not just the circuits in the Legendary Mic feature; it is the complete unit starting with the incredibly low distortion preamp and other sections that is needed to accomplish the goal. Your comments as to the characteristics show very good perception on your part of a good U47.

As far as live performance use, when you are direct and close in you get that great enhancement. So it is a combination of the U47 sound and the classic live characteristics of a SM58. Best of both worlds…
In the studio, Gold Channel with an SM58 competes with expensive mics. You can use a better mic than a SM58, of course.

As far as I.C.E, the Boost feature could be described as a selectable mid-shelf from Low to high range. It takes a section of the voice range and boosts it thereby filling in the deficient frequency- not like an EQ that changes the tone. It is the singer’s actual voice and tone- just increased in that frequency range to enhance and reinforce. The inverse is a selectable band that will actually reduce or eliminate distortion or offending frequencies dynamically. Ei the singer gets loud and vocal cords break up-I.C.E. can take that out of the resulting sound. Clean it up. Also it’s an excellent feedback suppressor.

To your question about creating a custom profile and recall sheet: Each singer has unique characteristics to their individual voice. A purchaser can send me a recording of them singing through their microphone without a music bed. I will play the recording through the Gold Channel and make them sound their best by using the features on the Gold Channel. Then I will document those suggested settings on a recall sheet, send it to them and they will have my recommendations for sounding their best through the Gold Channel. They can let the electronics do some of the work for them to help maximize their sound.
We’re happy you’re a fan of the Komit. Kevin designed and created it. We took the general concept of a simple, easy to use compressor with great performance however; Kevin designed everything from square one for the Gold Channel.

Thanks again for your interest. Are you a singer, engineer, or designer? You seem very knowledgeable.

Oh, we don’t have a marketing dept. It’s just Kevin and I, protégés of Rupert Neve, with decades of experience, trying to help fellow artists advance their sound. We are just trying to educate as many as possible to this innovative product. It offers new enhancements that need to be explained and eventually heard and experienced.

Gold Channel will help a singer by enhancing their natural voice, fixing problems in the tonal spectrum, adding warmth, richness, and texture, and entertaining effects options in a high quality portable package. These are words but hearing is believing. We will have some shoot out examples soon. Or maybe you can come to Texas to see, hear, and experience the Gold Channel.
Thanks for the kind words. I’d hope I know how a good u47 sounds with an original tube; we have one at the studio! ... along with some of the better “clones” (Tele pair and a FLEA with the good tube and an Mylar).

The ICE tech sounds very interesting... I’d love to hear some audio files of an a/b with dry vocals and nothing but ICE on a few male and female voices to compare analyze in RX. Same with the U47 emulation.

I’d also like to say I adore the Komit 500 pair I have. They are a great clean Swiss army comp and really quick to dial in. The limiter is a little less useful for my needs, but it’s certainly cool on drums, and vocals in moderation.

One trick I like to do is gate a copy of the 100% wet reverb aux channels of room mic tracks, squash and limit the hell out of them, and blend it back with the room to get a massive parallel smash.

I sort of understand what you mean about filling in the blanks of a vocalist... I’m still curious about the method, especially when you say it is being done in analog...

...there’s some cool stuff used in the old Soviet Vladimir Kuzmin frequency divider-like circuits for low frequency content you might find interesting. I think Harvestman remakes them for Eurorack modular.

I’m a musician and studio rat who works in NY, mostly tracking vocals and mixing songs... some mastering, but still have lots to learn there.
Old 6th August 2020
  #33
Lives for gear
 
polybonk's Avatar
Quote:
Originally Posted by Billy Stull View Post
Ask for an introductory price to solve that problem. Thanks!
Billy you are a legend. Great to see you step in and explain the outstanding ideas behind this project with such a down to earth and positive attitude. If I was a singer I would definitely into this system. The fact that you guys will tune it by ear for the vocalist speaks volumes.

Unfortunately I'm just a Mastering engineer. Speaking of which do you guys still make the masterpiece 2? I always wanted to check one of those out.
Old 6th August 2020
  #34
Here for the gear
 

Quote:
Originally Posted by DomiBabi View Post
Is the ICE adding or just boosting the “deficient frequencies” you mentioned? Or it is a combination of eq and band-limited dynamics?
To explain more about what I.C.E. (In Case of Emergency) can do, let me give an example of a common situation where it’s very useful. Often a singer, male or female, has a tendency to lack resonance on the lowest part of their range. Therefore, in their vocal performance, the low notes many times are lower in volume and lack fullness. They “drop out or down”. With I.C.E. on the Gold Channel the frequency range of those low notes only can be selected and boosted to “fill in “their vocal register. It’s not an EQ which can change the tone due to the shape of the EQ (ei peak or bell) which can sound unnatural or even “bloated” with overuse. I.C.E. uses a flat “chunk” of sound (an adjustable mid-shelf)that is the exact singer’s voice but boosts the gain of those notes to “fill in” and actually equalize in the true sense of the word. This results in the singer’s natural sound but enhanced and improved. Boosting those low register notes also boosts the natural harmonics of those notes and creates a natural resonance which gives additional pleasant enhancement. Female singers often have a shrill or unpleasant tone in the high resister that is exacerbated as they sing with more power. I.C.E. can eliminate or greatly reduce that problematical distortion by implementing a dynamic response. In other words it doesn’t change anything until the problem occurs. An EQ cuts everything all of the time (not desirable) and a compressor ducks everything (not effective on the specific problem I am referring to). I.C.E. removes the distortion and unpleasantness only in the selected problematic range (and only when it happens) without affecting the “good tone range”. I.C.E. can do all this in real time on stage or in the studio. It can fatten the bottom end of a male Country music singer for instance. A female singer can enhance their low range and remove unpleasant or offending tones and distortion from the sound of their vocal cords by using the 2 instances of I.C.E – one for the deficient low notes and one for the upper range unpleasantness.
It’s a “set it and forget it” for the individual singer. No changes should be made during the performance. It’s an automatic process once set for that singer.
I.C.E. works on real time sibilance and is a super effective feedback suppressor too.
As mentioned in the press release, I developed I.C.E. first as a plugin and now we have the analog version in the all analog Gold Channel.
The plugin is available through Sonic Studio (free trial, $89) and is in use worldwide by Mastering and recording engineers. Tutorials are available on www.legendaryaudio/com and www.sonicstudio.com.
Lots of info to convey, Hope this helps. Thanks for the interest and kind comments…
Old 6th August 2020
  #35
Thanks for the detailed response. Would it be correct to say that ICE is sort of like a wide-band version of the Little Labs VOG, in that it operates on a similar principal of using resonance to “fill in the blanks”?

Again, I’d love to hear some audio files. It looks like a great all-in-one, no holds barred channel strip option.

Quote:
Originally Posted by Billy Stull View Post
To explain more about what I.C.E. (In Case of Emergency) can do, let me give an example of a common situation where it’s very useful. Often a singer, male or female, has a tendency to lack resonance on the lowest part of their range. Therefore, in their vocal performance, the low notes many times are lower in volume and lack fullness. They “drop out or down”. With I.C.E. on the Gold Channel the frequency range of those low notes only can be selected and boosted to “fill in “their vocal register. It’s not an EQ which can change the tone due to the shape of the EQ (ei peak or bell) which can sound unnatural or even “bloated” with overuse. I.C.E. uses a flat “chunk” of sound (an adjustable mid-shelf)that is the exact singer’s voice but boosts the gain of those notes to “fill in” and actually equalize in the true sense of the word. This results in the singer’s natural sound but enhanced and improved. Boosting those low register notes also boosts the natural harmonics of those notes and creates a natural resonance which gives additional pleasant enhancement. Female singers often have a shrill or unpleasant tone in the high resister that is exacerbated as they sing with more power. I.C.E. can eliminate or greatly reduce that problematical distortion by implementing a dynamic response. In other words it doesn’t change anything until the problem occurs. An EQ cuts everything all of the time (not desirable) and a compressor ducks everything (not effective on the specific problem I am referring to). I.C.E. removes the distortion and unpleasantness only in the selected problematic range (and only when it happens) without affecting the “good tone range”. I.C.E. can do all this in real time on stage or in the studio. It can fatten the bottom end of a male Country music singer for instance. A female singer can enhance their low range and remove unpleasant or offending tones and distortion from the sound of their vocal cords by using the 2 instances of I.C.E – one for the deficient low notes and one for the upper range unpleasantness.
It’s a “set it and forget it” for the individual singer. No changes should be made during the performance. It’s an automatic process once set for that singer.
I.C.E. works on real time sibilance and is a super effective feedback suppressor too.
As mentioned in the press release, I developed I.C.E. first as a plugin and now we have the analog version in the all analog Gold Channel.
The plugin is available through Sonic Studio (free trial, $89) and is in use worldwide by Mastering and recording engineers. Tutorials are available on www.legendaryaudio/com and www.sonicstudio.com.
Lots of info to convey, Hope this helps. Thanks for the interest and kind comments…
Old 7th August 2020
  #36
Here for the gear
 

Quote:
Originally Posted by polybonk View Post
Unfortunately I'm just a Mastering engineer. Speaking of which do you guys still make the masterpiece 2? I always wanted to check one of those out.
We were only able to make them for 2 years due to new government regulations (called ROHS) that prohibited the use of electronic components that contain lead when manufacturing new electronic products There are many parts that contained lead in the Masterpiece Analog Mastering System. The parts manufacturers quit making critical components, so we could not make them anymore. We have and still service the ones in the field.

Once in a Blue Moon there is a used on the market...

Thanks for the nice words. Nothing wrong with being a Mastering Engineer!
Old 7th August 2020
  #37
Hey I tried the ICE plugin in a mastering session today - very interesting processing not quite like any other - really interesting way of controlling freq and filling things out if need be - hard to put a finger on exactly what's happening, but it makes me think that Legendary Audio knows a thing or two

Though I do find the explanations of the processing very wordy with very little technical information, more like a sales pitch in hifi stereo world - a lot of us here are professional (or aspiring) sound engineers and appreciate clarity over voodoo talk....

Last edited by Hardtoe; 7th August 2020 at 04:16 AM..
Old 8th August 2020
  #38
Lives for gear
 
polybonk's Avatar
Talking

Quote:
Originally Posted by Billy Stull View Post
We were only able to make them for 2 years due to new government regulations (called ROHS) that prohibited the use of electronic components that contain lead when manufacturing new electronic products There are many parts that contained lead in the Masterpiece Analog Mastering System. The parts manufacturers quit making critical components, so we could not make them anymore. We have and still service the ones in the field.

Once in a Blue Moon there is a used on the market...

Thanks for the nice words. Nothing wrong with being a Mastering Engineer!
Ahh yeah the lead restrictions. Makes sense. Real shame.

I think you would find it unfortunate if you were stuck in a room with me on the gold channel is what I meant.
Old 18th August 2020
  #39
Gear Head
 

Yesterday morning Billy Stull visited my humble little studio and brought a Gold Channel with him. We've been friends for about 20 years and he does all of my mastering work unless a client is set on someone else.

I suspect everyone on this thread is recording oriented like myself, so forget about the live performance aspect of this box for the moment. But I do think the description of bringing the sound of an expensive studio condenser to the stage is pretty spot on, but I personally wouldn't subject a unique pro audio box like this to just any old bar that happens to have a stage. A full concert tour with at least one tech that can grok this thing properly is another thing entirely.

We plugged a Shure SM7 into it and listened on headphones. Every knob on this box does something good. I really don’t think it can make a bad sound but maybe we didn't try hard enough. The Legendary Mic control keeps adding richness, warmth, and texture as you turn it up. This is no subtle effect. But even all the way up the warmth never turned to mud. The two I.C.E. processors allow you to cut harshness, work as a de-esser, or dynamically boost a desired frequency.

After about 15 minutes it was obvious to me that this makes an unbelievable vocal gold channel front end in a recording environment, with emphasis on quickly "getting it right at the source". Even to an "all in the box" guy like me, I still has to use analog gear in front of my converters. Microphones, preamps, guitars, cables, etc. I'm imagining recording acoustic guitar with a small diaphragm condenser through the Gold Channel and using the Legendary Mic knob to essentially increase the size of the diaphragm, as well as having one I.C.E. reduce excessive shrillness, and another giving it a slight midrange bump.

I was one of those that thought the price was a bit steep when Billy first told me about it, but that was before I heard it. Up until recently I had a $8k "gold channel" in my studio in the form of a Manley reference mic and an Avalon VT-737SP. I’ll just go ahead and say it. Given the choice, I’d rather have the SM7 thru the Gold Channel than the Manley/Avalon combination. Just seems much quicker and easier to dial in something special.

Built like a tank and comes with a heavy duty flight case for those who might want to gig with it. I haven't been this excited about a piece of hardware in quite a while. I'm not aware of anything else like it.

P.S. As for the color scheme... think Mardi Gras beads. Purple, gold, and green. Perfect for the LSU fan!
Old 19th August 2020
  #40
Lives for gear
 
the fxs's Avatar
 

is there any chance we'll see a rackmount version?
Old 19th August 2020
  #41
Gear Guru
Great this thread has turned positive since the vocal is the most important thing in pop music and I'd imagine not a lot of time to fool around in a venue performance or high dollar studio session. Time equals money.....people spend huge sums on a mic etc.....
Old 21st August 2020
  #42
Audio demos?
Old 21st August 2020
  #43
Gear Head
 

Quote:
Originally Posted by DomiBabi View Post
Audio demos?
I wish we had had time. If I can swing it to purchase one I will definitely post some.
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