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Louder than Liftoff Silver Bullet first impressions
Old 1 week ago
  #3601
Gear Nut
 
xojjt222's Avatar
Quote:
Originally Posted by Sagafrontier View Post
Hi guys, its been a while since I first chime in when I purchased my SB + an Audioscape G Bus comp last year. Since then I've been learning inside out this tool and honestly its like I leave a whole new reality now in terms of my sonic output, working faster, smarter and really raising among the ranks of what I could sonically possibly achieve. Lately I added an addition of a Handsome Audio Zulu and wow... I can't believe to explain to you how that came to impart my mixbuss chain. When I only had the SB + GComp I still wasn't so accoustumed to using the mixbus chain to mix into it... more like a stems ehhancement and mastering tool ... But after getting the Zulu and really learning the dynamics between each machine (having the SSL comp on the insert of the SB) I kinda started discovering absolute sweet spots settings for most of my material to the point now I can really can confidently start a mix with everything on from the start and the results are INCREDIBLE!! just putting the chain out for a quick A/B drops my jaw to the floor...

All this introduction is only to say and consult with some of you that I am evaluating the possibility of expanding this rig with the addition of a SSL SIX... I am little hesitant to know what could the SSL six bring in terms of extra sonics improvment... but in terms of workflow I believe it could allow me to be more flexbile with the gear I have and also allow me to commit more those gear to mixbuss duties permanently while taking advantage of the SSL Six clean signal pat and workeable EQ/basic comps??

1) would it be a overkill to go for the SSL six having already a Audioscape G comp??
2) Do you think this is route that will provide more updgrade in my sonics (I will attempt to sum into the SIX from the 8 apollo outputs)
3) Does anybody has this SB + SSL SIX combo?? would love to hear about user experiences

thanks

I have the SiX and the SB. My personal favorite thing about having both units is having access to the 3 preamp flavors. The workflow can be tricky only because there are so many options. I think these are both swiss army knife tools for the studio but I wouldn't say the SiX would be overkill. I personally think both units provide a tremendous value for the price. These 2 units along with the Console 1 and FMR RNC have drastically improved my workflow speed, organization, and sound quality.

My current workflow is summing into the SiX through the master bus comp for flavor, into the SB A>N for light saturation, with RNC on the insert for a transparent(ish) polish. There are plenty of ways to swap this around and I'm sure there's probably a better routing setup than what I'm currently doing. This is working great for now though.
Old 1 week ago
  #3602
Here for the gear
 

Quote:
Originally Posted by xojjt222 View Post
I have the SiX and the SB. My personal favorite thing about having both units is having access to the 3 preamp flavors. The workflow can be tricky only because there are so many options. I think these are both swiss army knife tools for the studio but I wouldn't say the SiX would be overkill. I personally think both units provide a tremendous value for the price. These 2 units along with the Console 1 and FMR RNC have drastically improved my workflow speed, organization, and sound quality.

My current workflow is summing into the SiX through the master bus comp for flavor, into the SB A>N for light saturation, with RNC on the insert for a transparent(ish) polish. There are plenty of ways to swap this around and I'm sure there's probably a better routing setup than what I'm currently doing. This is working great for now though.
Thank you for your reply?
how would you catalogue the SSL pre vs the SB ( i guess more transparent)
how do you catalogue the SSL summing in terms of sonics vs just going thru the SB alone??

What I am trying to debate myself is if would be worth it at this moment for myself, I think workflow wise its worth it because I envision a setup in which I have the SB permanentely attached to the Six main outs so that being my mainbus route. If i would like to use or integrate the sonics of the SB and the Zulu I go this route... but the Six havin a Bus B, I envision would easily allow me also to record into the daw a more cleaner path while monitoring realtime thru the SSL main mix with the SB on the inserts. not sure if that made sense but what I am looking foward is to have the SB being more of a parked item that I constatly listen thru it and be able to operate a with extra tools thru the SSL six.

thank you
Old 1 week ago
  #3603
Gear Nut
 
xojjt222's Avatar
Quote:
Originally Posted by Sagafrontier View Post
Thank you for your reply?
how would you catalogue the SSL pre vs the SB ( i guess more transparent)
how do you catalogue the SSL summing sonic fx vs just going thru the SB??

thank you
Maybe a little more transparent but you can also dial back the saturation on the SB to get some really nice transparent pre sounds. I use the A setting for punch, N setting for warmth, and the SSL for more of a (pleasant) smeared hazy sound. It's hard to describe but I do believe they all have a place in the studio.

The SSL is going to provide a gluey sound to the mix. In moderation I think it sounds good on just about any genre unless you want a super transparent clean sound for maybe classical, americana, or R&B vocals. It's killer for electronic, hip-hop, and rock to get that really big sound.

I'm sure other people might have a different perspective on this, but ultimately I would suggest pulling the trigger on the SiX unless your mic collection is lacking.

In that case I would suggest getting the RE-320 or BH-2 for crispness/clarity (when it's on sale for $600)

The TLM67 or Soyuz 017 FET/Tube for "dark warmth" (the Soyuz has more of a liquid VERY subtle fuzz) where the TLM67 is just really warm.

All of these mics play very well with both units. I've been neglecting my MKH416-Avalon 737 setup.
Old 1 week ago
  #3604
Here for the gear
 

Quote:
Originally Posted by xojjt222 View Post
Maybe a little more transparent but you can also dial back the saturation on the SB to get some really nice transparent pre sounds. I use the A setting for punch, N setting for warmth, and the SSL for more of a (pleasant) smeared hazy sound. It's hard to describe but I do believe they all have a place in the studio.

The SSL is going to provide a gluey sound to the mix. In moderation I think it sounds good on just about any genre unless you want a super transparent clean sound for maybe classical, americana, or R&B vocals. It's killer for electronic, hip-hop, and rock to get that really big sound.

I'm sure other people might have a different perspective on this, but ultimately I would suggest pulling the trigger on the SiX unless your mic collection is lacking.

In that case I would suggest getting the RE-320 or BH-2 for crispness/clarity (when it's on sale for $600)

The TLM67 or Soyuz 017 FET/Tube for "dark warmth" (the Soyuz has more of a liquid VERY subtle fuzz) where the TLM67 is just really warm.

All of these mics play very well with both units. I've been neglecting my MKH416-Avalon 737 setup.

Just went in and fetched a mint one on ebay with 2 DB25 snakes cables for 1050
USD. Thought that price was super low and couldn't pass on the oportunity ... I just hope this can really come as a blessing as all my other gear has come really selective about the pieces I try to get.

Btw how usable / musical you think its the EQ on those 2 super analougue channels on the SIX ... is there is much overlap of that EQ setup and flavor v.s. the SB eq??
Old 1 week ago
  #3605
Gear Nut
 
xojjt222's Avatar
Quote:
Originally Posted by Sagafrontier View Post
Just went in and fetched a mint one on ebay with 2 DB25 snakes cables for 1050
USD. Thought that price was super low and couldn't pass on the oportunity ... I just hope this can really come as a blessing as all my other gear has come really selective about the pieces I try to get.

Btw how usable / musical you think its the EQ on those 2 super analougue channels on the SIX ... is there is much overlap of that EQ setup and flavor v.s. the SB eq??
Awesome! I'm fairly certain you'll love it. Surely some overlap, but the SiX has the bell/shelf function so it gives you some flexibility. Personally I only use the SiX EQ for tracking, but I haven't really A/B compared the 2 EQs. The SB does all of the finishing EQ touches I would need for mastering unless you're talking about adding a Curve Bender, Massive Passive, etc. The real catch with these 2 units (other than sonic quality) is they can be simultaneously wired for tracking and mastering without changing cables around. I keep channel 1 and 2 on the SiX wired for tracking and send them through the FB outputs and mute them to bus B. This leaves all remaining outputs available for summing to the master bus comp. SB stays wired up too, so all I have to do is twist a knob to change tasks.
Old 1 week ago
  #3606
Lives for gear
 
BradM's Avatar
Sometimes less is more

I'm rather impressed by everyone's evolving (and sometimes complex?) mix bus setups. Some of you have really ran with the whole "more is more" concept. I still keep things rather simple in my studio after all these years. All I have on my mix buss these days is the Silver Bullet. And that goes for console mixes, too...I just insert the SB on the master inserts of my D&R Vision console. No bus compressor, no pseudo tape saturators, no limiters, no tweaky plugins. Just the SB. Sometimes I record the output of the Silver Bullet into my highly modified, digital-killing Studer A807 running ATR tape at 15 ips. Unlike some of the emulators out there, this deck actually has a proper head bump that typically imparts a nice heft to the low end of rock mixes I do. Once the mixes are on tape I deliver that reel of tape to the mastering engineer to work his/her magic.

So my question for everyone is... how do you know you have a mix bus chain that is complete vs. just "different"? Is there anyone else that is happy keeping things simple?

cheers,
Brad
Old 1 week ago
  #3607
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by BradM View Post
Is there anyone else that is happy keeping things simple?

cheers,
Brad
I'm simple during MIX as well Brad (as you know). 2 Buss is Silver Bullet only. But I have a freaking TON of hardware on individual channel and buss's. Silver Bullets, Chroma's, Mr. Focus's, and a bunch of Serpent, AudioScape, Weight Tank, JLM, Manley, LTL, Aphex, Valley People, KT, DBX & Custom compressors. Plus a BUNCH of EQ;s. But again, all on individual tracks or busses. The mix bus just has a Silver Bullet on it.

Mastering is a different story. That's where I get into the compression on the 2 buss thing.


PS - USUALLY. I reserve the right to change things up whenever the muse hits me....
Old 1 week ago
  #3608
Lives for gear
 

Quote:
Originally Posted by Sagafrontier View Post
Hi guys, its been a while since I first chime in when I purchased my SB + an Audioscape G Bus comp last year. Since then I've been learning inside out this tool and honestly its like I leave a whole new reality now in terms of my sonic output, working faster, smarter and really raising among the ranks of what I could sonically possibly achieve. Lately I added an addition of a Handsome Audio Zulu and wow... I can't believe to explain to you how that came to impart my mixbuss chain. When I only had the SB + GComp I still wasn't so accoustumed to using the mixbus chain to mix into it... more like a stems ehhancement and mastering tool ... But after getting the Zulu and really learning the dynamics between each machine (having the SSL comp on the insert of the SB) I kinda started discovering absolute sweet spots settings for most of my material to the point now I can really can confidently start a mix with everything on from the start and the results are INCREDIBLE!! just putting the chain out for a quick A/B drops my jaw to the floor...

All this introduction is only to say and consult with some of you that I am evaluating the possibility of expanding this rig with the addition of a SSL SIX... I am little hesitant to know what could the SSL six bring in terms of extra sonics improvment... but in terms of workflow I believe it could allow me to be more flexbile with the gear I have and also allow me to commit more those gear to mixbuss duties permanently while taking advantage of the SSL Six clean signal pat and workeable EQ/basic comps??

1) would it be a overkill to go for the SSL six having already a Audioscape G comp??
2) Do you think this is route that will provide more updgrade in my sonics (I will attempt to sum into the SIX from the 8 apollo outputs)
3) Does anybody has this SB + SSL SIX combo?? would love to hear about user experiences

thanks
cool thread!
Just had my Zulu! How do you use it with the SB? In what order?
Can you elaborate on this please, and how you use them ? ( on individual, stems, mix bus? ?
Thanks for sharing
Sergio
Old 1 week ago
  #3609
Since my SB, only thing needed on my master buss is my obsidian and my SB! That’s it! My MP has since been retired to vocal and bup vocals and tracking. Thank you Brad and Bill for this magical box!
Old 1 week ago
  #3610
Here for the gear
 

Quote:
Originally Posted by sergioelectro View Post
cool thread!
Just had my Zulu! How do you use it with the SB? In what order?
Can you elaborate on this please, and how you use them ? ( on individual, stems, mix bus? ?
Thanks for sharing
Sergio
Hey honestly I love this combo SB + ZULU more than anything in the world!!
But before that I really had to learn how to make the most out of the Zulu meaning learning its nuances. The way I use it is SB + Audioscape G Comp on the insert of SB - ZULU.

I literally use it for everything, individual, stems and mixbuss

If I want to give something a nice crunchy tape sound (drums, beats, samples etc) I go TK with the SB on N>A or A>N very wide open settings for just minimal saturation

What I have learned is that the Zulu absorbs all the sonic beautiness of the SB and to me then improves it creating a nice really smooth sphere around it...

If you want a good starting point my set and forget settings right now are

SB in N>A mode input of A 10, o clock, output 2 o Clock, input of N 9 o clock, output 3 o clock, tight in, tone in, 1 in bass,2 in pres, and vintage in that going into ZULU in HX mode, neck hi, bias 1 o clock, enhance 10 o clock, headroom hi.

All you have to do after is control how hot you enter both the SB and then the ZULU, I love having the audioscape G comp on the insert of the SB that way I can enter either hot or subtle to the SB and then make gain or trim adjustments with the make up of the G comp (I don't usually compress) altho he does his bump thing which i Love...

One interesting thing I found is that in the SB you have to be careful not to go too crazy going too hot into the circuits because the SB really shines with propoer headroom is left for her to do her thing.....but.... the ZULU on the other hand FREAKING LOVES GAIN!!! so you can really create some incredible magic on the SB only to then IMPACT the Zulu and x2 x 5 x 10 that magic factor!! its amazing!!

Wonder if I would get to say something like about the Six... probably not on that area of things but def workflow wise (at least I hope) meaning to me (right now) SB + ZULU are giving all the mojo that I could even dream so I am kinda looking to round off things for me with a solid workhorse that allow me to sum, manage different workflow while being on that same league of sonics like these two!
Old 1 week ago
  #3611
Lives for gear
 
DrSax's Avatar
Quote:
Originally Posted by BradM View Post
I still keep things rather simple in my studio after all these years
Same here. Usually it’s just the Silver Bullet, and sometimes I add a buss comp very lightly.
Old 1 week ago
  #3612
Here for the gear
Hello,

Any Silver Bullet and Lyra 2 owners?

I just received a Silver Bullet. So far I’ve done a little recording through it to test it out. Pretty amazing. I’m already very happy with it.

Not counting Tascam 4 tracks and ADAT machines from way back when, I’ve been primarily recording in the box for many years. The SB is my first attempt to use external processing. So, please bare with me as I ask such a novice question.

If you have a Lyra 2, what is your I/O path for processing individual tracks?
How are you setting it up on the 2buss?

I can go out 3/4, but there’s no direct return for 3/4 on the Lyra 2. I can’t use 1/2 either. It’s greyed out and a pop up window states that 1/2 are already in use.

Do I use the front line inputs it get back into the Lyra 2? RCA?
I've experimented, but I haven’t found the Lyra 2 manual that helpful and the software is a bit of a head scratcher.

I know this probably a 101 type question, but any direction would be appreciated. I haven’t owned the Lyra 2 very long, so trying to figure out both units.

Thanks!
Old 1 week ago
  #3613
Lives for gear
 
b0se's Avatar
Quote:
Originally Posted by dougwendal View Post
Hello,

Any Silver Bullet and Lyra 2 owners?

I just received a Silver Bullet. So far I’ve done a little recording through it to test it out. Pretty amazing. I’m already very happy with it.

Not counting Tascam 4 tracks and ADAT machines from way back when, I’ve been primarily recording in the box for many years. The SB is my first attempt to use external processing. So, please bare with me as I ask such a novice question.

If you have a Lyra 2, what is your I/O path for processing individual tracks?
How are you setting it up on the 2buss?

I can go out 3/4, but there’s no direct return for 3/4 on the Lyra 2. I can’t use 1/2 either. It’s greyed out and a pop up window states that 1/2 are already in use.

Do I use the front line inputs it get back into the Lyra 2? RCA?
I've experimented, but I haven’t found the Lyra 2 manual that helpful and the software is a bit of a head scratcher.

I know this probably a 101 type question, but any direction would be appreciated. I haven’t owned the Lyra 2 very long, so trying to figure out both units.

Thanks!
I'm assuming you're using your Lyra 2 as monitor DA? That would be why 1/2 are greyed out in ProTools.

That should leave 3/4 open for HW loop. I used to use a Coleman Audio LS3, a passive switching unit, so I could take the DAW output, then split that into two (SB mix, SB track), and toggle with the push of a button.

Prism have excellent support BTW - you can call and speak directly with a technical person. They helped me out a few times, one of those being an overview of the routing/control software.
Old 1 week ago
  #3614
Gear Nut
 
Bodhifile's Avatar
Quote:
Originally Posted by dougwendal View Post
Hello,

Any Silver Bullet and Lyra 2 owners?

I can go out 3/4, but there’s no direct return for 3/4 on the Lyra 2. I can’t use 1/2 either. It’s greyed out and a pop up window states that 1/2 are already in use.

Do I use the front line inputs it get back into the Lyra 2? RCA?
I've experimented, but I haven’t found the Lyra 2 manual that helpful and the software is a bit of a head scratcher.

Thanks!
Should come back in on the TRS Line Inputs 1-2 on the back (not front inst in's, and RCA's are for digital S/PDIF in/out). You'll have to switch the inputs to "line" on the Lyra software. The software can take a while to get your head around, not exactly intuitive if you're using more complicated routing/workflows.
Old 1 week ago
  #3615
Here for the gear
Quote:
Originally Posted by b0se View Post
I'm assuming you're using your Lyra 2 as monitor DA? That would be why 1/2 are greyed out in ProTools.

That should leave 3/4 open for HW loop. I used to use a Coleman Audio LS3, a passive switching unit, so I could take the DAW output, then split that into two (SB mix, SB track), and toggle with the push of a button.

Prism have excellent support BTW - you can call and speak directly with a technical person. They helped me out a few times, one of those being an overview of the routing/control software.
Thank you b0se!!!

Yes, monitoring via Lyra 2 DA, but can't get 3/4 to work.

I'll take a look at the LS3. That's a cool approach.

I'll reach out to Prism support as well.

Appreciate it. Thanks again.
Old 1 week ago
  #3616
Here for the gear
Quote:
Originally Posted by Bodhifile View Post
Should come back in on the TRS Line Inputs 1-2 on the back (not front inst in's, and RCA's are for digital S/PDIF in/out). You'll have to switch the inputs to "line" on the Lyra software. The software can take a while to get your head around, not exactly intuitive if you're using more complicated routing/workflows.
Thank you Bodhifile.

I'm going to open the software in a few minutes and try again. I agree, it's not very intuitive. Appreciate the info!

Thanks again!
Old 1 week ago
  #3617
Lives for gear
 
BradM's Avatar
Lyra hook-up for SB

Hey Lyra users,

I'm getting the impression there are quite a few of you guys out there. It would be great to document some Lyra-SB setup best practices on my support site. If you think you've got your Lyra setup with the Silver Bullet dialed in and would like to document it and submit it via email ([email protected]), we would be happy to share it. There's so much great info that gets shared on this thread, but at 120+ pages it can be a bear to dig through it all for a newcomer. I'd love to compile whatever you guys figure out. So keep discussing / sharing and let me know what the concensus is!

thanks!
Brad
Old 6 days ago
  #3618
Gear Maniac
 
Em Dash's Avatar
 

Quote:
Originally Posted by BradM View Post
So my question for everyone is... how do you know you have a mix bus chain that is complete vs. just "different"? Is there anyone else that is happy keeping things simple?

cheers,
Brad
My mix/mastering bus is simple with options... Basically I have a Liaison bus in the SB insert and another after the SB, so I have more options for what goes in both of those spots, but in practice it's usually nothing or compression in the insert and nothing or EQ after.

The vast majority of the time it's just a little extra EQ after the SB to augment what the SB's EQ brings to the table if needed. When a compressor is invoked in the insert it's almost always a Safe Sound Dynamics Toolbox (for transparent control) or a Buzz DBC20 (for another kind of color on top of the SB).

It sounds more complex than it is in practice... Really it's just the SB plus a little spice when needed.
Old 6 days ago
  #3619
Gear Maniac
 
Em Dash's Avatar
 

Also, FWIW, my SB is directly connected on the mix I/O to my DAW, so there's no patchbay there at all. The patchbay is for the Track path when I need to use the SB outside of the mix context for something...

I'm waiting on a Zulu-R (which will be added to the bus so it can be in the insert like a compressor) and a Juju (which will probably be hard-patched after or before the SB for a different flavor on the mix bus), but I will have to figure out if those things are really useful even tho I suspect they will be.

I have my SB's jumper set so the insert is available for all paths, so I can also use the comps and EQs that are on the Liason bus for tracking/individual stems when I use the Track path. So that's how I maximize workflow with it, using comps that I find useful for mix bus and also for tracking or submixes...
Old 5 days ago
  #3620
Hey Brad, is there any way to get stickers made to stick under the pots w values? Would help a lot w recall instead of having to count haha

Ok 3 clicks past 12 and output is 7 clicks counter cw...
Old 5 days ago
  #3621
Gear Head
 
Conan12's Avatar
 

Quote:
Originally Posted by BradM View Post
If I was tracking a new project from scratch I'd likely just opt for treating the Silver Bullet as a console. In other words I would pick a Mojo Amp setting (Gain min, Out max) and then just run every overdub through the unit regardless of what mic preamp I was using. I like to use an A Designs Pacifica in my studio. So if I were recording a vocal track I might go Mic > Pacifica > SB Tracking > A/D. This is the same way I use my console. All preamps come into the console before going to the converters and the DAW. Make sense?
Forgive me for what may be a basic question - I'm new to the SB nd having trouble getting it set up for direct tracking using a mono source. My aim is to directly bake the SB mojo into my tracks before A/D conversion into my DAW, but am having difficulty getting a source like single microphone set up without the track appearing on only one side of the stereo spectrum. Is is possible to take a single mono source, feed it into the SB as a mic preamp, and then send directly to my audio interface? The SB manual section on using as a mic preamp seems to contemplate the scenario in which SB is used on the mix buss, rather than as a direct part of tracking into the interface. Should I instead try a dual XLR microphone cable into the SB? Any light that anyone can shed would be most appreciated!
Old 5 days ago
  #3622
Gear Maniac
 
Em Dash's Avatar
 

Quote:
Originally Posted by Conan12 View Post
Forgive me for what may be a basic question - I'm new to the SB nd having trouble getting it set up for direct tracking using a mono source. My aim is to directly bake the SB mojo into my tracks before A/D conversion into my DAW, but am having difficulty getting a source like single microphone set up without the track appearing on only one side of the stereo spectrum. Is is possible to take a single mono source, feed it into the SB as a mic preamp, and then send directly to my audio interface? The SB manual section on using as a mic preamp seems to contemplate the scenario in which SB is used on the mix buss, rather than as a direct part of tracking into the interface. Should I instead try a dual XLR microphone cable into the SB? Any light that anyone can shed would be most appreciated!
The SB is stereo, so it's got two mic inputs and two outputs for the signal after it amplifies the mic(s). If you only want to use a single mic for a mono source, then the signal is only going to come out of one SB output.

So what you're hearing where a single mic ends up on one side is normal.

The trick to using it on a mono source is to configure your DAW so you're only recording one channel. Most DAWs have some way to select the input for a track when you're ready to record, and most of them show inputs as separate mono as well as stereo choices.

So, if you're recording using only the left SB mic input, you'd create a mono track in the DAW and select whichever input is connected to the left SB track output.

Does that make sense?

If you're monitoring both outputs of the SB in stereo while only using one channel of it, then yeah you're only going to hear output on one side, but if you're recording only one side to a mono track, then that track will be right up the center in your DAW (unless you choose to pan it).

There's no way to make the outputs of the SB sum to mono by themselves, though you could use a mixer or monitor controller or something like that to sum its outputs for the purpose of monitoring in mono so the left and right signals wouldn't be off to one side or in one ear of your headphones.

I hope that helps!
Old 5 days ago
  #3623
Gear Maniac
 
Bichop's Avatar
Quote:
Originally Posted by dougwendal View Post
Hello,

Any Silver Bullet and Lyra 2 owners?

I just received a Silver Bullet. So far I’ve done a little recording through it to test it out. Pretty amazing. I’m already very happy with it.

Not counting Tascam 4 tracks and ADAT machines from way back when, I’ve been primarily recording in the box for many years. The SB is my first attempt to use external processing. So, please bare with me as I ask such a novice question.

If you have a Lyra 2, what is your I/O path for processing individual tracks?
How are you setting it up on the 2buss?

I can go out 3/4, but there’s no direct return for 3/4 on the Lyra 2. I can’t use 1/2 either. It’s greyed out and a pop up window states that 1/2 are already in use.

Do I use the front line inputs it get back into the Lyra 2? RCA?
I've experimented, but I haven’t found the Lyra 2 manual that helpful and the software is a bit of a head scratcher.

I know this probably a 101 type question, but any direction would be appreciated. I haven’t owned the Lyra 2 very long, so trying to figure out both units.

Thanks!

Very easy, monitors for output 1-2
Output 3-4 towards the hardware
Enter imput 1-2
where is the problem?
Old 5 days ago
  #3624
Gear Maniac
 
___GLM___'s Avatar
I´m very interested in buying the silver bullet, too. Tried it yesterday at accessanalog.com. On a hiphop track I noticed some bass loss. Yes, I can boost some lows with the built in eq, but the result is different.
Is this something also other users have experienced?
I can think of a workaround: mixing into the unit or processing individual tracks. But honestly I also would like to use it on a nearly finished mix, without readjusting the lowend. On other music with less bass heavy content it is not really a problem.
Otherwise I really like what it does.

Your experiences are welcome!
Old 5 days ago
  #3625
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by ___GLM___ View Post
Is this something also other users have experienced?
Never experienced that here. And we built the dam thing....
Old 5 days ago
  #3626
Gear Nut
 

Quote:
Originally Posted by drBill View Post
Never experienced that here. And we built the dam thing....
Yeah I’ve never felt like bass was lost. If anything, I only ever feel like there’s a *perceived* bass increase or solidity, without it actually jacking up the bass. I bet that’s in part due to the slight bump on the Tight filter (which is permanently engaged over here... that and the Vintage might as well be cemented in hahaha)
Old 5 days ago
  #3627
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by maldenfilms View Post
I bet that’s in part due to the slight bump on the Tight filter (which is permanently engaged over here... that and the Vintage might as well be cemented in hahaha)
Yeah, I have a hard time remembering the last time I didn't have tight engaged. And vintage is in most of the time as well....
Old 5 days ago
  #3628
Tight and vintage is where it’s at folks....
Old 5 days ago
  #3629
Gear Maniac
 
Em Dash's Avatar
 

Quote:
Originally Posted by drBill View Post
Yeah, I have a hard time remembering the last time I didn't have tight engaged. And vintage is in most of the time as well....
Same here. Vintage is on for nearly everything. Tight is always on.
Old 4 days ago
  #3630
Gear Head
Hi guys. I just received my SB unit today. I'm enjoying it greatly. What level should I be feeding it coming out of my interface, or should I just leave it at unity gain, same level in, level out?

I'm asking because currently, I'm barely able to push the gain knob on the A or N mojo without the output level in my DAW being higher than the original signal, is this ideal?
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