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 1 
 on: November 11, 2019, 10:22:22 am 
Started by klaus - Last post by Eddie Eagle
The rest of us will have to do with voices, sometimes our own...
I resemble that.

 2 
 on: November 11, 2019, 01:16:01 am 
Started by gsherman - Last post by saltyjames
AKG C414 XLS are excellent mics.

 3 
 on: November 10, 2019, 01:22:23 pm 
Started by klaus - Last post by klaus
(...) I feel the cello is a perfect instrument balance wise to give me a clear idea of how the mic responds.(...) there is no instrument that affects me emotionally like the cello.

I am not the first to note the similar timbre and expression of a cello and the human voice. It's therefore an excellent instrument to judge a mic, as Alan notes. It is enviable to work in a recording environment where cellos are common. The rest of us will have to do with voices, sometimes our own...

 4 
 on: November 09, 2019, 04:26:16 pm 
Started by klaus - Last post by ameyerson
As an owner of 2 of the reissues I have to admit I don't disagree. My listening test is not nearly as intricate as yours. Usually when I evaluate a new mic I start by using it as a cello spot mic in an orchestral setting. I feel the cello is a perfect instrument balance wise to give me a clear idea of how the mic responds. I've done it with so many mics now that I have a pretty good sense of how it works. Also there is no instrument that affects me emotionally like the cello. When it sings I feel it in the hairs on the back of my neck
I agree with the pinched upper midrange and the lean low end. It's a subtle shift and took me a while to get it.
On the other hand I really like the way the mic sound set in Omni. It seems to balance out tonally in Omni so when the situation is right I'll do that.
Love to get your hands on these, Klaus.
Best,
Alan


 5 
 on: November 08, 2019, 03:26:25 am 
Started by klaus - Last post by klaus
At the current street price, I believe the U67 Reissue beats anything comparable in price, and with a few judicious steps it can easily be moved into the world class of the vintage U67.

 6 
 on: November 07, 2019, 03:20:04 pm 
Started by klaus - Last post by RuudNL
After reading your in-depth analysis of the U67 re-release (my thanks for this!), A question remains: is the U67 reissue worth its money, or are there better alternatives?

 7 
 on: October 30, 2019, 05:10:19 pm 
Started by leftofthedial - Last post by RadarDoug2
Yes you have to bounce off the sync head, which is actually the record head. Also, dont try and bounce to an adjacent track. bias will cause sync bleed, on some machines impossible, probably still works on the Studer.

 8 
 on: October 30, 2019, 02:14:30 pm 
Started by leftofthedial - Last post by leftofthedial
Thx, Yeah, I don't think I can afford, or have room in my studio for another "commercial washing machine" sized 24 track.  It's not like I don't have a DAW to do such things. I just remember workflow from the past and never even thought about it since I only had 2-head analog machine and then ADATs which could bounce without noticeable delays.  And even then, I mostly only had 16 tracks, so 24 should be plenty.

 9 
 on: October 30, 2019, 01:40:14 pm 
Started by leftofthedial - Last post by mbrebes
The approach used by George Martin and the Beatles, back in the day, was to use two machines.  The comped tracks were recorded on one track and the remaining track, if there was one, was transferred to a track on the other tape machine.

If you are comping two tracks onto a third of the same 3 track, then you really don't need to worry about the sync head unless you need to keep the original two recorded tracks.

 10 
 on: October 29, 2019, 06:41:58 pm 
Started by leftofthedial - Last post by leftofthedial
Let me start by saying back in the early 90's I had a 2 head Fostex E-16 and then ADATs until I went DAW in the early 2000s.

So bouncing/comping tracks in all those domains is pretty much self explanatory.  However, on my 3 head Studer A800, the only way I see to do time aligned bounces/comping is through the sync head which only has HF response up to 16K.  I suppose that is good enough, but I guess it bothers me a bit.

Since I never "Officially" have done work on a 3 head machine, my question is simply this, do bounces/comps have to happen off the sync head. 

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