While a sardonic comment is tolerated, false ones are not. It is false that the Dolby 361 system can simply be replicated by a generic multiband compressor or EQ plug-in. Allow me to address your comment: 1. Noise Reduction Technology is not the same as a "crappy plugin" at all nor can you get the same result. The Dolby system was a noise reduction unit, which used a process called "Dolby A-type" noise reduction that uniquely encoded and decoded audio in a way that reduced tape hiss by compressing specific frequency bands during recording and expanding them during playback. This is NOT AT ALL something a typical multiband compressor or EQ is designed to do nor can you get the same result. These Dolby's used four frequency bands, each treated completely DIFFERENTLY to handle noise reduction. You cannot achieve the same effect with a "crappy plugin" or MBC. If it sounds the same to you, your ears or your D/A rig are to be questioned. 2. The encoding and decoding process works NOTHING like an EQ/plugin. Mostly because it's a unique 2 step process, not a linear pass of audio like an EQ or MBC. Like I say in the video, it's very similar... but not same. - Encoding during recording: Certain frequencies are compressed and dynamic range is reduced. - Decoding during playback: Those same frequencies are then expanded on the way out, which reduces the noise floor while preserving the original dynamic range. Sharply against your point, a regular multiband compressor or EQ doesn't do this type of encoding/decoding at all. They just apply static frequency adjustments or dynamic range control without the noise reduction process so again, not the same thing nor the same result. Similar but not same. 3. Linear Phase and Precision is another totally unique feature a "crappy plugin" is not doing. These Dolby's operate with very precise algorithms designed to manage noise WITHOUT coloring the sound (or making it "orrendous" as you put it). Your "crappy plugins" introduce phase shift or coloration, which degrades the audio making it... well... crap. Dolby systems are engineered to work seamlessly with professional analog tape machines, handling noise reduction in a transparent way that multiband compressors and EQs can’t replicate. So again, not the same at all. 4. Tape-Specific Technology is not the same as crappy MBC plugins or Eq at all. The Dolby 361 was designed specifically to address issues with analog tape recordings. The noise reduction system is tightly integrated with the characteristics of tape like tape hiss & saturation. A plugin that isn’t built with tape characteristics in mind is nothing like the Dolby. So again, not the same. The Dolby trick involves both compression AND expansion in a way that is specific to tape-based workflows and nothing like a crappy MBC plugin so how exactly can you easily achieve the same result? Please be scientific in your answer. A crap plug, no matter how good, doesn't replicate that combination of frequency-specific dynamic range control and noise reduction tailored to analog tape. If it sounds the same to your ears, well... I have no comment about your ears. All the best.

@@JMLRecording You put things in my mouth that I did not say. i did not say that the functions of a compander like Dolby A can be replicated by a simple multiband plugin, of course cannot. I said that the SOUND RESULT you get with your silly "Dolby trick" (a misuse of the compressing section of the Dolby unit) is no more than what you get with a treble enhancement with a properly set eq or multiband compressor plugin. I am 60 years old and work currently with Studer, Telefunken and Tascam machines; Dolby A/SR, Telcom C4 and DBX of all kinds. I don't need to have you explain to me what a compander is. As for ears you keep yours and I keep mine.

Right back at you brother! Thank you ❤️✌️

Thanks a ton! Welcome to our audio fam :)

Heck yea man - best drum sounds of the last few years!

Glad you enjoyed it! Two more parts coming soon then back to gear reviews, tutorials and DIY projects :)

Crazy. That reminds me of a very similar story I just heard from the guitar tech to Marc Anthony’s guitarist. He has a half dozen high end guitars on the road with him at all times but his main axe is a freaking stick squire…. !! Said he found one that just plays like a dream so that’s his main gtr! My friend who’s his tech said he gets it set up right before the tour and then does nothing except tune it. It’s stays perfect and keeps intonation the whole tour! Ha

@@JMLRecording That's kinda sick haha. It's kinda convenient too so he doesn't bang up any of the nice stuff lol. I wanna say Victor Wooten's brother also played a Squier for the longest time. An old white strat that's aged-looking now

Right? This video is a simple frustrated response to the millions of jokers with a cell phone camera and a YT account, wasting precious human life. That dude wasted hundreds of hours of human life and has no idea the cost. In the short life of ours, Time is the only true commodity and it infuriates me how much of it is wasted on RU-vid with erroneous explainer videos like his. He even claimed that the old bushing has to be thrown out and you have to hunt down a new one. Can you imagine? What a waste of time, energy and money.

An interesting idea my friend however I might not on that particular mic only because the RNT is a condenser mic similar to the C800G vibe, which is already kinda bright and much more forward than a moving coil dynamic like the sm7(b). I glanced at the RNT’s frequency chart and it looks to have a +5db bump starting at 6khz all the way to the top at 20k so the top two bands of comp the 361 provides would probably be too much sauce on the highs. However I’m sure in SOME scenarios they would sound great together! But my gut reaction is no. LDC’s often do not need high end boosts (especially low-mid range LDC’s), and can even require a taming of the bright top. Mic manufacturers these days lean towards clarity instead of vibe and end up with very shrill and bright top ends which many seasoned engineers don’t like, myself included (gimme an RCA44 or Altec Birdcage any day). While the Dolby trick doesn’t necessarily boost the high end per se, it does give the illusion that it is doing so and would brighten the shrill range that LDC’s need taming (5k-15k). Again, it may be cool in the right application but the 361 shines best (imho) on dynamic mics, ribbons, gtrs, synth and bass, in that order for me. Conversely, I don’t like the 361 on female vox too much, drum OH’s, LDC’s, SDC’s or bright percussion like Tambo or cymbals. Hope that helps. All the best bud!! Thx for the comment too ❤️✌️

@@JMLRecording thanks a lot for the detailed comment! <3

Yea I’d agree. Newer stronger magnets prevail in that region for sure ;) people forget magnets can loose their power over the decades, rendering the lower end looser. I had some EV v-1’s (philco v-2) notoriously went weak over the decades and lost their sauce. I’d venture that’s why the AEA sounds so good on the bottom end of the frequency spectrum

Very kind of you. All I can say is YT compression algorithms utterly rob viewers of the real experience. You must be in the room to fully grasp the truth

Nice! Yea we did neglect to mention ton they actually make incredible noise reduction modules for their initial purpose. I have a red modular controller with variable slider control that improves SNR and it does a wonderful job with my Studer tape machine.

@@JMLRecordingI’m so jealous that you have a Studer, I want an A80 2” 16 track so badly but there’s no way I could justify blowing that much… But yes I want the Dolby’s for my Tascam 90-19 1” 16 track machine. It would allow me to slow down the to half and save a tone on tape

When you slam a quality tape machine like that into oblivion and realize how constraining all the restrictions and inhibitions that digital false frequencies and aliases impose on you in the DAW, you never go back :) I learned tape from Russel Elevado at electric lady studios (“the dragon”) and instantly recognize that he doesn’t just use tape because it’s cool, he uses tape because it sounds (*saturates) exponentially better. You can pry Ampex mastering for my cold, dead hands haha

@@JMLRecording Exactly, bro it’s so cool to hear from other people who get this… I don’t get why there’s even an argument about it. I hate this “why would you use tape, my DAW can do everything a Studer can and more” or the “the only reason why prefer tape is because they grew up with it”… I’m gen-z, I’m not an analog native, I found this out on my own. It’s not nostalgia, I’m not biased, I just took a chance on it and realized what it is capable of. I could go on for days about what recording, mixing, and mastering on tape has done for my music but biggest thing is grit. There’s nothing like driving a Neve straight into tape. We sacrificed a lot when we switched to in the box recording and mixing

That’s right. Even if people are making music that ends up streaming, as most music does these days, to have begun slamming tape is such a unique advantage over the polished digital stuff we are used to now. It’s so funny to me all these “saturation plugins” and tape emulation solutions out there when you can still procure a decent physical tape machine quite cheap and go so much further with it. I’m a fan of the old Japanese tape machines such as Otari, for instance. The mx505 mkii is a BEAST and requires almost zero maintenance. That machine sounds phenomenal and will last a lifetime. Meanwhile, a MONO Rupert Neve designs 500 series “emulator” module costs almost as much and is half as cool. Baffling

If you ever get a chance to demo it side by side a flip top, check it out. A 15” cone will provide more frequency range while the 12” will feel more controlled and punchier. Which is probably what you love about it. Which is absolutely subjective and totally awesome. Thanks for your comment, my friend!

So the 639 has both a moving coil dynamic element as well as a long ribbon inside! I just confirmed that The new warm audio d18 clone diaphragm will work as a drop in replacement for the akg d19 which is amazing cause there’s no good drop in replacements out there. C38 slays a u87 all day. Tube powered C37 is comparable to a u67 and is def worth every penny. Only problem w them is Sony doesn’t support them like Neumann supports their mics. Lastly, c12vr is pretty pisspoor imho. I’ve owned three and found them all woefully underwhelming. Their price also wildly fluctuates as buyers are widely confused why retail is astronomically more than the rock bottom resale prices. Unfortunately for owners and resellers, resale values are abysmal due to the simple fact that the mic just all around sucks. Akg/harmon has been quite the let down lately. Anyway, hope all that helps answer your questions bud. Thanks for the comments!! ❤️

Absolutely brother

Thanks man, yea they said it was sitting at the thrift store for 2 years and no one wanted it. I drove 2 hours into Long Island, plugged it in and played a single note and jumped outta the chair and shouted, "I'll take it!"

Thanks my man. Yea I love my Echorec. I’ve bought and sold a few lately and learned that no two Echorec sound the same. The one I sold a few months ago sounded bright and punchy and clean like the pulsar plugin but the one I just refurbished is dark and woolly. They are great but man do they require a crap ton of maintenance. And they HAVE to be used a lot to stay in good shape. Thanks for the comment brother!

​@@JMLRecording​Remember watching some Michael Brauer Videos on 'Mix With the Master' where he just kept talking about how amazing the Echorec was I think he has a Echorec2...but he almost had a lil prayer that he says each time he turns them on...Can't wait to hear one in person....🍕 think this videos might have the same Michael Brauer vid that was on MwtM ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-OTYmZKBDK6E.html&ab_channel=shnobel Looks like he also had it modded with VArispeed....great minds think alike!

Heck yea man. They really are one of, if not THE most underrated (unknown?) gtr amps ever made. Almost impossible to find too. I wish I knew more about Leo Fender’s involvement

Yea man it was extremely special. It was the reason he wasn’t always around, and I was a kid and then it turned into the deepest bonding moments of our life. Kind of came full circle you know? The blue stripes I built from kits and slightly modified to be a little softer on low settings :) 👍

@@JMLRecording Definitely can relate(grew up with some Classical Music Parents)....really sounds like a special moment, thats encapsulated...Very cool you built the 1176 from kits....must have been a fun, learning experience! The prices of real Urei 1176's are pretty insane these days...🥦

I literally laughed outloud when I read this :)

Thanks for clarifying this brother

Welcome to the JML fam :) cheers! 🍻

The father of parametric EQ! I was just saying today how ITI EQ’s are one of the best ever made next to GML. The ME-230 is one of the only parametric EQ’s I’d take over a GML 8200. It’s crazy we live in the same era that this stuff was invented. Fascinating!!

@@JMLRecording ... I was there working R&D with Bugs for about eighteen years...Unfortunately we both lost our minds by September 2009. His eyesight was failing and he started singing weird songs about drunken sailors to himself all the time...then he went and hid in the Piano room. He kept threatening to shoot us both and so I just ran off into the woods. I didnt want to end up like Paul Jensen when he was there. Carol is the only one, last I checked, who managed to keep any sanity. Im still sitting on ten tons of Equalizer parts ...lol But to be accurate, Bugs got his eyesight fixed via an experimental procedure by some dude at Johns Hopkins back in 2015 and also seemed to regain his sanity...somewhat. Bugs got me for about 2.5 mil but he's still a good fellow. I like your channel... All that stuff you have makes me swoon. Alvin

Hahahaha this is officially the best comment on my channel. Glad you and Carol made it out in one piece :) would love to see all the parts you’ve got. You should make some EQ’s outta those!! Keep us posted my friend ❤️

Great question! Id have to say no only because I have a D25 and a D12 I adore for the more classic vibey rock tone and for a modern kick tone I do sometimes like the D112. The VR series has consistently let me down. I’ve owned multiple C12 VR’s which were one of the worst mics (dollar for dollar) I’ve ever heard, hands down. I’ll admit it’s been a while since I heard a D12VR but I do recall not being a fan. If you’re gonna spring for a D12VR, do yourself a favor and save a couple extra bucks and pick up an old D12 instead. Just make sure it still retains its low end as they notoriously loose it over time. As always though, you can make great records with any gear and you can usually manipulate any kick transient to sound like anything these days ITB

@@JMLRecording good advice thanks!

Yes, you are correct. The rule of thumb is to use a passive DI on active instruments and active DI on passive stuff. I believe that’s what I did here. Since the all these delay devices are powered, it should be a passive DI. Though there’s always an exception and the ear should have the final say 👍

Heck yea man they’re KILLER amps for sure. I’m picking up an ODS this sleek myself and on a perpetual hunt for the one in the YT thumbnail :)

Very sweet of you my friend - welcome to the JML fam :)

Well, well, well. If it isn't fellow Samurai and Galactic Warrior of Sound, Jumping Man. Good morning to you!! 👋 How ya doing? Where is Sammurai Volt? That is the question!

@@jumpstar9000 well well well. Is that you Multiversal Space Lord Jumpstar? Good morning to you too. How are your sonic plans for domination going? Good question. Is this a trap.?

@jumpingman8160 Going well my friend!! I'm working on some old skool 70s funk. I'm going to place it under the White House and see what happens 😂😂 What are you up to? Having fun? And yes, you could well be right about the trap. We best keep a lookout in case any funny business happens!

@@jumpstar9000 having lots of fun with the Hydra. Deep synth. Very capable.

@jumpingman8160 yea that thing is really underrated. A great little synth. I have the desktop here and love it. It’s also very intuitively designed and easy to navigate which is always a huge plus. The price point is the cherry on top

Glad to help! Feel free to post any questions you got here and I’ll do my best to answer. Welcome to the JML fam!

Oh wow I didn’t know that! I think after Swedien used it all engineers took notice. Everyone from John Lennon to Queen employed it. There was a point when the world called this the “Lennon Trick” too!