thick waves
- I'm Painting Again
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thick waves
Besides the usual compression and limiting does anyone use unconventional ways to raise apparent volume and lower the crest of their tracks while recording digital ?
I have found a half broke 60's Japanese solid state RTR and for whatever reason cooking a signal trough it acts as a pretty great brick wall limiter / compressor for some things.
A certain pair of tube preamps I use also have some natural compression added.
Interested in thick waves
I have found a half broke 60's Japanese solid state RTR and for whatever reason cooking a signal trough it acts as a pretty great brick wall limiter / compressor for some things.
A certain pair of tube preamps I use also have some natural compression added.
Interested in thick waves
- Gregg Juke
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Interesting. What kind of RTR, and how broken? Is it just a transport thing?
Could you describe what it does to the signal (or even post before/after files)?
GJ
Could you describe what it does to the signal (or even post before/after files)?
GJ
Gregg Juke
Nocturnal Productions Music Group
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"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
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"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
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OKI 555
transport is weird and one channel hotter
I'll try to post what it does next week..
sounds like brick wall limiting with not very ugly (to me) distortion you can push into but it will clip at a point..not super amazing but it was kinda cool..doing a parallel with this might be fantastic..yet to try
transport is weird and one channel hotter
I'll try to post what it does next week..
sounds like brick wall limiting with not very ugly (to me) distortion you can push into but it will clip at a point..not super amazing but it was kinda cool..doing a parallel with this might be fantastic..yet to try
- A.David.MacKinnon
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ya the envelope altering processors are amazing
in a studio i had tried the SPL hardware (very nice)
have had fairly similar results with the stock DAW plugs though so hard to justify
My intention here is more to discuss stuff you can stick in an analog signal chain to reduce the crest of the audio and or increase apparent volume 9spectral or amplitude) that is unconventional or innovative
in a studio i had tried the SPL hardware (very nice)
have had fairly similar results with the stock DAW plugs though so hard to justify
My intention here is more to discuss stuff you can stick in an analog signal chain to reduce the crest of the audio and or increase apparent volume 9spectral or amplitude) that is unconventional or innovative
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here some mp3s..Gregg Juke wrote:
Could you describe what it does to the signal (or even post before/after files)?
GJ
single SM57 about 4 feet above a drum kit
into an API preamp direct to converter for the "non 555 / regular " example
API to 555 aux in with its input full clockwise out to API line amp to control level to converter in the "processed" example
555 in :
http://agatha-christie-fanclub.tumblr.c ... npotatfull
555 out :
http://agatha-christie-fanclub.tumblr.c ... 5notinpath
- A.David.MacKinnon
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The DBX 66 comps (166, 266 and that tube one ....566 maybe?) are sometimes helpful because of the peak limit feature. Although it's usually not fast enough to catch the stuff I want to catch. An 1176 sometimes does the job too.
I have an Altec 1612 preamp/amp limter that does amazing things sometimes. The combination of an overloaded pre into a brick wall limiter can be pretty great. No transient gets out alive.
Overloading the pre is sometimes the best option although the side effects are sometime worse than the cure.
I have an Altec 1612 preamp/amp limter that does amazing things sometimes. The combination of an overloaded pre into a brick wall limiter can be pretty great. No transient gets out alive.
Overloading the pre is sometimes the best option although the side effects are sometime worse than the cure.
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and here's the less extreme version of the "555 process" at a reasonable setting one might actually use
http://agatha-christie-fanclub.tumblr.c ... nabledrive
the mic pre pot acts as the drive and the 555 sits there and hard limits (and adds some noise)
now it seems like the hot channel does this and the less hot channel will not do the limiting
so you might not get this effect if you try another unit..might just be broken in the right way..really don't know
http://agatha-christie-fanclub.tumblr.c ... nabledrive
the mic pre pot acts as the drive and the 555 sits there and hard limits (and adds some noise)
now it seems like the hot channel does this and the less hot channel will not do the limiting
so you might not get this effect if you try another unit..might just be broken in the right way..really don't know
- I'm Painting Again
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the 1612 looks cool as heck !!!A.David.MacKinnon wrote:The DBX 66 comps (166, 266 and that tube one ....566 maybe?) are sometimes helpful because of the peak limit feature. Although it's usually not fast enough to catch the stuff I want to catch. An 1176 sometimes does the job too.
I have an Altec 1612 preamp/amp limter that does amazing things sometimes. The combination of an overloaded pre into a brick wall limiter can be pretty great. No transient gets out alive.
Overloading the pre is sometimes the best option although the side effects are sometime worse than the cure.
only altec I have is the 1566a mic/line amp and it has such a nice sound (though old and noise prone)
it's got a presence and hair when driven ..makes things sound very "elegant" then up in gain to "attitude with class"
- Gregg Juke
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Yeah man! Very cool; thanks for posting. It gives the track a bit of that "peak-y" quality that would fit nice on a Motown or maybe Stax type groove. Even some 70s rock (like Free) has much more "peak" (basically, acceptable distortion) than a lot of people would expect. But it does beef them up nice.
GJ
GJ
Gregg Juke
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
Nocturnal Productions Music Group
Drum! Magazine Contributor
http://MightyNoStars.com
"He's about to learn the most important lesson in the music business-- 'Never trust people in the music business.' "
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It also helps that it's one dynamic mic and the kit is something like might be used on those records..Gregg Juke wrote:Yeah man! Very cool; thanks for posting. It gives the track a bit of that "peak-y" quality that would fit nice on a Motown or maybe Stax type groove. Even some 70s rock (like Free) has much more "peak" (basically, acceptable distortion) than a lot of people would expect. But it does beef them up nice.
GJ
recently doing a Ringo sound for someone I had listened to Beatles and JL solo music drums sounds for more time than was sane. It surprised me to realize those sounds - in the kick / snare / hats portion especially - are very much like Motown & Stax records as well.
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this will do exactly what you want:
https://www.plugin-alliance.com/en/prod ... _hg-2.html
i have the hardware and it rules. i just tried out the plugin for a few minutes last night and it also seems to rule. highly recommended.
https://www.plugin-alliance.com/en/prod ... _hg-2.html
i have the hardware and it rules. i just tried out the plugin for a few minutes last night and it also seems to rule. highly recommended.
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