Nice video! :D I own a C414 B-ULS and it has served me very, very well for many years!! Last year, I bought an AKG D320-B dynamic mic, hooked it up to my system with my monitors set at a decent volume, as I always do and I kept on raising the volume whilst talking into the D320-B, thinking it's broken and when I got the volume halfway up, which's usually LOUD, I heard my voice being amplified above my normal speaking voice (how do I explain this?) and went like: "my God..... this mic's just PERFECT for my voice", haha. almost completely flat, that's why I couldn't hear my voice at the beginning. Whenever I hook up my Shure Unidyne, C-414 or whatever mic, I always instatnly hear it through my monitors. The AKD D320-B sounded just 98% natural to me. At one point, I had to record my vocals for a project and decided to put the D320-B next to my C-414, sent both recordings to the artist and we both preferred the D320-B over the C-414. Check it out one day! I'm not gonna say you'll like it, because we're all different, but maybe you will and they're pretty inexpensive as well. ;)
Haha kids got his hands all over it and I’m thinking ‘god I wish I could afford something like uf8, let alone be nonchalant enough to let some grubby hands on 1.5k worth of gear.’ Then it’s like ‘I got this for free’ - oh right yea drive it like you stole it type deal then 😂
I’ve got 3 Princetons I think? ( no fancy vintage stuff) but I have this one also and it’s my favourite. And it looks great too!! Edit I only have 2. The 3rd one is a Tonemaster. But yeah this tweed thing with a 12 … well I love it. (Today anyway) lol
Could you even begin to imagine if you were lucky enough to be Ray Parker Jr's son???? I'll tell you one thing, I would have been taking guitar lessons from him and picking his brain every second. He would have had to have me sent off to some boarding school somewhere. No kidding!! I'm a straight, white 59 year old dude, and still have the same "man crush" on him I had in the 1970's as a kid. All his music worked pure magic on my heart and soul!! This brother is TALENT personified to the 10th degree. The Lord really blessed Ray. I Will always be a mega fan of Ray!!! Also, there wasn't a woman alive back then that did not have a mega crush on him as well!! He was/is the complete package!!
Was the vintage outboard gear always a thing? Like the LA2A etc. Or is it just a recent thing and if so what were recording studios using before the vintage craze?
Hey Andrew, in your own home studio, what brand of acoustic treatment do you use? The sound you get is really high def, with nice transients, and great low end. I used to think preamps were gonna solve that for me but I just acquired some nice quality preamps, and my sounds are much better, but still not as good as yours. Came to realise, it's gotta be my room. So I'm going to invest in some more professional level acoustic treatments. I was gonna go with GIK acoustics. Wondering which you go for because your sounds are great!
What a beautiful console with all the different EQ’s and stuff snuck on top. And John, wow what a chill guy, I feel that I would record so comfortably with him, has this down to earth energy and cool vibe
You're still getting those plosives and sibilance issues as the pop filter is still too close to the capsule. What happens is the pressure wave from the plosive is causing the webbing to flex which is in turn flicking a small amount of air (and sometimes moisture) onto the capsule. The air between the filter and the capsule needs distance so the air in between will lose its energy and dissipate. You can test this with one of those photography lens blowers/puffers. It'll tell you the minimum distance each type of filter needs... To test the EQ curve of each filter you need to rely on the same performance. Something that is physically impossible with an actual singer. You need to put a speaker in place of the singer and do a sine sweep to determine if any frequencies are actually changed. 1-2db is not going to be noticeable by anyone. 10db over a wide band would be. Without testing these things as in depth its really still subjective, even if you have thrown options out there. It just makes those options meaningless.
thisThis test seems flawed in that gains arent matched spot on. As a result the balance of all mics on the kit, even if changes are really small, can cause massive phase interference and so overall lead to vastly different sounds. Other mic pre A/B shootouts and ones I've carried out by myself, the differences are far more minute then how they are in your mix. As you noted, the difference in the low end response is crazy. My hypothesis is that this is a result of phase problems. Let's hear it again using a level-matching plugin, it'd be cool to be proven wrong. I find this content worrying in that it discourages amateurs from making recordings without investing in things like preamps and all or equating bad mixes to lack of gear, stunting artistic development. Overall, a consumerist nightmare. We should make an effort as a community to bridge the gap and encourage others to get involved rather than cling to our investments. Art doesn't give a shit about fidelity.
Grand Piano was just a brain dead moment and saying the amps are just cool looking boxes makes me wonder and worry. Im going to just think this was a huge funny joke.
In your opinion what effect do you think the size of the port has. Your port is really big. I've found that a 24" base drum is louder overall than a 22" but the 22 usually has a louder attack/crack. And the attack/crack gets louder with a port cut in. What difference do you think the diameter of the port makes? Your port is the biggest I've seen.
I can't believe this was only 2 years ago and now everyone is moving on to something else different, to me this combination hw and software still so spot on, maybe a bit pricey but when you want to work and not think about equipment just music making , this is it.
I bought a Rupert Neve 5088 that I’ve had for a year and a half now. I love it. It doesn’t have automation and it’s a pain to switch between recording and mixing, and it’s not practical to mix more than one song at a time. But, 30 minutes of re-rerouting the patch bay and setting console eq/comp based on iPhone pics is worth it to me. I don’t have deadlines, I’m doing this for fun, mainly for my own music and a few friends and local bands. The sound is amazing, it’s fun. I’ve recorded since the early 90’s a little bit before DAW’s were on the scene. So, I guess I’m mid-old school anyway. I’ve been obsessed with analog. The same way guitar amp modeling doesn’t work for me, I feel like outboard gear gives the mix imperfections and time that I don’t hear in the box alone. A console might be overkill, and I’ve stopped myself from expanding an extra 16 channels as it just doesn’t make sense for as good as DAW and plug ins really are. Those extra channels can be dealt with by mix downs on the box, especially as those tracks aren’t key. Running a full Drum kit through the console is amazing. Maybe route the snare to two busses, but parallel crush compression on the full kit just isn’t needed. The console and a little bit of bus compression is enough and there’s more clarity but still glue. I get that a console is not necessary these days, and it sounds like a lot of pro’s have moved away from them largely for the sake of faster workflow, saving settings, and ability to switch between songs, come back and make 100’s of tiny adjustments, cost, portability, etc… But, if you have the money and you like ‘real’ sound a console feels so good. .
