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Louder than Liftoff Silver Bullet first impressions
Old 19th February 2019
  #2911
Quote:
Originally Posted by drBill View Post
As far as your potential list - the Manley Vari-Mu combined with The Silver Bullet is pretty magical in getting a mix out of that 2 dimensional digital thing and back into a three dimensional analog world.
Nice to see this recommendation, as I have a Manley Vari-Mu right behind my SB and magical is indeed just what I’ve found it to be! It’s beautiful.
Old 19th February 2019
  #2912
Quote:
Originally Posted by bigfurry View Post
I use the B32 as well. Very happy. Sonically neutral to slightly sweeter to a great new tone with the BX 5 and +6 in and it works for my work flow. I use some inserts but I usually send out to a patch bay, put my pieces of choice on a track and send it into the B32 which then feeds my 2 bus chain of which the SB is the key.
Same with the patchbays. Even with the Liaison, I've got a lot of routing through two patchbays. Choices.
Old 19th February 2019
  #2913
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by drockfresh View Post
A little off topic , but I have been researching daw control faders and there is nothing remotely inspiring, in fact they are pretty much all plastic junk.

So if I stay ITB / hybrid it seems I’m stuck with the mouse.
AVID has some killer controllers.
Old 19th February 2019
  #2914
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by TimS View Post
That’s very helpful, thanks. So it sounds like the Rogue Six in the Mass Drivr might be leaning a little more on the vintage side in comparison with the more modern-sounding Rogue Five? Are the transformers significantly different or are they pretty similar?
The Mass Drivr is a very punchy card - and RIGHT there in the vintage API camp. But.....the transformers in the SB A mojo block are very, very special. I think others might back up my impressions.... My biased $0.02.
Old 19th February 2019
  #2915
Lives for gear
 

Quote:
Originally Posted by drockfresh View Post
What else is on your chain?
There’s a clariphonic, an Obsidian and a Zulu.
Old 19th February 2019
  #2916
Hello all, I'm having a couple issues trying to connect to the inserts so figured I'd ask here... I've been mainly using the SB as a mic pre the past month or so, and did some mixing with it but just used in in TRK mode for that, loving it but really wanted to get my comp inserted into it.

I have some older insert cables that are TRS -> 2 TS ends that I used to use with a mixer a while back. I first connected the SB to my TRS patch bay, and then went from there TRS patch cable out to XLR into my Wes Audio Dione ( in a Heritage OST-4 rack). wasn't getting distortion per se but didn't sound right. Like almost in parallel?

I then removed the insert cable from the PB entirely and plugged it straight into the TRS IO of a Stam SA4000, and that seemed to be a lower level, little distortion.

I saw the insert cable that Brad mentioned on his site but its XLR, I'd rather stay TRS to I can go through my patch bay and have more flexibility. I'm assuming I was hitting some balanced vs unbalanced issues? Like, if I'm running an unbalanced insert cable from the Sb to the PB, and I patch in another processor, there all connected with balanced TRS cables ( or TRS to XLR is needed ), so I'm a little confused about how to run this...

As a last resort I will try the xlr cable and just patch in the Dione. I'd prob be fine inserting anything else on the mix bus pre or post SB, but would be nice to have the flexibility that the PB brings...

Thanks!
Old 19th February 2019
  #2917
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BradM's Avatar
1/4" Insert Cables

Quote:
Originally Posted by szyam View Post
I saw the insert cable that Brad mentioned on his site but its XLR, I'd rather stay TRS to I can go through my patch bay and have more flexibility. I'm assuming I was hitting some balanced vs unbalanced issues? Like, if I'm running an unbalanced insert cable from the Sb to the PB, and I patch in another processor, there all connected with balanced TRS cables ( or TRS to XLR is needed ), so I'm a little confused about how to run this...
Here's the TRS version of that cable I recommend:

YIN | Single Channel 1/4" TRS to 2 x 1/4" TS Insert Patch Cable

If you need it in a snake form:

Welcome to Audiopile Distributing - Pro Audio / EWI Cables and Cases

I hope that helps.

cheers,
Brad
Old 19th February 2019
  #2918
Lives for gear
 
BradM's Avatar
Quote:
Originally Posted by TimS View Post
That’s very helpful, thanks. So it sounds like the Rogue Six in the Mass Drivr might be leaning a little more on the vintage side in comparison with the more modern-sounding Rogue Five? Are the transformers significantly different or are they pretty similar?
Hi Tim,

Yes, the Rogue Six was designed to have a "vintage" vibe to it....slower, more smeary up top. In the Silver Bullet the Rogue Five helps give the "A" Mojo Amp[ more of a contrast to the "N" Mojo Amp because it's a little faster and more detailed.

The transformers are completely different designs. They are similar in the sense that there is wire wound around a magnetic core. When designing Mass Drivr I really wanted to give it its own identity and not try to make it be Silver Bullet lite. I went back and forth with the transformer manufacturer until the lamination configuration was doing exactly what I wanted. I felt like it had a super solid low end while pushed, so that's why I decided to call it "Mass Drivr".

Brad
Old 19th February 2019
  #2919
Quote:
Originally Posted by BradM View Post
Here's the TRS version of that cable I recommend:

YIN | Single Channel 1/4" TRS to 2 x 1/4" TS Insert Patch Cable

If you need it in a snake form:

Welcome to Audiopile Distributing - Pro Audio / EWI Cables and Cases

I hope that helps.

cheers,
Brad
Thanks Brad!

I guess that TRS one looks exactly like the one I have. I don't think theres an issue with the cable, so kind of concerned if its actually the PB, or using TRS patch cables to bridge the TS end of the insert to the hardware? Quite a few variables here I gotta figure out.

Curious if anyone has plugged a TRS - TS insert cable right into a 4000 clone? I'm still a bit foggy on the hole hot-pin, unbalanced thing that creates an issue for routing some gear like this...
Old 19th February 2019
  #2920
JGM
Lives for gear
 

Quote:
Originally Posted by BradM View Post
Here's the TRS version of that cable I recommend:

YIN | Single Channel 1/4" TRS to 2 x 1/4" TS Insert Patch Cable

If you need it in a snake form:

Welcome to Audiopile Distributing - Pro Audio / EWI Cables and Cases

I hope that helps.

cheers,
Brad
So how would the wiring be be configured if I wanted to connect my SB Inserts to a DSUB, PunchBlock, or EDAC 3 PIN patchbay? I have all 3 types and been really trying to figure this out.
And in case I just decide to use a 1/4" TRS patchbay, would the above mentioned 1/4" TRS to TS cable work well?

Thanks
Old 19th February 2019
  #2921
Lives for gear
 
BradM's Avatar
Using an unbalanced cable with any SSL 4000 style bus compressor

Quote:
Originally Posted by szyam View Post
Thanks Brad!

I guess that TRS one looks exactly like the one I have. I don't think theres an issue with the cable, so kind of concerned if its actually the PB, or using TRS patch cables to bridge the TS end of the insert to the hardware? Quite a few variables here I gotta figure out.

Curious if anyone has plugged a TRS - TS insert cable right into a 4000 clone? I'm still a bit foggy on the hole hot-pin, unbalanced thing that creates an issue for routing some gear like this...
Guys,

This post is for anyone that intends to use any SSL 4000 style bus compressor with any kind of unbalanced connection, whether it be an unbalanced console insert, a patchbay, or just some old TS cables you have lying around. Please take notes. Print out this post and tape it on your studio wall if you want. I'm going to edumacate you guys.

Almost every cloner that makes this particular bus compressor design seems to replicate the same "true balanced" or "electronically balanced" output stage which has separate IC op amps differentially driving the hot and cold legs of the output. This has some pros (+6 dB headroom) and cons (see below). In my opinion the cons vastly outweighs the pros, and it is what trips up most people. The recommended way to connect a transformer or cross-coupled balanced output to an unbalanced input is to ground the cold leg on the balanced side. On an XLR that would be pin 3. On a TRS cable that would be the Ring.

Reference diagram 5 at this link:

Sound System Interconnection

However, when you do that with what I call a "true balanced" output stage (the one everyone keeps putting in the SSL bus compressor clones) you run into two problems:

1. You will experience a 6 dB level drop.
2. You will short the output of the amplifer driving the cold leg. Ampliers don't like to be shorted. This will produce distortion if not harm the op amp.

For this type of output stage you will need to leave pin 3 floating. Then you will merely get a 6 dB level drop. This is no big deal - just turn up your make-up gain on the compressor to compensate.

Reference diagram 9 at the Rane link above.

If you are unsure what kind of output stage your gear has, you need to contact that manufacturer and ask. There are basically four types:

1. Impedance Balanced - the hot leg is driven and the cold leg simply has a resistor to ground. It has no issue with balanced or unbalanced connections.
2. Transformer Balanced - I hope everyone knows what this means
3. Cross-Coupled Output - This is essentially what a THAT 1646 chip is. It presents a floating output like a transformer and has no issue with balanced or unbalanced connections.
4. Electronically Balanced (True Balanced) - This is what I described above. I dislike this for the reasons given above.

Let me know if you have questions.

thanks,
Brad

Last edited by BradM; 20th February 2019 at 12:07 AM..
Old 20th February 2019
  #2922
Lives for gear
 
BradM's Avatar
Quote:
Originally Posted by JGM View Post
So how would the wiring be be configured if I wanted to connect my SB Inserts to a DSUB, PunchBlock, or EDAC 3 PIN patchbay? I have all 3 types and been really trying to figure this out.
And in case I just decide to use a 1/4" TRS patchbay, would the above mentioned 1/4" TRS to TS cable work well?

Thanks
Please visite the Rane link to determine how to wire things.

Sound System Interconnection

In the big table, the vertical column on the left gives you the output stage. The horizontal row across the top is your input stage. Pay more attention to the subtext describing the output stage rather than whether it's an XLR or a TRS. Tip = pin 2, Ring = pin 3, Sleeve = pin 1 if you need to substitute one for the other.

Most gear does not have these "true balanced / electronically balanced" output stages I mentioned in my previous post. A lot of stuff uses cross-coupled outputs (THAT 1606/1646, SSM2142, etc.), transformer outputs, or impedance balanced outputs. So my advice is to wire most things assuming those three output stages, then figure out if you have any of the offensive "true balanced" output stages in your gear and modify the wiring going to those individual pieces accordingly.

Or better yet: do what I did with my SSL 4000 clone compressor. Wire some transformers on the output stage and be done with it. I used some Cinemag CMOQ-2L and called it a day. You will likely much appreciate the sound after you do that.

Brad
Old 20th February 2019
  #2923
Thanks @ BradM ! PSA of the year right there!

Appreciate the time to write that out and I'm sure many will find it helpful... Can't say I'm ready for the test but I do feel edumacated!
Old 20th February 2019
  #2924
Lives for gear
 

Quote:
Originally Posted by Snail View Post
Nice to see this recommendation, as I have a Manley Vari-Mu right behind my SB and magical is indeed just what I’ve found it to be! It’s beautiful.
I am very looking forward to try my Thermionic Phoenix compressor behind my SB.
Next step is to get a Zulu

Sergio
Old 21st February 2019
  #2925
Gear Head
Dr Bill:

I’m curious what the order is on your mix bus? What’s the first insert or plugin, etc...
Old 21st February 2019
  #2926
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by lest View Post
Dr Bill:

I’m curios what the order is on your mix bus? What’s the first insert or plugin, etc...
Mixing - SB only. Generally.

Mastering - (usually, but it changes) : Manley Vari-Mu, SB (again), Miad 4040 for mid band adjustments. Generally use the SB for it's HF and LF smoothing. Sometimes I might swap out the VM for a GSSL, or insert a GSSL inbetween the SB and 4040's. SOMETIMES I'll put an M7 with a bit of ambience into the fray on Studio A - low amounts - it really livens up some mixes that need it. Then ProL after that to catch a few pesky stray peak transients - not a lot of GR needed at that point.
Old 21st February 2019
  #2927
Gear Head
Quote:
Originally Posted by drBill View Post
Mixing - SB only. Generally.

Mastering - (usually, but it changes) : Manley Vari-Mu, SB (again), Miad 4040 for mid band adjustments. Generally use the SB for it's HF and LF smoothing. Sometimes I might swap out the VM for a GSSL, or insert a GSSL inbetween the SB and 4040's. SOMETIMES I'll put an M7 with a bit of ambience into the fray on Studio A - low amounts - it really livens up some mixes that need it. Then ProL after that to catch a few pesky stray peak transients - not a lot of GR needed at that point.
Thanks for sharing, simpler than I was expecting, in a good way though.
Old 22nd February 2019
  #2928
Quote:
Originally Posted by drockfresh View Post
Keep us posted on the CAPI
The SumBus is phenomenal. Just absolutely phenomenal. I thought I had glue for days but this is a different ballgame. Console sweetness, 100%. And component quality is up there with other exceptional gear (Burl, Overstayer, Dangerous, etc.).

Really love having the assign buttons as it gives you a bit of the console-type workflow outside of the DAW. Having meters is just balls! Huge fan of the explosive dome of light type meters, so thrilled to have them on every single channel.

Smoked my expectations and I would highly recommend Audibility Recordings who handled the build. I'll do cables and such but with this kind of beast it's worth having an expert get it right for you.

BOT: sounds glorious going into the SB. Gain staging is completely different than when routing through the Burl B32 but I believe the SB loves the SumBus as much as I do.

Last edited by batlanyard; 22nd February 2019 at 06:47 AM.. Reason: Back on topic note.
Old 22nd February 2019
  #2929
Lives for gear
 

Quote:
Originally Posted by batlanyard View Post
The SumBus is phenomenal. Just absolutely phenomenal. I thought I had glue for days but this is a different ballgame. Console sweetness, 100%. And component quality is up there with other exceptional gear (Burl, Overstayer, Dangerous, etc.).

Really love having the assign buttons as it gives you a bit of the console-type workflow outside of the DAW. Having meters is just balls! Huge fan of the explosive dome of light type meters, so thrilled to have them on every single channel.

Smoked my expectations and I would highly recommend Audibility Recordings who handled the build. I'll do cables and such but with this kind of beast it's worth having an expert get it right for you.

BOT: sounds glorious going into the SB. Gain staging is completely different than when routing through the Burl B32 but I believe the SB loves the SumBus as much as I do.
How much did Audibility Recordings charge for the build if you don’t mind me asking? Feel free to PM me if you’d rather not post the price publicly. Thanks!
Old 22nd February 2019
  #2930
Gear Nut
 
beckmule's Avatar
having SB in to MBP on my mixbus here, and I don't think I will ever need anything else, and it's been like that for the past 3years...I know the 500series are affordable but I'm saving for SB I like the workflow and yea the meters, can't get that on the little fella,
Old 22nd February 2019
  #2931
Lives for gear
 
12tone's Avatar
 

Quote:
Originally Posted by drockfresh View Post
Any Silver Bullet owners using a summing box in their workflow?

I don't have time to scour the thread, but I assume most of you do 2 channel DA out into the mix inputs.

Has anyone else considered using a summing box?

D
I use an SSL Sigma, a Dangerous 2Bus+ and a Radial Workhorse.

The Sigma is the hub as it has monitoring functions and is computer controllable via the Sigma Remote app, and the 2-Bus+ is like another buss with 16 inputs. The Workhorse houses my 8 Chromas, and has a separate submixer(with level and pan) that comes in handy.

Each has a "sound". They're all transparent but each with a distinctive sheen. The Sigma employs SSL MDACs, the 2-Bus+ has tonal controls, and the summing portion of Workhorse has Jensen transformers.
Old 22nd February 2019
  #2932
Gear Addict
 
joninc's Avatar
 

I use a Radial Workhorse (mostly for analog eq) > Rascal Audio Tonebuss for summing > Silver Bullet for mojo/2 buss eq > BG2 comps for some glue

Pretty happy with this setup
Old 22nd February 2019
  #2933
Gear Head
Since I know this thread is also somewhat of a Miad fanclub, any Miad users happen to have any experience with the Heritage 8173? From what I can figure the Miad is probably a little more cleaner or clearer. I love love love inductors and need something more than my Purple ODD and TAV.

Quote:
Originally Posted by batlanyard View Post
The SumBus is phenomenal. Just absolutely phenomenal. I thought I had glue for days but this is a different ballgame. Console sweetness, 100%. And component quality is up there with other exceptional gear (Burl, Overstayer, Dangerous, etc.).

Really love having the assign buttons as it gives you a bit of the console-type workflow outside of the DAW. Having meters is just balls! Huge fan of the explosive dome of light type meters, so thrilled to have them on every single channel.

Smoked my expectations and I would highly recommend Audibility Recordings who handled the build. I'll do cables and such but with this kind of beast it's worth having an expert get it right for you.

BOT: sounds glorious going into the SB. Gain staging is completely different than when routing through the Burl B32 but I believe the SB loves the SumBus as much as I do.
How would compare the sound of the SumBus vs B32? Maybe comparison on use for different genres? I've always thought I wanted a B32 from everything I've researched on it. And I suspect when I get my new Burl BDA4M that BX5 option is going to end up really selling me on it. Besides the fact that I'll need to get a couple BDA8's since my Mothership is brand new.....and I think I want another SB first....
Old 23rd February 2019
  #2934
Lives for gear
 

Quote:
Originally Posted by joninc View Post
I use a Radial Workhorse (mostly for analog eq) > Rascal Audio Tonebuss for summing > Silver Bullet for mojo/2 buss eq > BG2 comps for some glue

Pretty happy with this setup
Hello,

Do you like your rascal summing unit? Does it really brings you modjo also ?
Thanks

Sergio
Old 23rd February 2019
  #2935
Quote:
Originally Posted by drockfresh View Post
Any Silver Bullet owners using a summing box in their workflow?

I don't have time to scour the thread, but I assume most of you do 2 channel DA out into the mix inputs.

Has anyone else considered using a summing box?

D
I've just come out of a 3 year trip down the summing rabbit-hole which resulted in the following chain: Apollo 16 > Burl B32 > Thermionic Culture Phoenix/SSL X-Logic G-Comp > Hammer EQ2. Great sounding chain obvs, but really overkill for me as a self-producing artist who releases something maybe every 2 years and doesn't freelance anymore.

Long story short, I sold that and a bunch of other high-end pre's and EQ's, and replaced the lot with a Silver Bullet. So much bang-for-buck from this unit at a great price, even including UK import taxes. Still early days for me but some first tests comparing mixes from this vs the old chain are really positive, love the sound and not missing anything!

Going to the original question, the B32 is a great summing unit, no doubt it would partner well with the SB, but I'm not convinced it's needed. The summing effect itself is, IMHO, imperceptible to most listeners and not worth the extra cost and disruption to work flow. The magic in the B32 is from the BX5 transformers, which really add a nice density and transient smoothing - I often found myself tracking through them as well as mixing (following Dr Bill's advice about adding lots of layers of saturation without even knowing it!) Replace that with the SB and you have double the amount of saturation fun without any summing hassles. The Neve block is in a similar ballpark to the BX5s and the API block gives you the extra width that I felt I was getting from summing (but was prob coming from the BX5s).

Put another way, I took some mixes with 16 channels of summing into the B32 and compared them with a stereo pair into the SB. I *always* use the HOFA Blind test plugin now in tests to keep my ears honest, but even with that I thought I'd messed up the test, the summed version was really obvious. Surprise, surprise, it was the stereo pair into the SB!

That's my 2 pence, if anyone wants me to post some comparison files (blind of course!) happy to do so. Good luck with your summing journey!
Old 23rd February 2019
  #2936
Lives for gear
 
drockfresh's Avatar
Quote:
Originally Posted by Tony Kamel View Post
I've just come out of a 3 year trip down the summing rabbit-hole which resulted in the following chain: Apollo 16 > Burl B32 > Thermionic Culture Phoenix/SSL X-Logic G-Comp > Hammer EQ2. Great sounding chain obvs, but really overkill for me as a self-producing artist who releases something maybe every 2 years and doesn't freelance anymore.

Long story short, I sold that and a bunch of other high-end pre's and EQ's, and replaced the lot with a Silver Bullet. So much bang-for-buck from this unit at a great price, even including UK import taxes. Still early days for me but some first tests comparing mixes from this vs the old chain are really positive, love the sound and not missing anything!

Going to the original question, the B32 is a great summing unit, no doubt it would partner well with the SB, but I'm not convinced it's needed. The summing effect itself is, IMHO, imperceptible to most listeners and not worth the extra cost and disruption to work flow. The magic in the B32 is from the BX5 transformers, which really add a nice density and transient smoothing - I often found myself tracking through them as well as mixing (following Dr Bill's advice about adding lots of layers of saturation without even knowing it!) Replace that with the SB and you have double the amount of saturation fun without any summing hassles. The Neve block is in a similar ballpark to the BX5s and the API block gives you the extra width that I felt I was getting from summing (but was prob coming from the BX5s).

Put another way, I took some mixes with 16 channels of summing into the B32 and compared them with a stereo pair into the SB. I *always* use the HOFA Blind test plugin now in tests to keep my ears honest, but even with that I thought I'd messed up the test, the summed version was really obvious. Surprise, surprise, it was the stereo pair into the SB!

That's my 2 pence, if anyone wants me to post some comparison files (blind of course!) happy to do so. Good luck with your summing journey!
Sounds like an incredible journey

The Bullet really is the best bang for the buck mojo

It’s the one unit you get if you can only have one unit

I just purchased a LiLo mixer at a crazy good price really just for the faders but look forward to using the SB on the main buss insert for tracking and mixing
Old 23rd February 2019
  #2937
Lives for gear
 
b0se's Avatar
Quote:
Originally Posted by Tony Kamel View Post
I've just come out of a 3 year trip down the summing rabbit-hole which resulted in the following chain: Apollo 16 > Burl B32 > Thermionic Culture Phoenix/SSL X-Logic G-Comp > Hammer EQ2. Great sounding chain obvs, but really overkill for me as a self-producing artist who releases something maybe every 2 years and doesn't freelance anymore.

Long story short, I sold that and a bunch of other high-end pre's and EQ's, and replaced the lot with a Silver Bullet. So much bang-for-buck from this unit at a great price, even including UK import taxes. Still early days for me but some first tests comparing mixes from this vs the old chain are really positive, love the sound and not missing anything!

Going to the original question, the B32 is a great summing unit, no doubt it would partner well with the SB, but I'm not convinced it's needed. The summing effect itself is, IMHO, imperceptible to most listeners and not worth the extra cost and disruption to work flow. The magic in the B32 is from the BX5 transformers, which really add a nice density and transient smoothing - I often found myself tracking through them as well as mixing (following Dr Bill's advice about adding lots of layers of saturation without even knowing it!) Replace that with the SB and you have double the amount of saturation fun without any summing hassles. The Neve block is in a similar ballpark to the BX5s and the API block gives you the extra width that I felt I was getting from summing (but was prob coming from the BX5s).

Put another way, I took some mixes with 16 channels of summing into the B32 and compared them with a stereo pair into the SB. I *always* use the HOFA Blind test plugin now in tests to keep my ears honest, but even with that I thought I'd messed up the test, the summed version was really obvious. Surprise, surprise, it was the stereo pair into the SB!

That's my 2 pence, if anyone wants me to post some comparison files (blind of course!) happy to do so. Good luck with your summing journey!
Nice! I'd love to hear the two versions, thanks for offering.

Last edited by b0se; 23rd February 2019 at 08:00 PM..
Old 24th February 2019
  #2938
Quote:
Originally Posted by TimS View Post
How much did Audibility Recordings charge for the build if you don’t mind me asking? Feel free to PM me if you’d rather not post the price publicly. Thanks!
I bought it via Reverb after exchanging a few messages with Billy, so check his listings there. He knows what he's doing and the unit is just astounding. Excellent build quality and communication.

Edit: should add that I've done some DIY preamps and such and most of the cables in my setup but I felt that with such a complex unit it should be done by someone who really knows their stuff and that what Billy charges is completely fair. The SubBus is an incredibly detailed build.
Attached Thumbnails
Louder than Liftoff Silver Bullet first impressions-img_3128.jpg   Louder than Liftoff Silver Bullet first impressions-img_3143-2.jpg  

Last edited by batlanyard; 24th February 2019 at 06:31 PM.. Reason: more detail and SB pic to keep it OT
Old 24th February 2019
  #2939
Quote:
Originally Posted by b0se View Post
Nice! I'd love to hear the two versions, thanks for offering.

Okay, here's a Silver Bullet vs Burl B32 comparison:

Dropbox - Silver Bullet v Burl B32 - Simplify your life

The 3 files are:

- 2 channels into Silver Bullet (A > N).

- 2 channels into Burl B32 (+6db, BX5 engaged).

- 16 channels summed in Burl B32 (+6db, BX5 engaged).


It's a blind test so see what you think.

Personally I've wasted so many hours listening to micro-differences between summed vs unsummed stuff, I'm not sweating it any more. The Silver Bullet gets me into the same euphonic ball park as my old summing setup at a fraction of the price and with none of the hassle. I've just started recording with it and I'm getting the best DI'ed electric guitar sound I ever had. Vocals and bass sound great too. Love it.
Old 24th February 2019
  #2940
Gear Guru
 
monkeyxx's Avatar
I like Mix B the bass seems to hit a little harder.

Mix C hits a little harder on the kick drum at the end of the clip.

A might be my least favorite. Lacks bass punch compared to the other two.

Who knows. Thanks for sharing.
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