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Louder than Liftoff Silver Bullet first impressions
Old 24th May 2020
  #4501
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McCroskey's Avatar
 

Quote:
Originally Posted by b0se View Post
Mixbus: 10/2 (gain/output) on both is usually perfect (LED hitting 4-8), A>N, Bass/Pres, both Tight and Vintage filters on.

I'll go through again for the air band if needed with mojo circuits dialled back.
That's exactly how I use it - for example on this track (if someone is interested)

https://www.youtube.com/watch?v=zO-d5aMsj0g
Old 24th May 2020
  #4502
Lives for gear
For tracking I almost always go N>A or just N. "Vintage" is very submix or mix dependant. When mastering I've started to prefer the "API" on it's own with a little EQ to lift the top-end. I was considering replacing the API modules with the darker ones from the original VOID corp - but I'm beginning to love the API at the mastering stage.
Old 24th May 2020
  #4503
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drBill's Avatar
Quote:
Originally Posted by streetbeats View Post
@ drBill @ BradM

Or anyone who has one / has used one...

Just wondering on the Chroma+ is there a way to stereo link to use one set of controls for both channels? Also what does the retro button do?
You might get more info about the Chroma + on the Chroma + thread.... AES 2019: Louder Than Liftoff Announces Chroma+ Rackmount Bus/Mic/Instrument Amp

But to answer your questions. No, you cannot stereo link the controls. It as separate controls unlike the Silver Bullet. If you want linked controls, the Silver Bullet is your call.

Retro changes the sound of the DI's to a more "retro" vibe.

Cheers,
Old 24th May 2020
  #4504
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Quote:
Originally Posted by drBill View Post
You might get more info about the Chroma + on the Chroma + thread.... AES 2019: Louder Than Liftoff Announces Chroma+ Rackmount Bus/Mic/Instrument Amp

But to answer your questions. No, you cannot stereo link the controls. It as separate controls unlike the Silver Bullet. If you want linked controls, the Silver Bullet is your call.

Retro changes the sound of the DI's to a more "retro" vibe.

Cheers,
Thanks @ drBill I already have a SB
Old 24th May 2020
  #4505
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drBill's Avatar
Quote:
Originally Posted by streetbeats View Post
Thanks @ drBill I already have a SB
Well then, the + is a no brainer!! I've got 5 SB's am still loving and using the + all over the place. I essentially have mine set up as an API 1176.
Old 26th May 2020
  #4506
Here for the gear
 

Wow! I’ve been chipping away at this thread for months and finally finished all 151 pages!

Ordered my Silver Bullet last week and can’t wait for it to arrive in Australia! Very excited. Have wanted one for a few years now.

This is such a great thread with heaps of great info and really impressive how everyone treats everyone else with respect. Not always the case on the internet and wonderful to see.

Cheers,
Pete
Old 27th May 2020
  #4507
Gear Nut
 

Chimed in about a year ago after I got my SB about how in love I was.

A little less than a year later I can safely say that this is bar none the best piece of gear I've purchased for my home studio. It's becoming the hub more and more every day...

So much so that I've decided to part with my API channel strip in order to invest in a good bus compressor (that hopefully also works well for tracking) and track everything through the SB.

I shot out the real API pre against the bullets... I'm not gonna tell you they're exactly the same, but I will say that I preferred the bullet most of the time in blind tests. And the bullet is a stereo pair... that I can easily swap out to neve flavour, or combo..., and then strap it across the two bus with the flick of a switch or two.... I mean c'mon!


I've been trying to chip through this thread but man it's a long one!

I'm looking at a Daking FET III, a TK Audio BC1-THD, possibly some of the drawmer stuff.

I'm in Canada, more specifically butt****-nowhere Canada, so my choices are going to be limited, and chances are i'll end up doing a trade through my local Long-Mcquade.

I could possibly get an Audioscape shipped up as well for around 1200 bucks CAD but I'd have to move the API myself which isn't the end of the world, just a tough sell around these parts and I hate shipping something like that.

Mainly tracking vocals, electric guitar mic'd and through iridium/HX Stomp, and bass DI'd.

What's the new hotness??
Old 27th May 2020
  #4508
Here for the gear
Do yourself a favor: SSL SiX
Old 27th May 2020
  #4509
Gear Nut
 

Quote:
Originally Posted by JED HRMC View Post
Do yourself a favor: SSL SiX
I've looked at it a few diff times... I'm just not sure how it would fit into my work flow, and I think I'd rather just have something in the rack. something else on the desk seems like a pain.
Old 27th May 2020
  #4510
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b0se's Avatar
Quote:
Originally Posted by orbiterred View Post
Chimed in about a year ago after I got my SB about how in love I was.

A little less than a year later I can safely say that this is bar none the best piece of gear I've purchased for my home studio. It's becoming the hub more and more every day...

So much so that I've decided to part with my API channel strip in order to invest in a good bus compressor (that hopefully also works well for tracking) and track everything through the SB.

I shot out the real API pre against the bullets... I'm not gonna tell you they're exactly the same, but I will say that I preferred the bullet most of the time in blind tests. And the bullet is a stereo pair... that I can easily swap out to neve flavour, or combo..., and then strap it across the two bus with the flick of a switch or two.... I mean c'mon!


I've been trying to chip through this thread but man it's a long one!

I'm looking at a Daking FET III, a TK Audio BC1-THD, possibly some of the drawmer stuff.

I'm in Canada, more specifically butt****-nowhere Canada, so my choices are going to be limited, and chances are i'll end up doing a trade through my local Long-Mcquade.

I could possibly get an Audioscape shipped up as well for around 1200 bucks CAD but I'd have to move the API myself which isn't the end of the world, just a tough sell around these parts and I hate shipping something like that.

Mainly tracking vocals, electric guitar mic'd and through iridium/HX Stomp, and bass DI'd.

What's the new hotness??
I have the SB+AudioScape combo, it's a great match for the mixbus and surprisingly versatile for tracking.

However with the release of Unisum (an exceptional plugin) I'm tempted to sell the AudioScape and replace it with either the elysia xpressor or the Daking III.
Old 28th May 2020
  #4511
Quote:
Originally Posted by orbiterred View Post
Chimed in about a year ago after I got my SB about how in love I was.

A little less than a year later I can safely say that this is bar none the best piece of gear I've purchased for my home studio. It's becoming the hub more and more every day...

So much so that I've decided to part with my API channel strip in order to invest in a good bus compressor (that hopefully also works well for tracking) and track everything through the SB.

I shot out the real API pre against the bullets... I'm not gonna tell you they're exactly the same, but I will say that I preferred the bullet most of the time in blind tests. And the bullet is a stereo pair... that I can easily swap out to neve flavour, or combo..., and then strap it across the two bus with the flick of a switch or two.... I mean c'mon!


I've been trying to chip through this thread but man it's a long one!

I'm looking at a Daking FET III, a TK Audio BC1-THD, possibly some of the drawmer stuff.

I'm in Canada, more specifically butt****-nowhere Canada, so my choices are going to be limited, and chances are i'll end up doing a trade through my local Long-Mcquade.

I could possibly get an Audioscape shipped up as well for around 1200 bucks CAD but I'd have to move the API myself which isn't the end of the world, just a tough sell around these parts and I hate shipping something like that.

Mainly tracking vocals, electric guitar mic'd and through iridium/HX Stomp, and bass DI'd.

What's the new hotness??

Quote:
Originally Posted by b0se View Post
I have the SB+AudioScape combo, it's a great match for the mixbus and surprisingly versatile for tracking.

However with the release of Unisum (an exceptional plugin) I'm tempted to sell the AudioScape and replace it with either the elysia xpressor or the Daking III.
I unfortunately do not have any AudioScape in my racks but I think that that will change this year. I have a few comps, one is a pair of daking fet 2s. Love them, first comp I really clicked with. I love the pre eq too. I’ve had a few ssl clones and so far the TK Audio Bc1s is my personal fav. It is clean but just super high head room and punchy. For the price I can’t see replacing it anytime soon. In fact I just used the daking in the insets of the Sb into the TK and it’s pretty darn nice.
Old 28th May 2020
  #4512
Here for the gear
 

Looking at probably getting the TK BCS1 THD myself.

I really want a mix control on my bus compressor and the THD seems to be a nice subtle extra colour to compliment the silver bullet.
Old 28th May 2020
  #4513
Lives for gear
Quote:
Originally Posted by LittlePete View Post
Looking at probably getting the TK BCS1 THD myself.

I really want a mix control on my bus compressor and the THD seems to be a nice subtle extra colour to compliment the silver bullet.
as we know sound in compression can be super subjective heck with anything regarding sound, so i will just give you my 2 cents- first i have a silver bullet and man do i love it. I had a Tk audio BC1 for a while and have gone through quite of few compressors and finding a combination that makes you happy can be a journey, I've had the API 2500 as well as a pair of 1176, a Dramastic Obsidian, and UBK Fatso to name a few. All capable and each with different merits. For the last bit i have a pair of Kush Tweakers and man do they gel well with the Silver Bullet, they provide so many flavours that it just makes me smile everytime.
Old 28th May 2020
  #4514
Here for the gear
 

Yes the tweakers are on my radar and seriously a possibility.

Going to wait till I get the silver bullet in June and see how I go with it.

Going to look up more about the tweaker’s now...

Quote:
Originally Posted by frankenstino View Post
as we know sound in compression can be super subjective heck with anything regarding sound, so i will just give you my 2 cents- first i have a silver bullet and man do i love it. I had a Tk audio BC1 for a while and have gone through quite of few compressors and finding a combination that makes you happy can be a journey, I've had the API 2500 as well as a pair of 1176, a Dramastic Obsidian, and UBK Fatso to name a few. All capable and each with different merits. For the last bit i have a pair of Kush Tweakers and man do they gel well with the Silver Bullet, they provide so many flavours that it just makes me smile everytime.
Old 28th May 2020
  #4515
Gear Addict
 
Em Dash's Avatar
 

This question (which bus compressor to use with Silver Bullet) has come up a few times in this thread.

I just have to say that, honestly, I've never heard anything that doesn't work fine with the Silver Bullet... So if you have a compressor preference, like if the SSL family is your jam or if you love a tube compressor or an optical or whatever, I don't think there's any danger that it won't "play nice" with the Silver Bullet.

Remember, the Silver Bullet is basically intended to be the "console sound without a console." And I don't think I've ever heard anyone say that a certain compressor doesn't "play nice" with their console!

I have four different compressors that get used in different situations when I'm mixing or mastering. They're all pretty different flavors, and none of them mess with the Silver Bullet's ability to do its thing effectively, nor do any of them get compromised by doing their thing in the SB's insert or after the SB.
Old 28th May 2020
  #4516
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Em Dash's Avatar
 

Don't get me wrong... I love talking about which compressor is great on the mix in whatever context. I just mean to point out that the Silver Bullet is probably going to be happy working with or without any compressor. So there's no need to worry about which compressor works best with it, cause whatever compressor you like a lot will probably work well with it.
Old 28th May 2020
  #4517
Gear Nut
 

Quote:
Originally Posted by Em Dash View Post
Don't get me wrong... I love talking about which compressor is great on the mix in whatever context. I just mean to point out that the Silver Bullet is probably going to be happy working with or without any compressor. So there's no need to worry about which compressor works best with it, cause whatever compressor you like a lot will probably work well with it.
haha fair enough! I have no doubt. Any preferences on a "desert island" compressor for mix bux AND tracking vocals/guitars?
Old 28th May 2020
  #4518
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Em Dash's Avatar
 

Quote:
Originally Posted by orbiterred View Post
haha fair enough! I have no doubt. Any preferences on a "desert island" compressor for mix bux AND tracking vocals/guitars?
Hrm, that's a tough one. If I could only have one two-channel compressor to do it all, I think it'd be a toss up for me:

Either:
A pair of linked 1176s.

While the 1176 wouldn't be my first choice for bus duties, there's almost nothing it can't do for tracking, IMO. So I'd be happy to have it for tracking, and it'd also be fine on the mix bus if the mix needed compression.

Or:
The Safe Sound Dynamics Toolbox.

The "peakride" feature on the Dynamics Toolbox makes it stupid easy to use for things like tracking vocals. It's a great bus compressor, though it's not really a "character" compressor. (Mine has the optional transformer outs, which makes it able to have a bit more color, though I tend to use the non-transformer outs more often.)

It'd be a tough call between those two. Without the desert island constraint, I use 1176s for a lot of tracking duties, and I use the Safe Sound on buses often, so that's how I tend to think of them.

I love optical (say, like LA-2A or 3A, but really most optical compressors make me happy) on vocals, but on a desert island with one compressor I'd be looking for something more utilitarian in terms of applications.

(EDIT: Here's the caveat about my tastes: I'm not really a fan of the SSL bus compressor sound. I know it's well-loved by a lot of folks, but it's not my thing.)
Old 28th May 2020
  #4519
Gear Nut
 

Anybody using a Manley nu mu with their SB?
Old 29th May 2020
  #4520
Gear Maniac
 
angel72bg's Avatar
Take Maselec MLA4 and do not look back.It is not cheap but it can do anything you want.Single band compressor,multiband,passive EQ,dee-ess.Killer.Has that finished sound.
Old 29th May 2020
  #4521
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Nick Morris's Avatar
Finished a mix last night. Went smooth as I could hope for. The silver bullet On the master bus has inspired me to reach some new sounds I didn’t think I could this easily.

...so this leads me to an all night brainstorm/insomnia session. I’m reading and trying to find out about using multiple silver bullets. Discovering the chroma/chroma+, and then the mister focus modules. I am finding myself thinking about the most absurd idea I believed I never would have. -I am thinking about possibly selling my console and building one out of LTL pieces, multiple summing/line mixers, ssl sigma or wes audio NGLeveler’s, and control surfaces.

I am thinking this may be more customizable with the tone throughout a console. I’m not too up to speed on the mister focus vs chroma choice, but it seems like I could build a 48 channel console using either -feed each channel from the DA into the LTL pieces. Send those to the multiple summing/line mixers. Silver bullets/bus comps on each summing mixer outputs. All feeding one main summing mixer, maybe a sigma with its own silver bullet/ bus comp.

The way I work is rather simple. A single 16 channel summing mixer with pan would accommodate my drum channels. So 16 LTL 500 units here, plus one LTL SB And bus comp.

Another 16 channel summing mixer would be for all other instruments/vocals. Again would need 16 LTL 500 units , a SB, and a bus comp

Finally one last summing mixer. either an SSL sigma or a summing mixer plus 1 or 2 Wes audio by leveler’s. This is fed by the other two mixers, and adds the channels for all the FX returns. Again 16 more LTL 500’s for feeding the mixer inputs and another SB and main mix bus comp on the stereo outputs.

48 LTL chroma or mister focus stage II (or maybe a mix of them?)and 3 silver bullets. Would this replace an analog console sound?

I know this would greatly simplify what I could do at mix with regards to routing, etc, but I have an extensive patchbay and a certain workflow that this would work with perfectly at first glance. What am I overlooking? I’m sure there is something.

This would eliminate a machine room for the euphonix towers that require its own AC. I am guessing my Electric bill would come down a touch. And by what I can gather from using the silver bullet, IMPROVE my sound being able to really work each signal as it moves through a console.

Time for bed
Old 29th May 2020
  #4522
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BradM's Avatar
Quote:
Originally Posted by Nick Morris View Post
Finished a mix last night. Went smooth as I could hope for. The silver bullet On the master bus has inspired me to reach some new sounds I didn’t think I could this easily.

...so this leads me to an all night brainstorm/insomnia session. I’m reading and trying to find out about using multiple silver bullets. Discovering the chroma/chroma+, and then the mister focus modules. I am finding myself thinking about the most absurd idea I believed I never would have. -I am thinking about possibly selling my console and building one out of LTL pieces, multiple summing/line mixers, ssl sigma or wes audio NGLeveler’s, and control surfaces.
Hi Nick,

I think this is a brilliant idea. I'm going to let @ drBill comment, because he basically has done exactly what you are describing, but no external analog summing is required. I'll let Bill explain why and how that works for him. So I'd challenge you to consider using the DAW itself as the summing and automation platform and then make use of multiple A/D and D/A channels to provide the bridge between all the LTL gear and the digital summing. This will give you much more flexibility especially in terms of automation and recall.

I'll just throw this out there...if anyone is considering building a setup like Nick is dreaming about I can offer the same LTL edition of the Sweet Ten Rack that we use for the Choma X. This will have the silver (and optional black) "de-branded" cover plate on the far right side of the rack to help give everything an integrated look. Definitely get in touch directly if you want to do a special order like this and we can work it up for you.

A unique feature of the Sweet Ten racks that most people don't know about it is that it actually features a built-in 8x2 balanced summing architecture. To access it you simply need to install a Purple Moiyn module in slot 9. Something to ponder as you strategize a big setup.

I'll try to jump back in on this discussion later and add more thoughts.

Brad
Old 29th May 2020
  #4523
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Em Dash's Avatar
 

Quote:
Originally Posted by BradM View Post
A unique feature of the Sweet Ten racks that most people don't know about it is that it actually features a built-in 8x2 balanced summing architecture. To access it you simply need to install a Purple Moiyn module in slot 9. Something to ponder as you strategize a big setup.
With the Moiyn installed, there's actually an extra set of balanced inputs making it a 10x2 summing mixer, so the Moiyn sums the ouitput of the first 8 slots plus 2 more inputs, which allows you to daisy chain larger summing set ups.

i.e. You can implement a 16 channel summing mixer out of two Sweet Tens with Moiyns installed.
Old 29th May 2020
  #4524
Gear Addict
Quote:
Originally Posted by Sance21 View Post
Can anyone recommend a good A/D converter or audio interface with quality conversion that would do my Silver Bullet justice at 48k in Cubase?

I have a Focusrite Scarlett 18i6 and can hear a slight loss in clarity upon recording. Looking to upgrade in a budget of 2 to 2.5k.
I'd totally recommend the Cranborne 500R8, which has great converters & audio interface, plus 8 slot 500 rack & summing mixer to boot. You could fill it up with 6 Chromas, sum 3 busses into your Silver Bullet & come back in through a stereo bus comp in the last 2 slots pretty effortlessly.
Old 29th May 2020
  #4525
Gear Addict
Quote:
Originally Posted by Sance21 View Post
Lynx Aurora 8 (N) Purchased! Thanks again for all your help, everyone. Excited to have a unit on the way that will finally do my SB justice!
Nvm ... shoulda kept reading the thread.
Old 30th May 2020
  #4526
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Nick Morris's Avatar
Quote:
Originally Posted by BradM View Post
Hi Nick,

I think this is a brilliant idea. I'm going to let @ drBill comment, because he basically has done exactly what you are describing, but no external analog summing is required. I'll let Bill explain why and how that works for him. So I'd challenge you to consider using the DAW itself as the summing and automation platform and then make use of multiple A/D and D/A channels to provide the bridge between all the LTL gear and the digital summing. This will give you much more flexibility especially in terms of automation and recall.

I'll just throw this out there...if anyone is considering building a setup like Nick is dreaming about I can offer the same LTL edition of the Sweet Ten Rack that we use for the Choma X. This will have the silver (and optional black) "de-branded" cover plate on the far right side of the rack to help give everything an integrated look. Definitely get in touch directly if you want to do a special order like this and we can work it up for you.

A unique feature of the Sweet Ten racks that most people don't know about it is that it actually features a built-in 8x2 balanced summing architecture. To access it you simply need to install a Purple Moiyn module in slot 9. Something to ponder as you strategize a big setup.

I'll try to jump back in on this discussion later and add more thoughts.

Brad
Interesting. In reading LTL’s point of view behind the silver bullet as I feverishly researched your products, I notice I share the same ethos- “more is more”.

Now you mention that staying ITB and just inserting hardware would be sufficient. But I ask, wouldn’t more be more again here? A summing mixer with a nice sound, some transformers and opamps, would be more. Plus, for me, recall isn’t a problem, my hardware stays on one setting. I only really need analog volume automation for the most part and there seems to be products readily available for that.

I started mixing on digital consoles. I’ve spent years mixing ITB. I’ve been on an analog console for a while now too. I don’t have any intention to go back to ITB. There is a large difference between audio coming out ITB stereo and spreading it across my console over 112 inputs. I want to retain this analog goodness and take absolute control of the tone and saturation at each junction of the console. Rather than one sound throughout my console, I want to have the ability to try A, N, A>N, N>A, N>N>N>N, etc. I want to stack it up. More is more, right?!
Old 30th May 2020
  #4527
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drBill's Avatar
Quote:
Originally Posted by Nick Morris View Post
Now you mention that staying ITB and just inserting hardware would be sufficient. But I ask, wouldn’t more be more again here?
Hi Nick. I'm in the midst of two very crunched projects, but I'll give you my perspective on just this ^^^ comment in your quest. Yes, more is more. I'm down with that. Reading the manual will show that I'm definitely a proponent of multiple passes thru the SB and other pieces of gear to get that great console sound.

However, what it really boils down to for me is "how" am I going to accomplish that hybrid approach. I can generally do it a couple of ways :

1.) "sum" ITB and insert analog gear on my PT I/o inserts. (That's my preferred method for a variety of reasons). Or, I can

2.) "sum" OTB, insert OTB, and "Mix" inside PT - controlling the signal going to the summing box(es). Beyond that I can

3.) actually "mix" on the console itself and use PT essentially as a "tape playback" device.

Number 3 is 100% out for me due to recall, workflow, delivery requirements, etc.. Either of the other ways will work - but 1 works better due to workflow and delivery requirements. With all things being EQUAL - (and here the tricky part, cause they are not) - ITB summing is better from my (our if you include Brad) experiments. OTB only becomes "better" under certain circumstances.

Heresy you say? I can see the pitchforks coming out.....

Both Brad and I own (owned for me) very expensive D&R consoles. No automation and recall aspects as you have, but sonically, top notch. Transparent though. I've / We've done A/B comparisons, and really tore into the whole "OTB" summing thing. Baffled to find some people really LOVE summing OTB, and for others, it's really better to stay ITB and insert analog gear into your DAW's inserts. (I'm in the latter camp)

That begs the question "why"...

A lot of summing solutions out there are very simple circuits (a handful of resistors), while others have tubes, transformers, discrete DOA's and other vibey circuitry on every input. As one might expect, the latter is going to have a significant difference over the former in terms of "color".

Our D&R's were transparent. To perhaps a fault. So OTB summing vs. ITB summing actually brought very little if anything to the table. In fact, we end up losing just a tad bit of bottom on the OTB summed mixes, with the ITB summed mixes retaining it.

So....choosing the "appropriate" summing solution is everything. Just saying I sum OTB and its better is not believable to me unless you are using expensive summing boxes with a lot of internal mojo. Those do exist, but the cost of implementation jumps exponentially, and the improvement only rises a bit and it's something that I feel I can achieve with a 2 channel insert into PT - summed ITB. This is my personal hybrid style approach. All this is of course from my personal perspective.

From Brad and my perspective - the MOJO of OTB summing is in the input/output stages, the makeup gain stages, and other aspects of the summing boxes - not in the actual "summing" itself - and those extra stages and circuitry is pretty much exactly what the Silver Bullet is bringing to the table. This is difficult to express in words without listening, and I hope I'm communicating well after 10+ days of insane craziness.

For me - 48 channels wide summed OTB in my D&R vs. 48 channels summed ITB and processed through a Silver Bullet left the Silver Bullet winning every - and I do mean EVERY time. You might try the experiment with your setup to see where the actual mojo is coming from. ie: do an ITB mix with processing ITB, and stem out 48+ wide thru the console back into your DAW vs. summed ITB, and run 2 channels wide thru your console and back into your DAW. Try driving things to their sweet spot. Compare the differences (if any). Is it the "summing" of your console that's bringing the sweetness or the makeup gain stage or other circuitry that is easily captured on 2 channels. This should tell you undeniably whether or not the mojo of your console is in the internal channels and subsequent summing, or in the makeup stage of your mix bus.

Another GREAT experiment is to stem out to your console as you normally do, use your outboard as you normally do, and OTB sum as you normally do. Capure it back into your DAW. Now....take the same mix, take direct outs off of every channel of the console and hit the A/D of your console. Then put your DAW faders at unity and let the DAW sum the analog processed mix. For me, these experiments were so enlightening, and ultimately what led down the path to what was to become the Silver Bullet.

There was a very good comparison on this thread awhile back that compared 32 channels wide into a Burl Vancouver - OTB summed, 2 channels wide into a Burl Vancouver - ITB summed, and 2 Channels into a Silver Bullet - ITB summed. It was initially a blind "shootout".

I'm sure you can guess where this is heading.....the general consensus "winner" of the listening contest was the SB, second place was the 2 channel output into the Burl - summed ITB - to get the burl flavor on the mix, and third place was the wide summed Burl mix. I know the SB came out first, but if memory serves, I'm quite sure the ITB summed into the Burl beat out the 32 channel wide mix into the burl for most folks.

If interested, maybe someone can remember where it is and link the files, or perhaps you can search the thread. (Its a huge one....)

So for me, I feel I can get 99% of what I need from outboard inserted into PTHDX and keeping summing and routing internal in PTHDX which gives me better recall and flexibility. If I want the "Burl" sound (which is a great sound, but different from the SB), or the sound of any other style of outboard device - I can insert straight into a Burl (or other) device and utilize it's mojo-izing gain staging without the extra cabling, hassle, etc. of the Vancouver (or other) OTB summer.

That's my story, and I've been sticking to it for well over 5 years now. Happily hybrid, with mixes getting way better over the past....

On your other thoughts, I'd love to jump in, but don't really have the time right now. But in the meantime, I APPLAUD you for your SB on an Analog console approach - especially if you are using the console to EQ, compress, mix and manipulate as opposed to using your DAW to mix and summing thru the console. It's a winning game plan as you have discovered!!!

Cheers, Bill

Last edited by drBill; 30th May 2020 at 05:15 AM..
Old 30th May 2020
  #4528
Gear Nut
Lynx Aurora + Distorted Sound on Silver Bullet

Hey guys,

So I just purchased the Lynx Aurora to handle my A/D conversion on the Silver Bullet (as a External Effect in Cubase) and I'm getting a slightly fuzzy/distorted sound by default, before even moving the gain knob just a little.

This didn't happen at all on my previous interface (Focusrite 18i6). The Lynx has an option for either a +4 dBu or -10 dBV Trim on both the Gain and Out Line Ins and Outs

It seems even just bypassing the Mix mode on the SB, just running audio through it now, I am getting the slightly fuzzy/distorted sound. Is this some sort of gain-staging issue with not enough power to the SB? My audio before it hits the SB, in Cubase is reading at the recommended input levels going into the SB of -18 dbfs.

The SB gain/output mojo knobs are both at 12 o' clock.

Should I put the Lynx Line In Trim to - 10dBV and the Out to +4 dBu? I've tried everything and the sound still exists with this issue.
Old 30th May 2020
  #4529
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Em Dash's Avatar
 

Quote:
Originally Posted by drBill View Post
1.) "sum" ITB and insert analog gear on my PT I/o inserts.
This is also the approach I settled on after using a summing mixer for a long time.

How I ended up here:

I was using a Folcrom (and later two of them) to sum and then getting my "mojo" from whatever preamps I happened to be using for the make up gain.

At some point I started thinking I needed to get another Folcrom and more D/As to bring the whole summing bus up to 24 channels, and started thinking this whole summing thing doesn't really scale very well from a budget (and rack space) perspective. So I started thinking harder about alternatives.

Eventually I did a pretty rigorous comparison of summing thru Folcrom into colored mic pres vs summing in the box and then sending a stereo mix out through a pad and into the same mic pres... I was much more careful matching levels than I would bother to be for a "shootout" type comparison.

And at the end I compared the two with the null test, and all I heard was a little hash

After that I sold my summing set up and just started running my entire mix bus out of the box through an insert to whatever analog stuff I wanted to use to give color.

Not long after that I discovered LTL and bought some Chop Shops and somehow ended up talking to Brad about that summing adventure, and he told me he was working on something I might be into...

That's how I ended up ordering one of the first Silver Bullets when Brad finally released it.
Old 30th May 2020
  #4530
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Quote:
Originally Posted by Sance21 View Post
Hey guys,

So I just purchased the Lynx Aurora to handle my A/D conversion on the Silver Bullet (as a External Effect in Cubase) and I'm getting a slightly fuzzy/distorted sound by default, before even moving the gain knob just a little.

This didn't happen at all on my previous interface (Focusrite 18i6). The Lynx has an option for either a +4 dBu or -10 dBV Trim on both the Gain and Out Line Ins and Outs

It seems even just bypassing the Mix mode on the SB, just running audio through it now, I am getting the slightly fuzzy/distorted sound. Is this some sort of gain-staging issue with not enough power to the SB? My audio before it hits the SB, in Cubase is reading at the recommended input levels going into the SB of -18 dbfs.

The SB gain/output mojo knobs are both at 12 o' clock.

Should I put the Lynx Line In Trim to - 10dBV and the Out to +4 dBu? I've tried everything and the sound still exists with this issue.
If you're hearing it when the Silver Bullet is in bypass, I'd suspect it's not coming from the Silver Bullet at all. Have you listened to the output of the Aurora with the Silver Bullet not even in the chain?

It seems unlikely that it'd be a gain staging issue. And the SB probably will perform best if the Aurora is in +4 mode for both the send and return.

Also, this might sound silly, but have you tried using different cables to connect everything? Or just unplugging and re-seating the cables you're using? It's the only other thing that's changed besides your interface swap...
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