Learn about Octave Record's analog mixing board once owned by Neil Young. And check out our new RU-vid channel, Octave Records / @octaverecordsanddsdst...
I used Studer consoles for live broadcast applications in the 80"s through the early 2000's. I always though it was a waste that they weren't in our recording studios but they were fantastically versatile for live broadcasting and sounded great.
Nice story! So pleased these products are still in use. I used to work at Studer (in Switzerland) in the 80s but on tape recorders (A800 and A820). I find your videos very informative.
Interesting stuff, Gigi. I went to your channel and listened to Sway and Jitterbug Waltz. Nice pleasant versions of the tunes. Sounded like a single coil pickup, and looks like a Gretsch guitar (thumbnail fret markers.) Do you do any improvisation? The recordings are clean, too.
@@KenTeel Thank you for visiting my songs! Very kind. The guitar is an Ibanez AFC151 with a mini humbucker. I do improvisation on other songs on YT but usually not very long. Because I like the songs to be short. The audio was recorded directly into the iPhone together with the video. I took the DI-out of the amp into a mixer then through the A/D converter and via USB into the iPhone. It worked well but the audio was a bit out of sync which I could correct in editing.
@@gigicantina6534 Yes, the DI out thing. I've done that, when recording with Sonar DAW on some of my original jazz. I took the DI out of a Roland Cube guitar amp. It worked quite well. I didn't notice any sync problem with your video. Unless one is paying specific attention, it probably would go unnoticed.
Oh man, listening to this brought back bad memories of Trident Consoles... We had the series 80 and the Trimix, phewww not great. I think at that time in the late 80's early 90's the QC was not up to par. on the Series 80 the 2nd 24trk returns were wired single ended. On both consoles the reverb returns were wired out of phase. The Tridents were definitely rock and roll consoles, the mic pres were very noisy at mid to high gain settings, unfortunately we were recording voice overs,, so, not so good. We actually replaced the stock mic pres on a few select channels with ones based on the Harrison console, much much better. Eventually I was lucky enough to work on some beautiful Neve consoles, 8038s and The V series, sweet sounding boards. We actually thought about the Studer console but the Neve's became available. Love the videos
Hi Paul, I concur with your views on Studer. The only Studer I own is the C279 compact console. Two words spring to mind, warmth and headroom. The NE5532 is an old favourite, but have replaced some circuits in other equipment with BB2604. The are however, boffins out there who rightfully say that upgrading is possible, but be very careful it changes the 2nd and 4th harmonics, which we humans can perceive. So, lower THD and higher Slew Rates are not always pleasing😁
Thanks for the info on the NE5532 vs the TLO82 op amps. That was interesting, especially describing the bipolar transistors in the Signetics chip (NE5532.) I find it especially interesting after your comments on the similarities between tubes and JFETS. You imply that amp design is as equally important as the type of amplifiying devices. I've got an old Peavey guitar amp that is all bipolar, except for one JFET. Fellow musicians regularly mistake it for a tube amp, based on its sound. I always find that to be kind of fun. I used a Burr-Brown OPA604 in a little preamp that I built for live performance (boosting the signal of an acoustic guitar.) It was a simple circuit (gain = ratio of feedback resistor to input resistor, ohms), but worked well. Integrated circuit op amps are amazing: cheap, powerful, and clean. The rundown on the features of the board was interesting, Paul. You made it quite comprehendible, with your description. The itty-bitty boards are just a smaller version of the same thing, basically.
🤗 THANK YOU PAUL …VERY INTERESTING AND UNDERSTANDABLE TO A LAYPERSON 💡 AND WE LOOK 👀 FORWARD TO …THE REST OF THE STORY 😉 HOPE TO SEE YOU IN THE FUTURE 😍😍😍
I'd expect a Neve for your uses. Rupert seems to treat everything in the signal path well past converter frequency ranges as if it were delicate audible kittens. But you seemed to hint at a console-less setup. RME with a massive control surface? I wonder. I'd love to come help, whatever it turns out to be
Paul from your description this may be the console from the Rolling stones Mobile recording studio mentioned in the song Smoke On The Water as the "rolling truck stones thing just outside " used to record the Machine Head album.
IC op amps take advantage of device thermal tracking, transistor matching and scaling capabilities of monolithic designs, which you cannot easily duplicate with discretes. Approaching that with discrete components would take quite a bit of manual effort to find accurate matches. The discrete version would not be exactly the same, so there shouldn't be a licensing issue.
@@marianneoelund2940 -- Thanks for mentioning some of the huge advantages of monolithic op-amps vs. similar circuitry rendered in discrete components. The whole notion that one can improve on the near-perfection of the best off-the-shelf chips that way is one of the most persistent myths repeated in the "audiophile" world, mostly resulting in lots of wasted time and money -- but little or no measurable or audible difference, let alone a difference that can be confidently labeled as an improvement.
Interesting, a 5532 op-amp, will have to see how they line up with my previous selections - time to build a pre-amp, I do have an amp in need of a preamp input stage.
@2:25 "...four separate buses" What is their function? @5:43 "Some EQ" When left in the neutral position, is the EQ circuitry bypassed, or is it still active in the signal path? Also: -- Was that Studer board custom made exclusively for the Rolling Stones? In other words, is it a one-of-a-kind? Or were others made? -- Why did the Rolling Stones part with it? -- What did the Rolling Stones replace it with? -- How is that board powered? A single household NEMA 15 plug? Something else? -- Are those the original elbow pads?
A "bus" is simply a fader channel whereby the engineer has the flexibility to route individual channels collectively to a single fader... thereby enabling control over multiple elements with a single fader. For example, all four vocal channels could be routed there and be adjusted as a group. Each input is still handled by an individual fader, but collectively all can be controlled too. Drums, guitars, etc, any combination. As to your EQ question, boards differ. Ideally, it's nice to have a single illuminated switch in the EQ section to enable/disable the entire EQ section. Oddly, Paul's description of the board started at the end of the channel, not the beginning. - The top is the beginning, and there you'll find the input gain control, typically with a phase reverse, and phantom power switches. Next, there's often sweepable high-pass and low-pass filters (filter unwanted energy early in the signal path). Unfortunately, this isn't utilized enough... it's a powerful tool to keep unwanted stage energy out of the mix. Next, the parametric EQ section: with high freq, two separate sweepable mids, and a low freq. Then maybe 6 aux sends, then group assignments. Finally a Left/Right pan pot above the channel's fader, a PFL button, a hopefully some LED metering immediately adjacent to the fader then a channel mute button. All said there's similarities, but no two consoles are the same.
I don't get it. Music is analog so how can DSD sound better than analog or the music itself. Unless you are manipulating the analog then your not really replicating the actual music. Help me out here.
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NE5532 all the way, TL082 andTL072 /4 - do not sound anywhere near as good, can not believe anyone would like them, they have many problems to many to mention ...
