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Looking for warmth for ITB (yep, again): is CAPI "Missing Link" the best option? Condenser Microphones
Old 1st September 2011
  #31
Gear Addict
 

thanks guys! great replies all round. now i can't wait to get one! seem like it's unique and not really comparable to other units.

so, if you were me and you had a p-1 / BAC500, and recording multiple sources is not an issue, what would you get next: missing link, another brutal effect comp (level-or), or EQ (API 550a), or another pre for serious vintage vibe (VP26)?

thanks!
Old 1st September 2011
  #32
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Quote:
Originally Posted by tonnu View Post

note that i'm planning to get some nice color EQ's and comps for my 500 series anyway.


Or actually, should i just buy some distortion box / pedals / run synths through amps!

Thanks!
Yes.

I think running your synths through the right pedals/amp might just be what you are looking for.

And, have you tried the distortion option on your BAC 500? You can also overdrive your P1 with an attenuator on the output for still another flavor.

Analog EQ will be very helpful, sounds like you want some that have transformer coloration. That might be the next thing I would look at. Also analog compression on the master and drum busses are pretty crucial for me.
Old 1st September 2011
  #33
Quote:
Originally Posted by NathanEldred View Post
But if I listen to a jazz record from the 50's, or a Sun or RCA Elvis record, or even an early 70's Olympic production there is some serious glue going on that has nothing to do with the performers. Case in point is hearing same performers 20-30 years later (late 70's to late 80's) where the vibe, and the method of recording is completely different.
You are right. I remember one thread a while back, in regards to whether mic preamps "matter" or not.

I posted something ...an old Chess records recording or something....can't remember.

My point was that if you changed ANY of the elements it took to make up the sound of that track, it wouldn't be the same. I was kind of getting at the fact that if you used some cheap IC based mic amp (or expensive for that matter) straight into a converter, you could NEVER get that same sound in post.

Even with the same musicians and room. This is the last 10%...I dunno, maybe more.

It's both a combination of what you use to track it, and mix it.

This was in response the the repeated mantra of "Capture as clean as possible, and shape it later ITB or OTB". I think this is not really feasible, and this method rarely if ever works for me, but whatever. Maybe another discussion.

You do need to have the right tools to capture "the" sound IF trying to hit a target like that. If not trying to get a sound that is similar to something else... then well, I think you can still get warm, it's just going to be different.

My above post was certainly not hinting at the fact that the gear doesn't matter, but moreso that when I hear recordings now that sound "cold" or brittle, it is usually more to do with operator error, than the gear itself.
Or source.

I mean, you can get a "warm" recording out of modern gear (with a modern design), but it ain't going to sound the same as the old stuff.

This is where "warm" becomes subjective, because there are so many variables, and so many kinds of "warm".

Good points though Nathan. When I read that, I kinda felt like "He gets it".

Go into the geekslutz forum, and say this stuff though..and look out heh

I know you are a gear manufacturer / retailer.

That's where that thread took place. Lots of IC mic amp designers in there doing modern things. It was frustrating for me, because I am NOT a designer, and was only trying to convey what I hear, with no "facts" to substantiate any of my claims. Because of this, I was kinda jumped on and "discredited" by a few cats, pretty early on in the discussion.

Some of them don't like any dirt in their front end...period.

Peace,
john

Last edited by NEWTON IN ORBIT; 1st September 2011 at 07:02 PM.. Reason: typo
Old 1st September 2011
  #34
CXP
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If you can find one, GT Glory Comp or (if you can find them both) GT Vipre. Total mojadanst warming gooey glue.
Old 21st April 2016
  #35
Gear Head
Funny how this ended up being a philosophical conversation on the theory of mix. Everyone is right in some way, but make sure you answer the question instead of giving a class on how a mix is based on skills. It sure is in big part, and as many pointed out, we all know many people who do great job just with their computer. That said, for anyone who tried using a pulteq VST next to a real tube pulteq, it is quite obvious that gear still has a great role to play in our lives for some times at least. Since vst does a great job, what modern ingeeners and producers are looking for when they buy analog is something that clearly sound different (and hopefully better) than his vst equivalent, or else we would only use VST. Coloration is probably the best way of achieving that, since EQs and comp are quite good in digital, but coloration still suck (to a certain extend). So here is a list of gear will behave in the way you hope for: EQP-1S, Colour Palette (DIYre), Hairyballs fet comp, many preamps with good transformers, VCA compressors like Serpent Audio SB4001, Missing link 2, Elysia Karacter, etc.
Old 23rd April 2016
  #36
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Robbiehouston's Avatar
 

I'm not saying that this option is "better" or "equalivalent" to the missing link.

I have a true systems p8 preamp. It's totally clean. That's great when I need clean but when I need some color, I use my 1176 with compression turned off. I use the input/output knobs for saturation and level. Works like a charm. I do this on almost every overdub (unless I'm using the conpression from the 1176 as well!) It goes from just a bit of hair all the way to nasty. Plus I've got a pretty rad compressor if I need that at other times.
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