I'm obsessed with this "sonic landscape" you wished to leave.
No hostility/nothing personal - good luck!I'm having a master in the art restore a 1930 ribbon mic at the moment, I'm hoping that if I run it into a v72/76/vipre into silver bullet/ into anamod into burl/jcf audio converter I can maybe get what I want. No hostility/nothing personal - good luck! which i'm glad i left a long time ago (well, for the most part: i sold my last remaining large analog studio and everything in it except some mics just two weeks ago] [i fear you're not getting what you possibly imagine by using a dark ribbon, two kilometers of old mic cable and a burl - and i still can't figure out why someone would be after THAT sound i think it's a misconception that in the olden days, people wanted to achieve this sound: the gear however trapped them into a specific sonic landscape. or get very good at emulating all the processes (i recently described in one of your threads - did you ever count how many transformers were in the signal path i outlined btw?)
Judging from a couple of other threads you started recently, i can't help but getting the impression that you'd be far better off in terms of THAT 'sound' you seem to be looking for to use mostly ribbon mics, all but analog gear with lots of transformers, tubes and of course tape, maybe even bounce tracks and of course also mix to tape. It certainly affects whatever is run through it but many supposedly “clean” or “wire with gain” converters are definitely just as colorizing to the sound in ways that are less “betterizing” than what the Dangerous converters do. The Convert DA is punchy as hell with a certain warmth and darkening, rounding to the air sheen that’s helpful for popular contemporary digital recordings with treble artifacts everywhere. Hammonds normally are not that great unless you want saturation but here it can saturate in a very desirable way. There’s an Hammond transformer you can put in the signal path on the AD. They aren’t Jensens or Tangos) that can behave in ahem interesting ways. They also don’t have any transformers of uncertain quality (the Burl ones are designed to saturate. The Madison has less detail and isn’t as big but still sounds great. There are no custom wound transformers or discrete opamps that can behave in undesirable ways like the Burls. The analog parts are just Analog Devices ICs. The soft saturation function on the Lavry ADs can also sound great. There are converters that measure better than them with a less warm low end that still impose themselves more on the sound, ie theyre more colored. Lavry converters has a certain low end warmth while still being clean and open that other converters lack. The JCF converters I’ve never heard but the analog sections are very similar to actual tape machines.Īlso consider Lavry. Sometimes it sounds bad based on how hot you’re hitting it even when it’s not clipping.
Keep in mind that Burl changes based in how hot you hit the transformers and discrete opamps.
0 kommentar(er)
