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I've also got my own personal reasons to prefer the Anamod to a real tape desk. The first one being I want to be able to switch this thing on and forget about it completely. There's also the pleasure of changing tape formula, tape speed, or tape recorder; like having a different recording era availa...

I bought the Anamod two weeks ago with the 351 card. I have a Fatso as well. I've been looking for tapeless tape magic for years. Even on the most conservative setting (all knobs at zero with GP9 and Studer A800 cards), the anamod effect is only subtle at first listen. It does modify the transients ...

The stretching of calfskin heads is unavoidable. That's why mylar heads were invented, plus lesser price. That's also why drums don't sound as good.

Okay I'll try to be more Socratically explicit.

I was referring to the frequency range that is read optically off a film sound track (35 mm, 16 mm). How this range evolved through the years. What it was in 1950, 1960, 1970? and now.

I'm looking for information about the bandwidth in cinema.

What is it now for film 35 mm ? What was its evolution through the years since say the 50's.

Same mic on another voice?

http://www.youtube.com/watch?v=1ZkD1koLepA

I've been playing with Pyramid flatwound strings for a month on my archtop Gibson. At first I disliked the loss of top frequencies on wound strings and almost removed them. But i really dig this smoother sound now, especially the absence of finger noise.

I've just bought a set of Pyramid flat wound strings 12 -50. We'll see.

Does anyone have some experience with both systems ?

So far I've always used the old swing era trick. I want to improve my setup.

I bought an old Gibson 125 TD from 1959, and I'm wondering what string gauge these guitars were built for. Does anyone know ?

I'm asking this because each note I play tends to change its tuning a lot depending on how strong I press between each fret. I'm using currently an 11-52 gauge string set.

I've been willing to buy a pair of sdc (the modified oktava mk-012 and more recently the chameleon labs TS-1) but each time i hear A/B samples of these mics with the KM-84, I lose interest more or less.

None of them seem to achieve the smooth silky and rich mediums the KM-84 has.

I emailed Michael Joly about this mic and here's his response : "Oktava showed the MKL-012 tube-body for the '012-sized capsules at Musik Messe last year. But I guess they must have determined interest was not great enough to warrant putting that model into full production. I don't have any other in...

I've got a RE-16 (same thing as RE-15 since i removed the foam) and a M160. They both sound pretty old fashioned to me which i love, but the M160 is far more interesting with more character, a darker tone that takes EQ very well and superior class. There's a reason the RE-15 got out of fashion as op...

pwrb wrote:I just installed a "rinky tink" attachment to my spinet upright.

Pete,

doesn't your device sound a bit like that keyboard ??

http://fr.youtube.com/watch?v=RfA4zyHcIPo

Actually many recently made harpsichords use equal temperament. But I'm thinking more about a substitute anyway. These instruments went out of fashion so long ago and are very expensive to buy or rent. I imagine the same problem will apply to Rhodes and Wurlitzer electric pianos in many centuries.