Hi! I'm Kyle. I play drums for a living. You can find me on the road or in my home studio. Making videos is a passion of mine as I do my best and most likely ramble on about my experience recording. I'm happy you're here. Reach out with any questions, comments or concerns. You can also hire me to play on your music at www.kylewmay.com. See you in the next video!
The line check is just to make sure outputs are patched correctly to audio world. If FOH hears that number 5 is coming down what is supposed to be number 7 on his end, he can know that without having to listen to any of the tracks.
@@yannperonyp exactly! So down output 1 it's a just a voice saying, "1, 1, 1, 1," on a loop and then the same thing all the way up to channel 12. That way everyone can verify the patch is correct.
If you ever get your hands on a GAP PRE-73 EQ Premier, be interesting to hear if there's any difference, compared to say the WA. Because they are half the price of the WA 73, almost 1/4 the price of the Neve. So could almost fit out a whole 8-channel drum recording frontend for the price of just over two Neve units. Similar with the Warm Audio WA-12 API-style pre, compared to CAPIs, which are almost twice the price, or APIs which are almost 3x.
For me, coming from the guitar and electronics home studio side, I think I would avoid wasting money on the following: tube upgrades, makes minimal difference. Too many overdrives: once you've found two or three you like, can sell the rest. Stock pickup upgrades, too often the new ones will be a little different, not necessarily better. Most stock speaker upgrades, often the amp manufacturers chooses one that pairs well. 4x12 cabs - too hot to handle unless you can isolate them really well - similar goes for 100w+ tube guitar/bass amps like Plexis, JCM800s, SVTs. Hardware all-digital syntheseziers, just use plugins, or even free ones - they are often better. Mixing consoles - most but not all home studios would do better to get an audio interface with many inputs, and go straight in, and spend the money on a few great rack or 500-series preamps, EQs and compressors. Loud/big tube bass amps and 8x10 cabs - there's a reason most studios won't have much other than a B-15 and a great D.I for bass.
Sounds great, nice tone, like off a nice old 70s vinyl record, which I always like. Similar setup here. Main interface is a Motu ultralite mk.V. But I use that Behringer for extra pres. For overheads, hats. Similar mics too, Beta52A on kick, SM57 snare top (no snare bottom). SM7b on hi-hat, though a 57 could do that. Audix D's on toms. Line Audio CM4 stereo pair on overheads. I use a couple of other things, but those would put it over budget: JZ Vintage 67 as room mic. GAP Pre73 for kick, Camden Cranborne EC1 pre for snare. Motu pres on tom pair. Want to get API pre pair for toms. And would like to upgrade to Audient ASP800, or better yet SSL Quad Pure Drive for better pres and ADC than the Behringer. Another affordable way of recording, if the room sounds good, and a more open sound works, is something like the 4-mic Recorderman technique. So, maybe a pair of Austrian Audio OC16 above and to the side, a Beta 52 on kick, SM57 on snare.
Thanks for sharing and doing this review. I am currently in the process of testing a focusrite ISA vs a heritage Audio 73. I was curious how did you get a blue color heritage Audio all I’ve seen are gray lol.
PS. I read o your site that you're in Nashville, Have you tracked drums in the past for Michael Flanders (expat Aussie there I do some work for occasionally). JD
Build quality and extra functions makes WA the winner for me. :-) I just got one, and saved quite big on getting the WA used, compared to a new HA unit - which is rare to come by used in Norway.
Most likely yes, but whenever I send to clients, I recommend that they choose one or the other. I just like to have options. As of late, I've just committed to having a single pair of ORTF overheads.
Not a subtle difference to me: the Heritage clearly has a tighter low end and a better transient. It’s like it’s smeared slightly, but still really well defined.
Great vid!! Love to see how people use our gear. Fun point: you can use the PA1U or PA12 in place of the IAC as a loopback MIDI port. WE have 2 videos on that on our channel. Could use an IAC for turning tracks on and off too.
The warm sounded foggy, snudgy, whereas the Heritage definitely had more of a crisp sound and less mud in the low and low mids. More clarity in the mids and high band. The Heritage top shelf is at 12k. Warm is switchable from 10 to 12 to 16. I have The WA 73 EQ, I prefer the Heritage. It seems to have more seperation in the entire sound spectrum. The warm is still good but the heritage had more smack, crunch and air. Both were great though.
Great, concise explanation of some very complicated ideas. I am amazed at how far playback rigs have come. Putting the 1u in a fly rack would be incredibly powerful and economical. Using the IEC driver for different predetermined sets is a clever approach! Love it.
Wow, I love how much low end of the kick that 4038 picks up from the kick even being that close to the to the Batter side. I need to try this on a Rock song. I do use crotch mics almost every session, but have never tried my Coles, or a Ribbon in that position. Actually the last session I did, I didn't even bring my Coles, because it was in a hella dusty, and hairy cabin lol. I was to afraid lol.
Nice comparison, thanks! One think I strongly dislike about the HA-73 EQ is the fact that the EQ controls are laid out the wrong way round. Worse yet, some knobs have marking on the bottom while the Output level has them on the top like most knobs.I know the Neve product this clones is also laid out that way but, frankly, it's stupid. Warm Audio did it right.
guitar is way to loud. i would only have the accents of the guitar as loud as that. but the 4038 in a stereo setup are a secret weapon. if you have 2 of them, try to place them in a AB setup pretty low over the kit, ignore the cymbals, because the coles tame them in a nice way anyway, but make sure the phase relationship/distance of the BD and the SN are completely equal. i had great results in studio recordings with full bands, drum kit completely miked for safety, but in the end only using the 2 coles and a neumann u47 tube on kick (not using the other 10 mikes if the kit).
