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I have done this many times, usually using a Royer R-121. If you do this, it works best if you wire one amp [the one facing the "logo side" of the mic] in "positive polarity" [speakers moving out] and the second amp in "negative polarity [speakers moving in] so that all of the speakers are moving in...

I have done this many times, usually using a Royer R-121. If you do this, it works best if you wire one amp [the one facing the "logo side" of the mic] in "positive polarity" [speakers moving out] and the second amp in "negative polarity [speakers moving in] so that all of the speakers are moving in...

When I got a fancy flat screen TV that could do 1080p I got a little "5.1" system from "Best Buy" to go with it [it is a TV after all]. It was $249 for the ENTIRE thing ["tuner", 2x "main" speakers, 2x "surround" speakers with a sub]. I hooked the "tuner" to the speakers I had back in the days when ...

(I kept my ribbon mic hidden in the mic closet. Why? If the speakers can take it, so can a ribbon mic. I was on a session a while ago where we had 2x 130w amps, each producing [max] 122db SPL aimed at each other with the cabinets wired out of polarity [so all 8 drivers would be moving in the same d...

Several layers of a "little bit" of compression will have an overall lesser negative effect than one layer of "a buncha" compression... so a little on the way in, a little during the mix, maybe another when you're doing a vocal compilation to help smooth things out and it comes out good. I have [man...

1) You don't have to fumble around with wires - its there, it works, you can roll 2) No unrequested outside distractions 3) Generally - a pool table 4) You can move to a different room / studio if you're not getting what you wanted 5) Support staff and infrastructure so all you have to worry about i...

cgarges wrote:I think there was footage of them doing that in the "Making of Pump" video. There was also footage of him singing into an Altec 639 at some point.

The 639 was a prop... most of the time [at least what I've been involved with] its a 57.

Congratulations!!! Sounds like a fun time... wish I could be there!!

Peace.

I'm thinking on maybe ebaying a 1/4" Reel to reel and using it to print mixes to and then running them back into the computer before I send them out to master.(or to client) While learning how to operate and maintain a tape machine is a good idea... buying a cheap 1/4" deck off eBay and running mix...

Forget about the DBX noise reduction - yes it will reduce the noise, as well as any chance of really good audio. The first thing you will need to do is to bring the machine to a qualified technician and get the tape path aligned as well as the electronics. Moving the machine won't help the alignment...

I'm very surprised that nobody has mentioned Tony Dawsey up at Masterdisk in NYC.. he's the best vinyl master cutter I've heard to this point... though if they still have a lathe up at Sterling you might want to give Ted Jensen a shout... he used to cut some serious vinyl. I have no idea about manuf...

I'd never tried this before, and after reading the article, I followed the instructions exactly(ITB) and it doesn't work!!! What did I do wrong?? Has anyone managed to create a Pro Tools session that works this setup? When I add the Mid buss I get more Left channel even though it's panned dead cent...

snatchman wrote:Really Nice...!.. .... How much are these going for?

The "TAOE OP CON '07 special" has them going for $700-

They will normally go for $750... and they sound IDENTICAL to the rack mount version!!

The new "Panthera" has been absolutely blowing my mind for the last week or so!! Great mic!! ...and I mean GREAT mic!!

I don't break pre's into "tube" vs. "solid state", I judge every pre on it's own merit regardless of the engine it employs to run the amplifier. I have some tube based pre-amps like my Pendulums that are very often cleaner, clearer and faster than pre's like my Chandlers... so I'll often find myself...