tag:blogger.com,1999:blog-44791097407461972212024-03-05T21:58:13.193-08:00Tim DolbearMusic mixing engineer, record engineer and producer, musician and writer Tim Dolbear gives advice on everything from recording studio production and music creation to life lessons learned.Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.comBlogger63125tag:blogger.com,1999:blog-4479109740746197221.post-81852751782336030142020-05-01T09:51:00.004-07:002022-07-20T09:17:21.414-07:00Myth or real? The guitar speaker break in period. The Eminence 1028K Review<br />
By Tim Dolbear<br />
<a href="http://www.timdolbear.com/">www.timdolbear.com</a><br />
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<tr><td class="tr-caption" style="text-align: center;">1976 Marshall 4x12 with Original G25 25w greenback speakers</td></tr>
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Sounds like a good theory; The more a new speaker is played the better it will sound as the paper and glues get more flexible. The spider loosens..<br />
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There is a ton theories about this online...<br />
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When I bought 4 G12M-25watt greenback reissues in 2011, I did not like them, they did not sound anything like my original 4x12 from 1976 filled with the original and real Greenbacks. But now, years later think they are wonderful.<br />
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<tr><td class="tr-caption" style="text-align: center;">Reissues of the G12M 25w </td></tr>
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Similarly, when we bought some large KRK Mid-field studio monitors for the new studio in Nashville, for blasting and track up loud, I was not impressed. We ran music through them for a month while moving into my house and getting setup, they were our house stereo speakers for the month. By the end of the month, and today, in the studio, they sound way better.<br />
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So there must be something to it, right? </div>
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Or is it just in our heads and we get used to the sound...</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbv9l9XoeHDHpec89qrsLaYkrJaKl60uzOc9XbwAVXCNnBbHRmuPX4klOuwe7Q8495Y39oU9xVHqLAfy8OesNOdaMUt6K4bSL1hbApUMzebhfjaDr60OqYGnsn864a-qQx4dxNcyGkQL8e/s1600/20141220_121206.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbv9l9XoeHDHpec89qrsLaYkrJaKl60uzOc9XbwAVXCNnBbHRmuPX4klOuwe7Q8495Y39oU9xVHqLAfy8OesNOdaMUt6K4bSL1hbApUMzebhfjaDr60OqYGnsn864a-qQx4dxNcyGkQL8e/s400/20141220_121206.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jensen P10Q 40 watt Blue back, Gold label, Alnico 5 P10Q 10"</td></tr>
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I was doing a session in early April, using my beloved Jensen Blue back, Gold label, Alnico 5 P10Q 10" speaker from 1963. I am the original owner, as previously it was in a piano/organ at a family members house and was never used until I re-purposed it for the studio and guitar work. It was made an appearance on 1000's of songs.<br />
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But that day I hear what I can only describe as Sadness.<br />
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<tr><td class="tr-caption" style="text-align: center;">Eminence Speaker's LEGEND 1028K Alnico 35watt</td></tr>
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I thought about re-coning the torn speaker, but with all 3rd party parts, it will not sound the same. Jensen makes a reissue, but all the listening test I heard online did not have "that" sound.<br />
The one speaker that did have the tones and potential was the <a href="https://www.eminence.com/speakers/speaker-detail/?model=Legend_1028K" target="_blank">Eminence 1028k</a>, So I purchased.<br />
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This time I wanted to see what "breaking in" a speaker would actually do and sound like. So I set out to test it.<br />
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Using a solid state Marshall Lead 12, EQ flat, Gain at 2, master at 8, I recorded a strat using a <a href="https://adkmic.com/" target="_blank">ADK C-LOL-67</a> mic into a SSL preamp. Apogee A/D into Sequoia at 96K. The recording was made 10 minutes of playing into this speakers life of the new speaker.<br />
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Then I recorded my guitar, straight into my console/DAW. Playing it back, re-amp style, it was sent back to the Marshall and played in looped for 20 hours. The idea was, if a guitar was going to be what this speaker reproduces, lets break it in with a guitar tone, right? make sense.<br />
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The amp and speaker loudly performed these sounds in our live room in 4-6 hour sessions. At the end of about 20 hours, I re-recorded the speaker, same setup, mic location and all.<br />
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Download and listen to the results:<br />
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<a href="https://drive.google.com/drive/folders/1EcltHzYa1UzMmzL3YfWVZT8jvcKzvyvw?usp=sharing" target="_blank">Speaker Break-in Test</a><br />
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The original tone sounds best with these amp settings, but the broken in speaker sounds best with real life settings. I am super happy with the results, and the change was not subtle. This speaker sound remarkably close to my 1963 Jensen. I highly recommend the 1028K 10" for that Fender/bluesy tone.<br />
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:-)<br />
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<a href="http://www.timdolbear.com/" target="_blank"><span style="font-size: large;">Tim Dolbear - Eclectica Studios Nashville</span></a></div>
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-81523022772413838012017-07-31T13:14:00.003-07:002017-07-31T13:14:55.880-07:00Its all the same, right? Let's compare raw tracks recorded from different studios.By Tim Dolbear
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<a href="http://www.timdolbear.com/">www.timdolbear.com</a><br />
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Studios and their engineers really can make the difference.</h2>
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I had a client a month back ask me "So if I just have my guy track their parts at any studio, it really doesn't matter, right? I don't need to bring him in here to your studio..." I answered as straight forward as possible, but decided to post a few examples and let our ears do the judging.<br />
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Over the last month, I had a client track a cello at another great studio here in Austin (Version B), and at the same time I tracked a cello here at Eclectica Studios (Version A). Of course this example is 2 different players and instruments, but I ask you to simply listen to the over all sound, the depth, room...<br />
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The vocal example is slightly more scientific. This example uses the same singer, tracked here at Eclectica Studios (Version A), and then tracked at one of the top studios in Texas the following day (Version B). <br />
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In all cases, the best mics were used, no one knew this comparison was going to be done and therefore we all simply did what we do as engineers. Its amazing how different is all sounds.<br />
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78meg download, Both 96K 32bit float and 44.1k 16bit versions are included. Sample rate conversion was done using Saracon by Weiss (the best!).<br />
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<a href="http://www.timdolbear.com/audio/blogg073117/StudioTrackingComparisonFiles.zip" target="_blank">StudioTrackingComparisonFiles.zip</a>Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-51349579262345937632017-07-27T07:30:00.002-07:002017-07-27T08:44:09.639-07:00The Recording Solution's new interview with Tim Dolbear, Mixing and mastering engineer. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqbLLP1TjXeJ6fUNdlAX7Qw0hF74LmDax33k0utjGgVecpUdnvtugMawzeNeqvtrVMYqPbfpiqg-yZ0yaQlTfhNvTQ8W_K6y8Alf4GwWeWgN6O5BYvv9pF0skb5zjPmxGZ98P8tCfy127/s1600/RS-ad1.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="706" data-original-width="609" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguqbLLP1TjXeJ6fUNdlAX7Qw0hF74LmDax33k0utjGgVecpUdnvtugMawzeNeqvtrVMYqPbfpiqg-yZ0yaQlTfhNvTQ8W_K6y8Alf4GwWeWgN6O5BYvv9pF0skb5zjPmxGZ98P8tCfy127/s400/RS-ad1.png" width="345" /></a></div>
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Hey all, <br />
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<a href="https://www.therecordingsolution.com/tim-dolbear-interview/" target="_blank">The Recording Solution</a> just interviewed me for their Youtube show. We talked about all sorts of stuff, Recording, Mixing, Mastering, analog gear and tape, room acoustics and on and on! Enjoy!<br />
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Below is the Youtube video, watch it here or open it on Youtube.com<br />
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Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-69536993863092540862016-08-15T12:14:00.001-07:002016-08-19T09:06:17.273-07:00Mixing to tape vs not... A listening test.By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzXQut8jLBCsgJFUqx8hONys3RepSxjTqqaebRxlaV98Pe9gJ6AGVmlTP9qRk9bW1dG_nawcscXDGrwAAPhzC-T2mUbItpS5osbqp2VfSVHo9OGHTw3aHIQmm3TwDmSqFaLz1PWqZ-2ONc/s1600/JH110B-EclecticaStudios.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzXQut8jLBCsgJFUqx8hONys3RepSxjTqqaebRxlaV98Pe9gJ6AGVmlTP9qRk9bW1dG_nawcscXDGrwAAPhzC-T2mUbItpS5osbqp2VfSVHo9OGHTw3aHIQmm3TwDmSqFaLz1PWqZ-2ONc/s320/JH110B-EclecticaStudios.png" width="320" /></a></div>
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I promised some test files of mixing to tape. <br />
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Here is a song, NOT MIXED, just a fader up/ruff mix of the session, no plugs other than some verb in the AUX. This is a song I am tracking/producing for Paul Martinez called "The Little Things"<br />
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Test files; 44.1k 24bit. Sample Rate Conversion (SRC) was done with Saracon. Tape is ATR Master Tape at 15IPS. Session is at 96k.<br />
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1. <b>No tape</b> = The ruff mix leaves Sequoia, Mytek D/A feeding a Great River EQ-2NV, into our Manley ME VaribleMu the captured back to Sequoia at 96k using an Apogee A/D.<br />
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2. <b>Tape Clean</b> = The ruff mix is leaves Sequoia, Mytek D/A feeding a Great River EQ-2NV, into our Manley ME VaribleMu then to the MCI JH110B and captured back to Sequoia at 96k. Levels are set very cleanly, Less tape compression and saturation happens as a result.<br />
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3. <b>Tape-Pushed</b> = Same routing as <i>Tape Clean</i> but hitting the tape +3db harder. <br />
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<a href="http://www.timdolbear.com/audio/Tape-Test-TimDolbear.zip">http://www.timdolbear.com/audio/Tape-Test-TimDolbear.zip</a><br />
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Info about level:<br />
The Taped Pushed version is louder RMS of course, but no peak overs. In fact I can feed it a normal level and have the A/D peaking at about -4db, And then bring up the Feed to the tape machine 6 db and the peak after tape never goes above -1db at the A/D, no overs.<br />
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RMS comes up, tape compression comes up, the Limiting the tape imposes kicks in and makes it so I bring it up +20db on input and not have overs at the A/D. Very cool! So notice the peaks and not just the RMS. But really its about the over all sound. thats it. <br />
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All in/out levels on the machine are Calibrated to 0VU/-16DB digital. The input feed to the tape machine is handled by the Mastering edition Manley Vari-Mu that is Stepped in DBs so recall on a mix is possible<br />
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Remember the best way to compare these files is to load the 3 wav files in to your DAW on separate tracks and Solo the one you want to hear. Its a good way to go back and forth to compare. In Samplitude/Sequoia you can mute tracks 2 and 3, and while track 1 plays, if you solo either 2 or 3, it switches instantly to the solo'd track.<br />
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Enjoy and post your comments!<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com2tag:blogger.com,1999:blog-4479109740746197221.post-73352177173375964012016-07-23T11:00:00.001-07:002016-07-24T12:20:30.156-07:00Part 6: MCI JH110B Rebuild - Done! Time for the rap-up!By Tim Dolbear<br />
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<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpFnMu0NW9qXVFdacXloU4E40gzMVbIjnJ8iDFvJWMAqyqRF29xcxts9Ewf1NzwUVRxcN-J2fPs7vw6HypfOjLKDC48n0uGlCRQoC8QmcamavCQdtBaJkbXG5nCx361kGipv23GYZAkV5y/s1600/Eclectica+MCI+JH110B.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpFnMu0NW9qXVFdacXloU4E40gzMVbIjnJ8iDFvJWMAqyqRF29xcxts9Ewf1NzwUVRxcN-J2fPs7vw6HypfOjLKDC48n0uGlCRQoC8QmcamavCQdtBaJkbXG5nCx361kGipv23GYZAkV5y/s320/Eclectica+MCI+JH110B.jpg" width="320" /></a>It's Done! Long road, but it's done and sounds amazing! Mixes sound like a record! I am totally sold on mixing to Analog tape.<br />
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Doing the final setup with the MRL was a challenge, not the normal alignment part but I had to setup everything such as erase depth, Rec Lin, Bias Freq... So it was an all day and evening thing... But Its now done and running amazingly.<br />
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Total cost... (not to mention the hours spent)<br />
$2438.59 (original unit w/shipping was $749) <br />
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Thanks for following along. Here is links to all the installments.<br />
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<a href="http://timdolbear.blogspot.com/2016/05/part-1-adventure-of-eclectica-studios.html" target="_blank"><span style="font-size: large;">The Adventure Begins</span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/05/part-1-eclectica-studios-mci-jh110b.html" target="_blank"><span style="font-size: large;">Part 1 Rebuild the rack and replace all the IC sockets...</span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/06/part-2-mci-jh110b-rebuild-update-june.html" target="_blank"><span style="font-size: large;">Part 2 Re-assembly</span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/06/part-3-mci-jh110b-rebuild-update-june.html" target="_blank"><span style="font-size: large;">Part 3 Rebuilding all the Molex Connectors. </span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/07/part-4-mci-jh110b-rebuild-we-got-sound.html" target="_blank"><span style="font-size: large;">Part 4 We Got Sound!</span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/07/part-4-mci-jh110b-rebuild-smoke-in.html" target="_blank"><span style="font-size: large;">Part 4 Smoke in the studio!</span></a><br />
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<a href="http://timdolbear.blogspot.com/2016/07/part-5-mci-jh110b-rebuild-final-stretch.html" target="_blank"><span style="font-size: large;">Part 5 The final Stretch!</span></a><br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com1tag:blogger.com,1999:blog-4479109740746197221.post-66844186540043705792016-07-15T11:51:00.000-07:002016-07-15T11:51:02.858-07:00Part 5: MCI JH110B Rebuild - Final Stretch... By Tim Dolbear<br />
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The Sony MCI JH-110B Rebuld Saga...<br />
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Just finished re-cap'ing the audio penthouse. Audio is much more stable sounding and feeling. Operations are smooth and how they should be. We just ordered the MRL alignment tape from <a href="http://www.maramachines.com/" target="_blank">MARA Machines</a> ( They are the kings of rebuilding MCI machines). Once the tape arrives we will do final alignment and setup and we are done!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjttFVxlFlHpiBvZ5YEe0vF_3lphkuhw7wxPqZGCBS0rDojbTsemCFmLfYOIRIUZ_hhDM69IS3zAIPzuZYPGitMqTleYdB_bEOzaPOX66TomZwYZIyUFQ4cUV76rXxlSG40l7xEDr11rFJ6/s1600/20160715_132753.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjttFVxlFlHpiBvZ5YEe0vF_3lphkuhw7wxPqZGCBS0rDojbTsemCFmLfYOIRIUZ_hhDM69IS3zAIPzuZYPGitMqTleYdB_bEOzaPOX66TomZwYZIyUFQ4cUV76rXxlSG40l7xEDr11rFJ6/s320/20160715_132753.jpg" width="320" /></a>We do have 2 remaining little fixes we need to address that will not stop us from using the machine in the meantime: <br />
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First there is still the transport issue that when the small board/joystick for the MVC is connected, the Rewind and FF buttons will not trigger the motors. The lifter will go, lights changed, but no movement. I can RR and FF using the Joystick just fine. When I unplug the MVC, RR and FF work perfectly BUT the digital count then does not work anymore and sits at 0.10... I do not need the MVC, but would like the RTZ and counter to operate. Anyone have an idea?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju4QDxj4D_9V97lYuJB3MHyy7dozXOtlEQ0HZg_wy1LMcmK3ueIPrufo7OnjlhoTNjd-Q3oH1N-UUJxPmrbn22Nb478iQ6O93bpAI0TDhZDjHhmUXFIJJBAqr7LSHOli59U066mvoE3qQj/s1600/20160715_132818.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju4QDxj4D_9V97lYuJB3MHyy7dozXOtlEQ0HZg_wy1LMcmK3ueIPrufo7OnjlhoTNjd-Q3oH1N-UUJxPmrbn22Nb478iQ6O93bpAI0TDhZDjHhmUXFIJJBAqr7LSHOli59U066mvoE3qQj/s320/20160715_132818.jpg" width="320" /></a>Second, the channel 1 input into the Audio Penthouse, the connector can loose contact even though its screwed into place, something breaks contact when I open and close the drawer... simple fix, just annoying. <br />
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But right now we can print to tape and playback and the machine is not even bias/aligned, so good sign!<br />
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That's all for now, till next update!<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-83291762914019508212016-07-06T15:06:00.000-07:002016-07-06T15:06:30.666-07:00Part 4: MCI JH110B Rebuild - Smoke in the studio!!!By Tim Dolbear<br />
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So... first the good. I built the switching system to allow me to route to/thru/from the JH110B tape machine, adding it to the signal path of the Mix Buss. <br />
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I decided to do a switching system and not a patchbay as I am not a fan of patchbays or connectors.<br />
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See my blog about connectors and patchbays: <a href="http://timdolbear.blogspot.com/2015/05/cables-connectors-patch-bays-pedals-and.html" target="_blank">http://timdolbear.blogspot.com/2015/05/cables-connectors-patch-bays-pedals-and.html</a><br />
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I also decided to do a terminal connection instead of XLR ins/outs. Connectors just have such a small point of contact verses terminals.<br />
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I did a test measurement prior to adding the switching system, I figured the first thing many would think was the same thing I thought about; will it add noise or a loss of sound quality?<br />
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Adding the Switcher into the signal path, only added 1 balanced cable to my mix buss signal path when its going straight through, meaning no tape machine in line: Mytek D/A feeding the GR EQ-2NV (in Bypass for the test) into the Manley Mastering Edition Variable Mu into the switcher, out to the Apogee A/D. Of course it added to it all the wiring for the Switcher box.<br />
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Crazy as it seems, My noise floor went down from -82.6 db to -83.7 db and my volume back into the DAW from the mix buss is .2db louder. I can not explain it as all the cables are the same except for the 1 new 3ft balanced cable added between the Manley and the Switcher. It may be the difference between the Variable Mu being warmed up for 1 hour verses 4 hours. (first test was at noon, 2nd was at 4pm). Regardless, sound perfect and did not add any noise issues.<br />
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While then testing the route to the tape machine, setting levels, and working with a TC Electronics Volume Pilot that is inline between the tape machine and the monitor send, audio was working nicely on the JH110B, still not bias/aligned, but passing sound both in INPUT and REPRO (while Recording) modes. Suddenly a bad sound came through the right side speakers, and smoke poured out of the Audio Penthouse of the JH110B. I quickly killed power to the JH110B and opened the door for some fresh air...<br />
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Another Resister blew, this time one on the 18v input to the I/O card for the right side or Ch2. I checked the 2 tantalum caps that are inline with it and booth are dead shorted now... good grief!<br />
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At this point I will of course replace the resister but also plan to replace all the tantalum caps on the audio boards (repro, rec, bias, I/O). Fun! But apparently needed since I have so many bad and going bad daily.<br />
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Till next time!<br />
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Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-8337832909765903292016-07-01T09:19:00.000-07:002016-07-01T09:19:46.833-07:00Part 4: MCI JH110B Rebuild - We Got Sound!By Tim Dolbear<br />
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<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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A bad cap on the left channel's Repro Board was causing a resistor to blow spectacularly and with both parts fix and the IC that they supplied -18v to also replaced for good measure, we have sound!<br />
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And even at this point it sounds COOL!<br />
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Big thanks for the help of Dan Hembree, my wife's brother, who used to work at Rupert Neve Designs and now owns <a href="https://crimsonaudio.com/" target="_blank">https://crimsonaudio.com/</a><br />
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The machine is not setup yet correctly for Bias/levels so we are running it with the settings the old owners had for the tape they were using, but we are able to record and listen back to tape! New MRL tape should be here in a couple weeks for final setup. <br />
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One last issue we are tracking down is that the transport controls still are acting up; FF and RW work perfectly, then the motors stop responding to the buttons, again, the lifters still worked. The joystick still RW and FW but the motors will not moved when pressing RW or FF. Also the stop sometimes will not stop playback meaning when you push the stop bottom the machine stops, but releasing the stop button and play resumes. <br />
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While trouble shooting I unplugged the MVC (Joystick shuttle) board and now the controls are all solid. I suspect the sensitivity is set too high and its triggering something or simply there is a bad part. I will not use the MVC but without it's little board plugged in, the RTZ no logger works. so...<br />
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Next I need to build the switching system that will allow me to add the JH110B into the Mixbuss Loop I use while mixing, and allow for playback to the DAW or straight to the monitoring. I am not a fan of patchbays, and thus the switching system. Stay tuned.<br />
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On ward!<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com3tag:blogger.com,1999:blog-4479109740746197221.post-9790734291853720932016-06-28T09:49:00.002-07:002016-06-28T09:52:18.022-07:00Part 3 : MCI JH110B rebuild - Update June 27, 2016 We got spin!By Tim Dolbear<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfFrvA8fstTBb5HuZ4ewqmS8fvN2XiNcT9W1Ivm4K6ZfoyV81cQ4IjtIEpEzaHofmZgVKgPvfyIx0ERIBNq_mhPlhWbg1txagDMkWYegxk2niwO7ouECiRZwNHA9CXfnVKozxrMTkTFzxA/s1600/20160625_161041.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfFrvA8fstTBb5HuZ4ewqmS8fvN2XiNcT9W1Ivm4K6ZfoyV81cQ4IjtIEpEzaHofmZgVKgPvfyIx0ERIBNq_mhPlhWbg1txagDMkWYegxk2niwO7ouECiRZwNHA9CXfnVKozxrMTkTFzxA/s400/20160625_161041.jpg" width="400" /></a><a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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I had tons of Molex connection issues and after cleaning and tweaking them endlessly we got Spin! <br />
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Also the RTZ works. Have yet to test storing locator points but RTZ was the main thing.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bHMFVywV8cXEFsbF_TWCr9HRnn31AZ9j5j-JBv_GqzuNYmohKmuIdMN8kBGlyzcDpXynvRffTP0DTFgMc3pg8laO3ygk0ILRXuH5FFifbtAGSOFSPWq2-zay7wSkXKOl29kuUL9eDMOP/s1600/20160627_204748.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4bHMFVywV8cXEFsbF_TWCr9HRnn31AZ9j5j-JBv_GqzuNYmohKmuIdMN8kBGlyzcDpXynvRffTP0DTFgMc3pg8laO3ygk0ILRXuH5FFifbtAGSOFSPWq2-zay7wSkXKOl29kuUL9eDMOP/s400/20160627_204748.jpg" width="225" /></a>I placed a old trash real and the old head stack back on so the old tape would not gum up the new ones. I was worried about snapping the tape on first test. Also I have torque settings to do still.<br />
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The transport worked ok but seemed shaky, then after a few days of checking it the FF and RW stopped, the lifters still worked, and the joystick still RW and FW but the motors will not moved when pressing RW or FF. So its all bad Molex connections.<br />
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So I took apart EVERY Molex connector, popped the pins out really, and reshaped and cleaned each pin to bring the connectors full back to life, about 200 pins I estimate. 6 hours later everything runs so much more solid!<br />
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Next is the Audio Drawer of DEATH!!! That's right, no sound even passing on channel 1 and channel 2 shows -20db twitching.<br />
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Time to shuffle cards and see if I can find the bad boards then on to fixing 'em.<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-84923045901230182282016-06-12T08:01:00.002-07:002016-06-12T08:01:49.011-07:00Part 2 : MCI JH110B rebuild - Update June 12, 2016<div dir="ltr">
By Tim Dolbear<br />
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Part 2, Soldering is done, time to clean and put back it back together and test.<br />
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Ouch! But at least it will be stellar!<br />
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So the replacement of the sockets, is done. I replaced most all the chips with new ones. I also went through and re-soldered every Molex connection on the boards, so every pin...about 1000 of them... Then cleaned every connector and connection.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSB3jM0CO7LUeJX2dPKYQr8WM0I599kCQwltJXyfTCXhX58N-wPDXDgdRMOOg5rdx6YPSTC_k4b-Oe_ALJMU8K62Org2WVdTbfC03EgpxiblBso8mibXw_ZYOG9SFHspebM8V-TFwHUlo/s1600/20160611_142341.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCSB3jM0CO7LUeJX2dPKYQr8WM0I599kCQwltJXyfTCXhX58N-wPDXDgdRMOOg5rdx6YPSTC_k4b-Oe_ALJMU8K62Org2WVdTbfC03EgpxiblBso8mibXw_ZYOG9SFHspebM8V-TFwHUlo/s320/20160611_142341.jpg" width="180" /></a>I reassembled the motherboard and daughter boards while looking at the picture I took during disassembly. You can see my tablet below the Deck.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMglrV_CdkEKlaOxoUOJFSy-O46EfYrvaaVV_Nt5EuP_RM8FoaEPXsSOSqcOMvH-eWMCgxMW7M5bb6WXHTD6qyGJ4vp6y8HSptF4agEEatedr1IwLd7S6MUJrlQDJS6HUbEDcxeyHoJGHe/s1600/20160611_151034.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMglrV_CdkEKlaOxoUOJFSy-O46EfYrvaaVV_Nt5EuP_RM8FoaEPXsSOSqcOMvH-eWMCgxMW7M5bb6WXHTD6qyGJ4vp6y8HSptF4agEEatedr1IwLd7S6MUJrlQDJS6HUbEDcxeyHoJGHe/s320/20160611_151034.jpg" width="180" /></a>With everything back together I was able to place it in the studio even though I need to rebuild the Power supply which had showed weak measurements for the 22volt regulators (only 6v), Powering up the unit, nothing works. The right channel showered a pegged level (oscillating?) and the right side did not... the VU on the right does not light up but the buttons do, so it has power... more fun, but really I can't know for sure or deal with those issues until I fix the power supply. Then I can test again. Also the heads will be back then.<br />
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But it looks so good in the studio!!!<br />
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Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-39368810636734116462016-05-23T10:00:00.001-07:002016-05-23T10:00:27.233-07:00Part 1, Eclectica Studio's MCI JH110B rebuild report May 22, 2016<div dir="ltr">
By Tim Dolbear<br /><a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a></div>
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Part 1, ...and so it begins!</div>
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The first thing we needed to do was strip the unit completely. I removed the deck from the rack or "furniture part" and then removed all the circuit boards and motherboard. I then removed the rack mounting system so I could cut new pieces to use to mount the rack rails to the 'Furniture'. I also removed the face plate from the deck to I could unscrew it from the rack rails, and also clean under the face plate. </div>
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In the picture you can see the white strips of wood which are the new pieces. The rack rails mount to this new wood and the entire part attaches to the square black frame, which then mounts into the furniture and is able to rotate allowing for access to the circuitry.</div>
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I also mounted the Penthouse or 4-space rack that houses the 2 channels of In/Out circuitry. Now it's looking like it supposed to...<br />
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And then I started on the electronics.</div>
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All the red IC sockets need to be replaced and all the Molex connectors need to be resoldered to fix any cold solder connections to the boards. The very first IC socket took me 30 minutes to remove, it shattered into 30 pieces...<br />
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I thought "oh no, this is going to take forever! I have 50+ red IC sockets to replace!" But the next one took 3 minutes to remove and the rest took 2min to remove, clean the IC and replace. </div>
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This week the head stack goes off for relapping, I swapped out the block, the black top of the assembly, so my good stack, which came with the JH110B had the nice block. I had bought a </div>
head stack off of eBay simply for the nicer looking block. The heads are in almost perfect condition but JRF will optically align the head stack and if they feel they need relapping, they shall do that too. <br />
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Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-57904989337141098082016-05-15T11:40:00.002-07:002016-07-23T10:47:57.842-07:00The Adventure of the Eclectica Studios' MCI JH110B 1/4" Mastering deck. By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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Our new MCI JH110B 1/4" Mastering Deck has arrived! The unit works but I want it brought back to spec and update all the things that a 1979 unit should have, and needs to have, updated and addressed.<br />
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Over the next month or two I will be completely refurbishing our new MCI JH110B. If you want to follow along. <b> Subscribe to my blog!</b><br />
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The unit was damaged a little in shipping, the wood supports that hold the Deck to the housing split and the unit bounced inside the rack bending a metal support holding the motherboard. So that's the first thing I will be fixing. Since all the circuit boards need to come off for recap/socket replacement and so on, I will strip the unit and fix the supports so I can rebuild it as the pieces are recapped and fixed up. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jgxCmYwQp-cxPBpBHdw7ghqytonXIF0lUuc9acCavlvuas5_XyuVU_RueICQVtK6IMeUMwsQCzz6Rb_pWqRYhk13uFTJP4NDHt9R3-aecZhOI85EcdCGwK-g17ZatrX_JWJ-xJv5DTN8/s1600/9.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7jgxCmYwQp-cxPBpBHdw7ghqytonXIF0lUuc9acCavlvuas5_XyuVU_RueICQVtK6IMeUMwsQCzz6Rb_pWqRYhk13uFTJP4NDHt9R3-aecZhOI85EcdCGwK-g17ZatrX_JWJ-xJv5DTN8/s200/9.jpg" width="200" /></a>This unit has the horrible Red IC sockets still on only about 1/2 of the motherboards, The ICs just fall out of them. The unit looks like it was maintained well and many things fixed in the late 1990's.<br />
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So new sockets, recapping and reseating the Molex connectors all need to be done. I need to also go through the Power Supply and clean every square inch of every thing. The unit works but I want it brought back to spec and update the things a 1979 unit should have and needs to have updated.<br />
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The 2 head stacks I have are both off to JRF this week. JRF had relapped the heads once before as their sticker and info are on them. The Erase head has a small chip out of the face, not where tape touches, If JRF decides its an issue we have a 2nd spare head stack we can pull parts from.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkh5jRHDPDrqSsX_r0l4Uo3n5-qoKXMKKhCs6b0Gtn9nQuWGBFF-w1q74j-2wnajxeli7L62NcKtFV1SKT6OpBgX4SBFDau_FBbA5H1Oug8bAguEQPnEBf7GZmye4fc05Q-xlGAbOaoEY/s1600/LOH.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSkh5jRHDPDrqSsX_r0l4Uo3n5-qoKXMKKhCs6b0Gtn9nQuWGBFF-w1q74j-2wnajxeli7L62NcKtFV1SKT6OpBgX4SBFDau_FBbA5H1Oug8bAguEQPnEBf7GZmye4fc05Q-xlGAbOaoEY/s320/LOH.jpg" width="243" /></a>This is a picture of The Landcaster Opera House in Buffalo, NY. We believe this MCI 1/4" lived and worked here from 1979 until put into storage around 2000. The unit was then purchased by an engineer 10 years later who was going to restore it and never got time to. Now its here at Eclectica Studios in Austin Tx.Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-23534031969547302682016-04-01T10:46:00.002-07:002016-04-01T10:54:10.536-07:00Sound Experience with Tim Dolbear on EnterTalkRadio<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FtdSQTYoRMau13PGlADOIwCE3yuEiRzvAZ8mMpmFd9ZfJkIJOaNcMdz8TC6s5GVSHyCuZWs1KGYj-fRRS52Wj54eIB_jmlcNwTuaahGuEbjSjsUy1sX5GQujJWXfKasULq553kMSOIfQ/s1600/20160323_115033.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-FtdSQTYoRMau13PGlADOIwCE3yuEiRzvAZ8mMpmFd9ZfJkIJOaNcMdz8TC6s5GVSHyCuZWs1KGYj-fRRS52Wj54eIB_jmlcNwTuaahGuEbjSjsUy1sX5GQujJWXfKasULq553kMSOIfQ/s200/20160323_115033.jpg" width="195" /></a>By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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The Launch of Sound Experience with Tim Dolbear on EnterTalkRadio! <br />
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April 4th, 2016<br />
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Hey All,<br />
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Monday April 4th at 7pm Eastern(4pm Pacific) we kick off my first live weekly radio show and our special guest will be world renown Grammy nominated Master Engineer and Record Label owner <a href="http://www.coastmastering.com/" target="_blank">Michael Romanowski</a>.<br />
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The show will air Live on <a href="http://entertalkradio.com/" target="_blank">EnterTalkRadio.com</a>, please check <a href="http://entertalkradio.com/#events" target="_blank">http://entertalkradio.com/#events</a> for more...<br />
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After the live airing of the show, you can then listen to the show anytime, just go to our show page and listening under the "Shows On Demand" area at <a href="http://entertalkradio.com/soundexperience/" target="_blank">http://entertalkradio.com/soundexperience/</a><br />
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Shows will be available for one year and, I believe, the shows are also available as a podcast on iTunes too.<br />
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Since the shows are live and always will feature a special guest, we will have listener call ins to ask questions live on the air. You can also submit questions on our FaceBook page: <a href="https://www.facebook.com/soundexperienceradio/" target="_blank">https://www.facebook.com/soundexperiencer<span id="goog_934419100"></span><span id="goog_934419101"></span>adio/</a> <br />
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<b>Here is our tentative schedule of guest for April:</b><br />
April 4th, Michael Romanowski<br />
April 11th, Legendary rock singer of TNT and Skid Row, Tony Harnell<br />
April 18th, Mix engineer and producer Ross Hogarth<br />
April 25th, Audio engineer and recording Professor at The BlackBird Academy Mark Rubel<br />
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I look forward to having a lot of fun with this, and believe we can all learn from each others vast range of experiences.<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-50625931027146374382016-03-16T13:43:00.004-07:002016-03-16T13:47:56.815-07:00Attack of the Expanding Blog! We are going Live on the radio and podcast! "Sound Experience with Tim Dolbear"By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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<span style="font-size: large;">Today we are signing papers to bring an expanded version of my blog to EnterTalk Radio</span></div>
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We will be starting next month the new show "Sound Experience with Tim Dolbear." This is a live show, hosted by me with special guest every week form the world of recording; Famous Producers, Musicians, Audio Gurus, Equipment Designers... And during the live show, you can call in and ask questions, or email them in prior to the show. </div>
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The show will be live and then available on the station's site as a Pod Cast and download. </div>
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I am very excited to be doing this adventure and can't wait to start! More info coming soon!</div>
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Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com1tag:blogger.com,1999:blog-4479109740746197221.post-91214265002837395242016-02-13T08:39:00.001-08:002016-02-13T08:39:19.639-08:00Pt2. All this Machinery...Guest response from Marc DeGeorge from Solid State LogicBy Tim Dolbear<br />
www.timdolbear.com<br />
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In response and addition to my blog: <a href="http://timdolbear.blogspot.com/2016/01/all-this-machinery-making-modern-music.html" target="_blank">All this machinery making modern music...</a><br />
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Special Guest Blogger, Marc DeGeorge<br />
<a href="http://www2.solidstatelogic.com/" target="_blank">Solid State Logic</a><br />
US Sales & Marketing Manager<br />
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Always good to see you (Tim) at the show (and elsewhere!). I think you are correct in thinking that there is a "gear hoarding syndrome" going on. I don't think it's a new problem though. G.A.S. (Gear Acquisition Syndrome) as it's referred to is an issue of the human condition. That is, we as humans look for the easiest solution to a problem. In many ways, that's a good thing. It's helped us survive and (sort of) evolve over thousands of years. However, there is the dark side of it, and that is the idea that (as you mentioned) a tool solves problems. If you have all the tools, then you can solve all the problems. The problem with that, as you know, is that that's only half the truth. A tool, applied correctly and skillfully solves the problem. It doesn’t solve the problem to just simply apply a preset, unless that preset just so happens to be exactly the right thing that is needed at that moment. Not likely.<br />
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Now, full confession here, as I work for SSL, a manufacturer, It’s part of my job to sell stuff, to hit goals and make money for the company I work for. We are in business not only to make great stuff, but to make a profit for our shareholder. While we don’t try to achieve this by giving out misleading information or by selling things to people that don’t need them, there are companies in the industry that unfortunately do. Telling myths makes your and my job more difficult, because now we have to dispel that misinformation as well as try to properly inform and educate with the correct info. I’d much rather prefer a world where everyone knows how to properly achieve great sounds and spends their time in pursuit of honing their skills. Perhaps one day!<br />
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On the other side of things, you mentioned songwriting (or lack thereof these days). This is really the result of many factors. A few of those being; the changes in the music industry, the huge supply of options really creating less choices, and the internet creating extremes. Popular artists are hyper-popular, and those who don't become multi-platinum getting washed out by the noise on top.<br />
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At the NAMM show, I was walking by a stand being built. Their boom box was playing a song from a semi-famous band, Zebra; "Tell Me What You Want." Zebra was never a huge success in their time during the 80s, but they were a great regional success. I’m sure they still have a large fan base here in the Northeast, and probably elsewhere, but they never went platinum, possibly not even gold. It’s difficult if not impossible to be a band like that these days, as it's either boom or bust, and very little in-between. While that's not entirely different that before, it's the extremes of which things happen. We are all so hyper-connected, and so flooded with information all of the time, that if an artist is not the biggest and the loudest right now and all the time, then they will struggle to be heard. Finally, it's not so cool to be in a band anymore. Shows like American Idol or The Voice are an effect of this individual ideal. The guitar heroes of today are DJs, or R&B and Hip Hop singers. That's not necessarily a bad thing, but that type of music is perfect for the now era. When it comes out, it either hits, or it doesn't. There's no time for artist development, and no money.<br />
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We are still in flux in our business. I do see some good and positive things out there. Change is happening, maybe not as fast as we'd like, but I do know that there are plenty of those still in the industry today that will not go quietly into the night. They will take a stand and fight for what they believe in: great music, preformed and produced with care and skill. I think we should seek these people out, and join them.<br />
<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-87318785111600253232016-02-12T12:08:00.003-08:002016-02-12T12:08:36.901-08:00Eclectica Studios Update...what's new?<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxeucg1s7UplUTkqqc3Jl6PmS2UF3DpotL2aYAsTWGPo5dq5sLX042-4Warho-VeVZrK4tLo3Ho5ZzuizSa6W94XH9D-a3udRuyJsGW49J5Gx248dVaHB10hxLtK8idaCREO5JREVftP9/s1600/IMG_20151230_124026.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtxeucg1s7UplUTkqqc3Jl6PmS2UF3DpotL2aYAsTWGPo5dq5sLX042-4Warho-VeVZrK4tLo3Ho5ZzuizSa6W94XH9D-a3udRuyJsGW49J5Gx248dVaHB10hxLtK8idaCREO5JREVftP9/s320/IMG_20151230_124026.jpg" width="240" /></a>By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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So its mid February, 2016 and things are moving along well. We have some cool things we are planning to add to the studio this year. Its all still in the works... so stay tuned...<br />
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I am also looking for ways to expand operations and possibly bring in a partner with complimenting set of skills. It has to be the right fit. I fully believe that 2 people can make happen 3x what a single person can. So hit me up if you want to talk about this. but remember, this is business.<br />
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Coming up next week I go to The Backbird Academy to teach as I do every 3 months, all about working with Samplitude and Sequoia for recording/mixing/ mastering and audio restoration.<br />
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While I am there I will get to hang out with Marc Rubel and Joe Palmaccio, which I greatly look forward too. Then friday I go to McAllen Texas to record the Circus Harmonos Vasquez, the world famous Circus.<br />
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Every year I do the mix for the Circus' DVD release for the year's performance, you know,,, as you leave the arena after watching the circus, you can purchase it on DVD and take the memories home! Well I am the guy who mixes the audio for the DVD each year. This year I will also be handling the recording for it, specifically the room mics that are so important for this. I plan to post a blog all about it with tons of pics so stay tuned.<br />
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That's all for now!<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-10802664316505025482016-01-31T13:45:00.000-08:002016-01-31T13:45:14.224-08:00All this machinery making modern music...<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIZo7M_m0KOgOVTt4P1fFpPdrHYXQK9802n8Hz0Cr41jpk1CqtjxH1ebYuy_D0oE1xvZzCze-gSblrNPemG8r0B38yInHxo62BGNca9eCi3w8Ng1q1DTm8Cbk8eof_VFa84Z8PD_18cVC/s1600/IMG_20160122_154001.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSIZo7M_m0KOgOVTt4P1fFpPdrHYXQK9802n8Hz0Cr41jpk1CqtjxH1ebYuy_D0oE1xvZzCze-gSblrNPemG8r0B38yInHxo62BGNca9eCi3w8Ng1q1DTm8Cbk8eof_VFa84Z8PD_18cVC/s200/IMG_20160122_154001.jpg" width="200" /></a>By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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Can it still be open hearted?<br />
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I am just back from the NAMM 2016 show is So California, a 4 day event filled with every Musical Instrument and Pro Audio manufacturer, all showing their newest gear for recording, performing and making music to the million or so visitors that attend.<br />
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I came back with a few thoughts to ponder, things that I have had on my mind for a while but seem to be brought to the forefront once again while at this show. I have no real answers, and I too fall into most of the traps I will bring up. Feel free to comment or reply...<br />
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<blockquote class="tr_bq">
<b>Since when is it more desired to be the guy in the studio (engineer) or a "producer", than a actual musician with talent?</b></blockquote>
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People collect recording gear and build home studios like car fans did back in the 60/70s; They build these awesome hot rods and mussel cars or huge 4x4 trucks, and never even drive them over 55mph or off road... <br />
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Nowadays, People collect audio plugins like Pokemon cards, and 500 series units like Tupperware. It seems to be a trap people are falling into... "If I just own this piece of gear with its <i>magic button</i>, I will succeed and be admired".<br />
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<blockquote class="tr_bq">
<b>"Just because you have a nice kitchen, don't mean you know how to cook"- Tim Dolbear</b></blockquote>
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It seems like the only people profiting from all this is Manufactures. Sure good gear is needed, but things have gotten out of hand.<br />
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Over the last 20+ years, struggling musicians that could not afford to record their music in a real studio, bought gear to record themselves. As these people realized they could not "Make it" as an musician and become a Rock Star, they decided to offer recording services with the gear they had and then bought more gear to bulk up the equipment list.<br />
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Then while learning about working in the studio, either from the forums, magazines and youtube, they learn about audio engineers who have worked on high profile albums. Some of these guys have even moved into Rock Star status.<br />
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Now...over the years, with so many people doing just this, suddenly we find everyone wanting to be a audio engineers and/or producers and be that next "Rock Star". Audio Manufactures come in and speak into our minds that if we just have this piece of gear or that plugin, we can "make it" and be the Rock Star we have always strived to be, feeding the dream, or disease.<br />
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A side affect is that with less and less people striving to be good songwriters, or good musicians, there is less and less work for these struggling studio engineers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROLq4kjQpRsqdXCtEtqz5IbICguHW5wWQandue8oE2FuiTPpyJ1wIrZOH8Jnmn8SfM0TQ-EeFYTeniKfMBAc5mIl-mqgj-M9-3Le02NF7z949McWB1mCUfLblsaTuKWnlozvW7CFtkvHc/s1600/McCartneyII.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjROLq4kjQpRsqdXCtEtqz5IbICguHW5wWQandue8oE2FuiTPpyJ1wIrZOH8Jnmn8SfM0TQ-EeFYTeniKfMBAc5mIl-mqgj-M9-3Le02NF7z949McWB1mCUfLblsaTuKWnlozvW7CFtkvHc/s200/McCartneyII.jpg" width="200" /></a><br />
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<blockquote class="tr_bq">
<b>Paul McCartney recorded his McCartney II Album by plugging his tube mic directly into the Studer 16 track tape machine, no preamp even... Ponder that for a minute. </b></blockquote>
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Does anyone else get the sense that making music nowadays is simply a form of "playing a video game"? Search back to what made you want to become a musician, what gave you a desire to make music. No one cares what frame the Mona Lisa has around it, or what font a poem uses. Its about the song, not the gear. Everyone Agrees that a great song recorded badly is so much better than a bad song recorded beautifully.<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com3tag:blogger.com,1999:blog-4479109740746197221.post-64214987968142484122016-01-14T10:58:00.000-08:002016-01-14T10:58:30.726-08:00Crimson Audio's new HPA100 Headphone amp - Tim's ReviewBy Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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As I have written about before ( <a href="http://timdolbear.blogspot.com/2015/12/monitoringwhat-are-you-listen-on.html" target="_blank">"What are you listening on?"</a>), I like to check my mixes on headphones and earbuds. Of course I monitor while mixing through a <a href="http://www.neumann-kh-line.com/neumann-kh/home_en.nsf/root/prof-monitoring_studio-monitors_nearfield-monitors_KH120A#" target="_blank">Neumann K&H series</a> monitoring setup but then switch over to check the over all EQ and how the mix translates using devices other than speakers in a room. I usually plug my headphones and earbuds into my <a href="https://mytekdigital.com/hifi/products/stereo-192dsd-dac/" target="_blank">Mytek Stereo192-DSD D/A</a> converter, which of course has a very nice headphone amp built in.<br />
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Last year, Dan Hembree, who just happens to be my brother-in-law, left Rupert Neve Designs where he had worked designing many of their well know product to strike out on his own. His new company <a href="https://crimsonaudio.com/" target="_blank">Crimson Audio</a> LLC was soon established.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicguK-P06IqLyVl8ZVM6BhnJA46mFssVr0l_h2vDG6uhJi6FG_LSDwhnckB_HeQhzj9IToVC4Mb1BNni0zFh2pNA-4qvMvfsoHfAsDO6xCnMph0dy4mB8SxD6x2pEC8KYTQ3FRgl36Oqpc/s1600/HPA100_RevB_ISO-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicguK-P06IqLyVl8ZVM6BhnJA46mFssVr0l_h2vDG6uhJi6FG_LSDwhnckB_HeQhzj9IToVC4Mb1BNni0zFh2pNA-4qvMvfsoHfAsDO6xCnMph0dy4mB8SxD6x2pEC8KYTQ3FRgl36Oqpc/s400/HPA100_RevB_ISO-1.jpg" width="400" /></a>Dan quickly got busy designing up a soon to be released studio monitoring controller and other products, He also does design and engineering work for many other high end recording studio equipment manufacturers such as BAE, Nashville based Sphere Recording Consoles and Teagarden Audio.<br />
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The first product Dan has released under Crimson Audio is the headphone amp section from his monitor controller design; <a href="https://crimsonaudio.com/products/" target="_blank">The HPA100</a>. Last summer Dan asked me to beta test it so lets dive in...<br />
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I received the HPA100 and connected it to the outputs on the back of my Mytek Stereo192DSD and ran a wonderfully recorded classical recording out from my Sequoia workstation. I set up the volumes to match on both the Mytek's headphone output and the HPA100's output. This first test I simply came out the -10 outs on the back of the Mytek to feed the HPA100 thus leaving my studio monitoring unchanged. The HPA100 can accept a -10 or +4 input and you can select the RCA unbalanced inputs or the Balanced XLR-1/4" combination jacks by way of a selector on the front of the unit. <br />
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The HPA100 is a single headphone stereo channel amp and is meant for high quality listening, My live room headphone amps are made by Fostex (PH-5) and CAD, a 4 headphone channel unit. I also compared with these, though they are fed from my RME setups D/A converters and which are good, but are <i>no Mytek D/A</i>, ya know?<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1eEQfOBKKkP4RHU2bBx26xi020oZSPQ_b4RDKSujBJFAEckXZkpswGsMqF3h5rWRpuzYAAmrR4czIGsChvjY24UYD4oI5i8QteNnphKdw-5CQ7-U4fy1aZm-PzzCEQNuaePqf0JjElhI/s1600/HPA100-Rev-B-Rear-495x400.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB1eEQfOBKKkP4RHU2bBx26xi020oZSPQ_b4RDKSujBJFAEckXZkpswGsMqF3h5rWRpuzYAAmrR4czIGsChvjY24UYD4oI5i8QteNnphKdw-5CQ7-U4fy1aZm-PzzCEQNuaePqf0JjElhI/s320/HPA100-Rev-B-Rear-495x400.jpg" width="320" /></a>The difference between the Mytek Headphone out and the HPA100's output was not at first a huge difference. It seemed like the HPA100 had a slightly more open sound but at the end of the track, the music became more dynamic and the performance came to the big ending and there it was! I could hear a distortion in the recording, either a mic preamp or something in the recording signal chain clipping. Not digital distortion and not an overload feeding the HPA100, this was clip distortion from an analog piece of gear during tracking. I could hear it through the HPA100 and not through the Mytek. <br />
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I could also hear it through my Neumann monitoring system but not as apparent as the HPA100 revealed it. Amazing! I was sold then and there.<br />
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Compared to the Fostex and the CAD, the HPA100 is in a different league. In comparison to the Mytek, it's a nice upgrade and worth it as it reveals noises and issues that were not reviled on other listening systems. If it can reveal such things and save me from missing something as important as this was to the classical recording, it's worth it!<br />
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Lastly, I asked Dan to send a unit over to Steven Epstein, a friend and decorated Classical Producer and he simply fell in love with it. Steve said about the HPA100 “The Crimson Audio Headphone Amplifier produces a transparent and natural sound which can be experienced in a variety of listening environments from the exacting demands of a recording studio to enjoying audiophile-type quality at home”<br />
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Many Pro Audio shops will be carrying the HPA100 soon, but you can contact him directly if you want to test it out or buy one. It retails for $349 which is a fantastic deal for such design quality. <br />
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<a href="https://crimsonaudio.com/" target="_blank">https://crimsonaudio.com/</a><br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-25652997373550099172015-12-30T20:01:00.001-08:002016-01-04T11:18:10.774-08:00sE Electronics Z5600a II and Voodoo VR1 microphone on review. <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG7tLf_P5uBfUZyxILOPu2RVymfXLTzWLErnfTlGzdmT5EGlY6XrihuiEBddaVy0VETsonxTwQUJiosGQ_NFysh95hiXdg2P9LrLiwWvBbt3s4bYzdA7KOcOXyqwTfEGBfLuuJfbs9p1a/s1600/se.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmG7tLf_P5uBfUZyxILOPu2RVymfXLTzWLErnfTlGzdmT5EGlY6XrihuiEBddaVy0VETsonxTwQUJiosGQ_NFysh95hiXdg2P9LrLiwWvBbt3s4bYzdA7KOcOXyqwTfEGBfLuuJfbs9p1a/s200/se.png" width="200" /></a>By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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sE Electronics is the maker of many outstanding microphones, including my all time favorite small diaphragm condensers, <a href="http://www.seelectronics.com/se5-mic" target="_blank">The sE5</a>. I fell in love with <a href="http://www.seelectronics.com/se5-mic" target="_blank">The sE5</a> while trying them out for my MIX review and you can read about them here: <br />
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<a href="http://mixonline.com/news/microphones/se-electronics-se5-condenser-mic-affordable-versatile-fixed-cardioid-transducer/369581">MIX magazine review - sE5</a><br />
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<a href="https://www.facebook.com/daurayme" target="_blank">Chris Dauray</a> who works with sE and helped me out on the MIX review, setup me up with a few more 'of my choice' mics to try out. This time it was the Z5600a II multi-pattern large diaphragm condenser and a pair of Voodoo ribbon mics.<br />
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First up is the <a href="http://www.seelectronics.com/z5600a-ii-tube-mic" target="_blank">Z5600a II</a>. $1249 list<br />
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This is a 9 pattern tube condenser mic with built in -10 db pad and HP filter. It comes in a great flight case with remote power supply that also has the pattern selection on it, a large and of quality shock mount, and cabling.<br />
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The sound is upfront, mid-range focused and filled with harmonics, as you'd expect from a tube mic that has a good transformer in the output stage. The polar patterns range from Omni through Cardio to figure 8. I liked the sound of the mic in Omni pattern more than cardio. Example, when tracking acoustic guitar, Set to cardio, the sound of the strings and left hand came through, but in Omni, the entire instrument came through. Also the added depth of the room came to life in Omni.<br />
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It was a very nice feature being able to dial in the polar patterns, if I wanted a Cardio pattern that was slightly more open than normal, simple select the setting that works. Very cool!<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGgSzg9-xJDjaAgFsm0S20PUACBTJU2_GUoIFpAOVqjibIHgIZjr_zHhhl1mbhFlTsdqxrRoo4mcHImANh2C6ftLiYu-_7wiHfwxOgRl-Vzhv6pmoA8LAmpslDnPqpC5IqwIQhPn_NODEK/s1600/IMG_20151222_131644.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGgSzg9-xJDjaAgFsm0S20PUACBTJU2_GUoIFpAOVqjibIHgIZjr_zHhhl1mbhFlTsdqxrRoo4mcHImANh2C6ftLiYu-_7wiHfwxOgRl-Vzhv6pmoA8LAmpslDnPqpC5IqwIQhPn_NODEK/s320/IMG_20151222_131644.jpg" width="240" /></a><br />
This mic would find itself at home tracking vocals for Rock and hardrock. This mic is on my list of wants for future purchases. :-)<br />
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Next up is the <a href="http://www.seelectronics.com/voodoo-ribbons" target="_blank">sE Voodoo Ribbon mi</a><a href="http://www.seelectronics.com/voodoo-ribbons" target="_blank">c VR1</a>. $499List<br />
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These are small passive ribbon mics that have an extended high range and are not a budget ribbon mic. I have try others in the $200-600 range and hated them, terrible. The Royer ribbon mics start at $1000 and I just have not gotten a chance to use them as I figured I would want to buy it if I loved it... So if the VR1 sounds of the quality of the $1000+ ribbons, I am in business. The VR1 comes in at half the price and with so many engineers bragging about their beautiful high end response and rich mids and lows, I could not wait to try them out. <br />
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The VR1 do not have a HP filter and of course due to the low output inherent to a ribbon microphone's design, no pad. Also, the VR1 has a transform on it's output so if you hit the mic with 48v phantom power, the mic will not have issue. This is unlike most ribbon mics on the market which will fry an ugly death if you accidentally hit them with phantom power.<br />
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I received a pair of mics so I could test them as overheads for drums, but first up was what these are known for and I had waited a long time to get them in here to try out; Electric Guitars.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEVu8AzeMKK-au1mqWNOlOopi0mXizLruW7JBwXg52Snvw4yxKa4SEMNRrhr0QOJXeg8dbdyWsHuvnzyqeVpdXogw1SgYb5-IevF1f2R7-ziRrFvcYGPbH0oFAFE40Z7KpFt5UKyONvOp/s1600/Voodoo-Super%252BReverb2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiEVu8AzeMKK-au1mqWNOlOopi0mXizLruW7JBwXg52Snvw4yxKa4SEMNRrhr0QOJXeg8dbdyWsHuvnzyqeVpdXogw1SgYb5-IevF1f2R7-ziRrFvcYGPbH0oFAFE40Z7KpFt5UKyONvOp/s320/Voodoo-Super%252BReverb2.jpg" width="213" /></a>The VR1 sounded creamy yet tight, smooth frequency response and no "dull high-end" like I have run into in the past with ribbons. It made my SM57 (Transformer-less) sound very upfront and tight but not in a good way. In fact, I could not believe how bad my normal guitar amping mics (SM57 transformer-less and Audix D1) sounded in comparison to the VR1.<br />
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The VR1 just Killed it!</blockquote>
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Compared with my Shure KSM27, a condenser mic I often use for electric guitar, it simply had a more creamy smooth sound, the KSM sounded bright and even a tad harsh. Since the VR1 is a figure 8 pattern as most all ribbon mics are, it kept up with the condenser as they both had depth and "room" in their sound. The two complimented each other very well.<br />
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The VR1 is now my go to electric guitar mic. Its fantastic!<br />
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Many of my friends like ribbon mics as overheads, but for me I am not really a fan. First you need to be in a room with at least a 15ft ceiling as the figure 8 pattern catches reflections off the ceiling and kills the sound. Also the sound of a ribbon on a kit is very dull and not modern sounding to me at all. Even in a throwback vintage sounding recording, its not the sound I would look for. Just not to my personal taste.<br />
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Also if you are using a set of ribbons for over heads, I would only use a single as having 2 mics both in figure 8 pattern over a kit can cause all sorts of phase issues not to mention all the reflections being picked up. Just my 2cents.<br />
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I do look forward to using them on Horns (Brass) as I know the will be perfect. These have found a new home. I really really like these Ribbons and they deserve the hype they get.<br />
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Bravo sE, Bravo!<br />
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'till next time! <br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-43911046002155389572015-12-13T15:58:00.000-08:002016-01-31T15:01:06.573-08:00Monitoring...what are you double checking your work on?By Tim Dolbear<br />
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<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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Lets first start by stating and hopefully agreeing on this: Your studio control room's design and acoustic layout is the most important factor, If it's off, it does not matter what speaker or monitor setup you have, everything will be off.<br />
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Even my professionally designed control room at <a href="http://www.timdolbear.com/" target="_blank">Eclectica Studios</a> had issues that I dealt with for years and ended up throwing a lot of money at it to correct it.<br />
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I talk with many other mixing engineers about how they monitor while mixing. Some use one set of speakers, other have 3 or 4 pair, some studios have studio monitors all staked up on top one other... Some swear by the age old practice of burning the mix to CD or cassette before that and listening to their work in their car. Dave Pensado talks about the small Aurotones he keeps to the side of him, right next to each other simply to hear the song.<br />
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We live in a full range world now. </blockquote>
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For me, I have really settled into a setup that consist of a single high end monitor setup but with a few extras.<br />
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My Studio monitors are <a href="http://www.kh120.neumann.com/" target="_blank">Nuemann KH Series</a>: the KH120 and Sub, fed by the <a href="https://mytekdigital.com/professional/products/stereo192-dsd-dac/" target="_blank">Mytek Stereo192 DSD</a> D/A. They sound amazing; clean, clear and correct.<br />
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Interestingly, for a minute I added a second set of 6.5" studio monitors, and had them sitting right next to the KH120s, But they killed the sound, the stereo field of the KH120s just closed up. Now when I see studio with speakers next to other speakers I wonder if they know what they are loosing by setting a big box next to a speaker they are listening too, or if they even noticed the stereo field disappearing and the sound closing up.<br />
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But really, what's the point of having lots of good sounding speakers that really sound basically the same when the consumer will be listening to your music on earbuds which have a completely different presentation or a Bose stereo system that is not setup to spec...<br />
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If I mix on speakers, as I do, and then switch to another pair of speakers, it confuses the situation as to my reference point of the tonalities of the mix..."Is there too much 600hz in the mix or is it just these speakers have more low mids than the first set?"<br />
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But popping in Earbuds or on a set of headphones will resets your brain and point of view for listening.</blockquote>
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<a href="http://www.auratonesoundcubes.com/" target="_blank">Aurotones</a> are an interesting small 4.5" single speaker in a small box, and have for decades been "industry standard" for low-fi mix checking as they represented small boom boxes and TV speakers well. But it's almost 2016 (in a few weeks), people do not listen to music on boomboxes, or to their TVs using the built in speakers anymore. Boomboxes are now earbuds and headphones, TVs plug into Stereo and 5.1 Home systems. Car stereos are basically full range and decent nowadays, no more single speaker AM radios for automobile entertainment.<br />
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While interviewing engineers and artist for the <a href="http://www.timdolbear.com/ps2.htm" target="_blank">"How We Listen" feature I wrote for Professional sound</a> I spoke with <a href="http://www.tonyharnell.com/" target="_blank">Tony Harnell</a> and him mentioning how he only listens to music on his earbuds nowadays, I realized, outside my studio walls, things really are changing...<br />
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So instead of a 2nd and 3rd pair of speakers or my car... I now check my mixes using a set of medium range earbuds and a set of decent headphones that sit between the Bose headphones and crappy Beats headphones that are so popular with fashion conscience. Since checking mixes and masters with earbuds and headphones earlier this year, my work is translating better than ever to all mediums.<br />
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So a few things to take away...</blockquote>
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You have to work in an acoustically correct room. You need one set of REALLY good monitoring and know how they sound like you know your own soul. You need to know how speakers and the room sound together and there is no better way than to listen to music you know and love on them everyday.<br />
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Then, you need to be checking your mixes on what the consumers will be listening to your work on. For the most part, if its not a full range stereo, its earbuds and headphones. <br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com4tag:blogger.com,1999:blog-4479109740746197221.post-69113358385478636792015-11-25T10:40:00.002-08:002015-11-25T10:40:17.792-08:00Adding body and girth to a thin snare drum sound using no samples.By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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What to do when the snare drum track you are mixing has no body to it...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPy_rJE-5l6clBd0Ck7EFO01xD8mPinCWVR0k9HqWNeBgVeXvZ7gYRnxbfPRDIXdy7sQgTL7glOi6Qk2whCNcY9OmUBkFetrviV1_-RgMSaFY2IzslYHusOLGMnwYqbTbaRrJiUBw8G6J/s1600/Pearl-B1330-Piccolo-Snare-Brass.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="127" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCPy_rJE-5l6clBd0Ck7EFO01xD8mPinCWVR0k9HqWNeBgVeXvZ7gYRnxbfPRDIXdy7sQgTL7glOi6Qk2whCNcY9OmUBkFetrviV1_-RgMSaFY2IzslYHusOLGMnwYqbTbaRrJiUBw8G6J/s320/Pearl-B1330-Piccolo-Snare-Brass.jpg" width="320" /></a></div>
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I am mixing a rock album right now that has a very "PINGY" and thin sounding snare drum, yet most of the songs are dictating a warm, fat snare sound. In this case I really hate to trigger the snare and use a sample and loses all the drum's nuances. In fact over the last few years I really have stayed away from replacing drums, the feel is never exactly right and the overheads still play out the original. This is where re-micing comes in. Like Re-amping, but without the "amp sound". </div>
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There are a few ways to re-mic a snare. Both ways require you playing the snare track out of your DAW and into a speaker in your live room. For me, I simply send a feed to the headphone amp and plug in whichever speaker cabinet I want to use. </div>
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First you may have heard of, the old "My snare has no snare sound to it, it sounds like a tom" fix. For this you take a snare drum, placed on a stand and set a raw speaker (no cabinet) on top of the snare facing down. and bottom mic the snare drum. Or lay a 1x10 or 1x12" speaker cabinet on its back and place the snare drum face down on the speaker and mic the snare side, now facing up, of the up-side-down snare. When you feed sound into the speaker, it "hits" the snare drum and the snares on the 'bottom' of the drum react, mic records it. Simple. </div>
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But today we are going to talk about adding girth and body to a thin snare sound, something that is not talked about as much as just adding "snare sound".</div>
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This recording had a top and bottom mic for the snare, each on its own track. Take a listen.</div>
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/originalTop+Bot.wav" target="_blank">The original Snare mics, top and bottom mixed together</a></li>
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/originalTop.wav" target="_blank">The original Snare top mic only</a></li>
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/OriginalKit.wav" target="_blank">Original snare tracks with kick and overheads</a> </li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lsJh9s6LSB3h6W4Eqdff0i76xNiIpvenbcQLFHOo8tSR7UCB41xRIvQqC5LhqXnF_3Xzbc-71BB5TFJQaXZxiuzky4Gx0JPwYKgTGrIsoxtdWksdr87VswBIX5GppqAM6nl3rywq1iFX/s1600/20150106_192018.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3lsJh9s6LSB3h6W4Eqdff0i76xNiIpvenbcQLFHOo8tSR7UCB41xRIvQqC5LhqXnF_3Xzbc-71BB5TFJQaXZxiuzky4Gx0JPwYKgTGrIsoxtdWksdr87VswBIX5GppqAM6nl3rywq1iFX/s320/20150106_192018.jpg" width="320" /></a></div>
I first solo's just the top mic track and feed it out of the DAW into the Headphone feed for the Live room. I plugged into the headphone amp an early '80's original 2x12 cabinet that has a Celestion G12-30 and a G12-35 speaker. These 2 speakers in this over sized cabinet have a nice low mid overtone, perfect for what I was looking for.<br />
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More about <a href="http://www.timdolbear.com/studioamps.htm" target="_blank">Eclectica Studios' speaker cabs</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tcudw8vy0HSep3AswWnOeCvl-gO05ocQIzIp0f-50EX6J7VQtxXzAJCPEEad3ypOfZ_Q67lR-duwQu9GF6xbN6zq968Lwl4auAT76lq6LOWeMFYiqT3xzdrOtHiyco3XdCQyHyw8UVrZ/s1600/blogg112515.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3tcudw8vy0HSep3AswWnOeCvl-gO05ocQIzIp0f-50EX6J7VQtxXzAJCPEEad3ypOfZ_Q67lR-duwQu9GF6xbN6zq968Lwl4auAT76lq6LOWeMFYiqT3xzdrOtHiyco3XdCQyHyw8UVrZ/s200/blogg112515.jpg" width="200" /></a></div>
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I then Mic'd the cabinet with a tranformer-less SM57 and sent it through a <a href="http://www.manley.com/products/view/manley-force-four-channel-mic-preamp" target="_blank">MANLEY FORCE</a> preamp into an old Ashley SC50 compressor. Using the EQ on the original snare channel in the mix, I EQ'd the sound feeding the headphone amp so that what I was hearing coming out of the speaker and captured into my workstation was to my liking, I also added a slight gate to it to lessen the cymbal bleed. Then I record the mic'd speaker to a empty track.<br />
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/remic-solo.wav" target="_blank">Captured snare re-mic'd</a></li>
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Next I switched back to hearing just my workstation in order to mix the parts together and turned off the EQ i used to flavor the speaker. I zoomed in on the 3 tracks (Top, Bottom, and re-mic) and time aligned the new re-mic snare track to the top mic to be in phase. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ULmQ58vkyfC_3Ju4-q5g4uPKYf6p8s51iJxJgTwT_BHEqd2sdPy1Nw88WVKazm1lBTaPl82y18-YNUfe44ibSDunO4sxE7jl-HGFtfTmiD7Mj1yctIxFRau8ejql5GkFyYKF3VZmqMCB/s1600/blogg-112515.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7ULmQ58vkyfC_3Ju4-q5g4uPKYf6p8s51iJxJgTwT_BHEqd2sdPy1Nw88WVKazm1lBTaPl82y18-YNUfe44ibSDunO4sxE7jl-HGFtfTmiD7Mj1yctIxFRau8ejql5GkFyYKF3VZmqMCB/s400/blogg-112515.PNG" width="400" /></a></div>
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(In the picture the Snare bottom track, in the middle, has been phase flipped 180 degrees)</div>
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Now, using the 3 faders I blended the 3 tracks of snare together and added a little high EQ to the Top snare mic track.<br />
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/3mixed.wav" target="_blank">3 snare tracks mixed</a></li>
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<li><a href="http://www.timdolbear.com/audio/Blog-112515/Final-Blog-112515.wav" target="_blank">Final entire kit solo'd</a> </li>
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<a href="http://www.timdolbear.com/audio/Blog-112515/Blog-112515.zip" target="_blank">Download All the samples</a><br />
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Happen re-mic'n!<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-46969619926732838022015-11-05T11:18:00.000-08:002015-11-05T21:54:27.882-08:00New Manley Variable Mu video and changes to my Youtube ChannelBy Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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Hey all!<br />
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I wanted to invite you to my YouTube channel in case you have not been there before or have yet to subscribed to it. It has over 250k views which is cool for a channel with very specific recording studio info!<br />
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The URL is <a href="https://www.youtube.com/TimDolbearOnline" target="_blank">https://www.youtube.com/TimDolbearOnline</a><br />
(formally TimDolbearMagix)<br />
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This is different than the channel for Eclectica Studio with its videos specifically for the Studio.<br />
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Its URL is <a href="https://www.youtube.com/EclecticaStudios" target="_blank">https://www.youtube.com/EclecticaStudios</a><br />
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TimDolbearOnline contains videos for Samplitude and Sequoia DAWs, Fostex Monitors, UAD, and interview with famous engineers. Now it also contains a new section for Manley Labs, I will be adding more and more content for Manley Labs over the next few months, the first one is a rather technical video, but still interesting: Setting up the Variable Mu's service adjustments.<br />
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So please drop by my channel and subscribe!<br />
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Enjoy the video:<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3dpUYgxC628" width="560"></iframe>
Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-56102879477198810692015-10-24T13:55:00.002-07:002015-10-24T14:02:26.021-07:00The Pillow and the Stone - The differences in microphone pre-amps and how to choose one. By Tim Dolbear<br />
<a href="http://www.timdolbear.com/" target="_blank">www.timdolbear.com</a><br />
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For the last 20 years I have run the course of Mic Preamps here at <a href="http://www.timdolbear.com/" target="_blank">Eclectica Studios</a>. From crappy $50 "tube" preamps and built in mixer preamps to my collection of top-of-the-line Manley and Great River pres. I have learned so much. For me the Microphone Preamp is very important, more so than the mic. A bad preamp can make a $4000 mic sound like a $200 mic and a top of the line Mic Pre can make a $200 mic sound like a $4000 mic... Imagine what the $4000 mic sounds like through that top of the line pre! Mic Preamps can add color and warmth, harmonic richness, or the can add crud and cloudiness.<br />
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Every thing comes into play, The input impedance, the microphone amplification section, various features such as a high-pass filter, phase reverse or pad and the output section. and the output transformer. Not to mention is the output transformer adding or taking away from the sound?<br />
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History...</h3>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGIZLO-EqZROdm5lbcX0puzt-XxHn_xoP2jOEs1VRMrd1d3sPawmGG-XFqCSfis5PPrvQU1qfPGrT5QleFV_PLtGOBjCWa2CMx_o5JwfMZlI1GaldwQan07mgoNh16w3SDK7fijbOY_D4/s1600/PV+tmp1.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="45" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGGIZLO-EqZROdm5lbcX0puzt-XxHn_xoP2jOEs1VRMrd1d3sPawmGG-XFqCSfis5PPrvQU1qfPGrT5QleFV_PLtGOBjCWa2CMx_o5JwfMZlI1GaldwQan07mgoNh16w3SDK7fijbOY_D4/s200/PV+tmp1.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Peavey TMP-1 Tube Pre</td></tr>
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For fun, here is a run down of pres I have had owned through the years:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAzqqEbSADZoQ3oX5aeN2PqCr3ak35i1AX4bgGAw80v4XkyRy8f00blgrI4smnGwJr3f2yUhbhdRMxLMZQYtCykau8GQBeqlP2RMc_ghvJGvrMmikdSEo1Jda-_yOAyVmZsvqA34uVGgzs/s1600/2404.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="107" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAzqqEbSADZoQ3oX5aeN2PqCr3ak35i1AX4bgGAw80v4XkyRy8f00blgrI4smnGwJr3f2yUhbhdRMxLMZQYtCykau8GQBeqlP2RMc_ghvJGvrMmikdSEo1Jda-_yOAyVmZsvqA34uVGgzs/s200/2404.jpg" width="200" /></a></div>
Studio Master Diamond Series Mixer (Early 90's)<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9uMnIaq4n_PXH8p_guE5ZVNjyPxV1IRh5u-aVzHsHnsZMUOsxsXl0yht4KiS5qqRICgWgw9bMqWZL6JiJWX0qQvVPTsxfJmg7u9yTfv8__7bTiWPeNhGJ9EkS3J9hjHwbC6X_HEmrHHRs/s1600/mic-pre-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9uMnIaq4n_PXH8p_guE5ZVNjyPxV1IRh5u-aVzHsHnsZMUOsxsXl0yht4KiS5qqRICgWgw9bMqWZL6JiJWX0qQvVPTsxfJmg7u9yTfv8__7bTiWPeNhGJ9EkS3J9hjHwbC6X_HEmrHHRs/s200/mic-pre-1.jpg" width="200" /></a><br />
Peavey TMP1 (90's)<br />
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Bellari MP1 ( mid 90's through 2012)<br />
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ART MP 1 (90's)<br />
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Mackie 2404 (Mid 90's -2000)<br />
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Fostex Digital Mixers VM200 (2000-2003)<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxiYx2SZzVtjWnxKmh9YCbrDoXu-EeGLR0mkrlxfq_a9JII9qr1EJuyMOmpNvq-WFq_0603ucrZAWWY2tI2IbmDzKPc_L5lt0X3am_sQh32tBodqjcsKVI7Fo5ul1ecppd_-M5iRvuMMVn/s1600/bellari2.jpg" imageanchor="1" style="clear: right; display: inline !important; float: right; margin-bottom: 1em; margin-left: 1em; text-align: center;"><img border="0" height="62" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxiYx2SZzVtjWnxKmh9YCbrDoXu-EeGLR0mkrlxfq_a9JII9qr1EJuyMOmpNvq-WFq_0603ucrZAWWY2tI2IbmDzKPc_L5lt0X3am_sQh32tBodqjcsKVI7Fo5ul1ecppd_-M5iRvuMMVn/s200/bellari2.jpg" width="200" /></a><br />
Mackie 2408 (2003-2012)<br />
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<a href="http://www.warmaudio.com/products/tb12-tone-shaping-microphone-preamp/" target="_blank">Warm Audio TB 12</a> (2013-2014)<br />
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<a href="http://www.manley.com/products/view/40mpx" target="_blank">Manley 40db Mono</a> (2001-)<br />
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The "MASH" Unit (2001-)<br />
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<a href="http://www.greweb.com/mp-2nv.html" target="_blank">Great River MP-2NV</a> (2014-)<br />
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<a href="http://www.manley.com/products/view/manley-force-four-channel-mic-preamp" target="_blank">Manley FORCE</a> (2015-)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtc6TnUJwln1Ehm6hRC9ZbW3zQy-wn8F2tPXaVf0bO61UEhDDwOZmhI26WJAwZSSm4p1F2pafdFkCa5p7OM-fHF8j3qOeQNBPPy5lxDaAE158O7zoa3HNMy7F9t3B627_o01snLtoE4Juh/s1600/studio+master+diamond.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtc6TnUJwln1Ehm6hRC9ZbW3zQy-wn8F2tPXaVf0bO61UEhDDwOZmhI26WJAwZSSm4p1F2pafdFkCa5p7OM-fHF8j3qOeQNBPPy5lxDaAE158O7zoa3HNMy7F9t3B627_o01snLtoE4Juh/s200/studio+master+diamond.JPG" width="200" /></a>I used my Studio Master Diamond series with my Fostex R8 Reel-Reel, and it sounded great for what I was doing at the time. But needing more inputs and routing capability, I moved up to a Mackie 2404. I had various different "tube" preamps that I had hoped would be an improvement on the built in Mackie Pres; the ART, the Bellari, the Peavey TMP1, but none of them really did anything great. I even swapped out the tubes with various upgrade tubes, even NOS (New Old Stock) RCA 12AX7 from 1963. The Bellari sounds a little nicer, but it was not a game changer. <br />
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<blockquote class="tr_bq">
...I came to realize that you can not get a wonderful tube sound from a unit using a wallwart. The Manley has 300vDC rails powering it. The ART MP1 can run on a 9volt battery...<br />
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwZU6omAsjzoO6DERVq7XnQwnbvk1GokQ4cidk0nPGTf7boBmxjnbAVFUlTn6_al5KwOrabksltWWHs6iDQQtJpE5cxJ6pbwiQ9zyfQa3No5iKSJBMJtblYHdrZJEPOKbF2_MnDcyrwrm/s1600/conssouth.jpg" imageanchor="1" style="clear: right; display: inline !important; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxwZU6omAsjzoO6DERVq7XnQwnbvk1GokQ4cidk0nPGTf7boBmxjnbAVFUlTn6_al5KwOrabksltWWHs6iDQQtJpE5cxJ6pbwiQ9zyfQa3No5iKSJBMJtblYHdrZJEPOKbF2_MnDcyrwrm/s200/conssouth.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">studio 2001 with Fostex VM200s</td></tr>
</tbody></table>
In 1999 I opened Eclectica Studios and bought 2 Fostex VM200 digital boards. I soon after realized just how bad a mixer could sound and missed my Mackie 2404 big time. I soon bought my first REAL preamp, "real" meaning instead of a 5 cent op-amp chip that's found in mid/cheap lever mixer, the Manley 40db Mic Pre was 1 channel, $2200 retail and was PRO all the way. Its changed everything for me. <br />
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I took a tour of the Manley factory with my wife Angela in 2001 and bought the mic pre directly from Eveanna Manley. The entire drive home all I could think of is how I just spent almost $2000 on 1 channel of mic pre, basically 1 knob! We got to the studio and plugged it in and was floored at the difference. Even a SM58 sounded like a high end studio mic!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdKyt9yyj-cOk3KCEeN-TVy91pdoDZ7YFDKv-bwMa1qhyXDTjJ9MMTPOzkdjl81NemyRSQ9mcpS1NhFyWqJpoMkNK7PVwUZIdPWC4qCL4R4XAuUBEcR_5EfCgM-k_ypjKsC_YDbjfg7vBd/s1600/console-0109.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdKyt9yyj-cOk3KCEeN-TVy91pdoDZ7YFDKv-bwMa1qhyXDTjJ9MMTPOzkdjl81NemyRSQ9mcpS1NhFyWqJpoMkNK7PVwUZIdPWC4qCL4R4XAuUBEcR_5EfCgM-k_ypjKsC_YDbjfg7vBd/s200/console-0109.JPG" width="200" /></a>Realizing how amazing the sound of the Manley was, clear, tons of tone and resolution, I knew I needed more than just the 1 channel of hi-end mic pre, so I bought the Altec 1678 (aka the MASH unit, Microphone Amplification System Housing) for about $600, an old auto mixer made for installs that retailed for $3000+ in 1979. A monster unit with amazing transformers and sound. I had it mod'd so the inputs feed the mic preamp into the channel's volume control and then straight out the direct out bypassing all the Auto Mix features. I also had channels 4-8 mod'd to pad the input 3db. The MASH unit is solid state and up until that point in my career I did not know that solid state could sound as good as tube, difference but just as good.<br />
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I replaced the Fostex mixers, which were at this point just CUE mixers for head phone feeds and monitoring with a mod'd Mackie 2408. Its preamps were pretty good for a mixer a I used them to track drums since the MASH unit tended to clip the frontend when tracking LOUD drummers.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiySfjNBkDw8haaGADTwmic6qsjQIKDHZc0bSvutR2ejzikStYdeUS92SbGJEs2-QsI2Gsun16RHWJ6SN2XasLrx8C_-l929L7fHWPB1-MXz9aYjCLxoQzzQeYwsz6ViSB8xBCx48yZRNiu/s1600/20151022_125924.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiySfjNBkDw8haaGADTwmic6qsjQIKDHZc0bSvutR2ejzikStYdeUS92SbGJEs2-QsI2Gsun16RHWJ6SN2XasLrx8C_-l929L7fHWPB1-MXz9aYjCLxoQzzQeYwsz6ViSB8xBCx48yZRNiu/s320/20151022_125924.jpg" width="320" /></a>The Mackie left a few years ago when I moved to using totalmix for all cue mixing. At that point I had the Manley 40db, the MASH unit, and the Warm Audio TB12 which is a solid state API style mic pre.( <a href="http://mixonline.com/gear/reviews/outboard_gear/warm_audio_tb12_tonebeast_versatile_great-sounding_high-gain_preamp/" target="_blank">My MIX Magazine review of the TB12</a>) The Warm Audio was soon replaced with the amazing Great River Neve style 2 channel MP-2NV preamp. We recently added the Manley FORCE, 4 channels of preamps that are designed differently than the 40db preamp but wonderful sounding. There will be a video series about the FORCE coming out soon, Watch my blog for more on that.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiD3hmeo3QJhqFa2mQuVTy3eGrebJebR8P7h54aaxPdktMjJjJZh-5E-HJw0R-U7PwnnUbIqL4jWVk-r0o3MTX55x3FNXhZ3ydg8JtTPx36nk0Y7TuRl7RGDF7bpsvpnZqOCoGfFoU5-js/s1600/GR.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="120" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiD3hmeo3QJhqFa2mQuVTy3eGrebJebR8P7h54aaxPdktMjJjJZh-5E-HJw0R-U7PwnnUbIqL4jWVk-r0o3MTX55x3FNXhZ3ydg8JtTPx36nk0Y7TuRl7RGDF7bpsvpnZqOCoGfFoU5-js/s400/GR.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Great River MP-2NV</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZymAPFXfOnqJyYl36mngfuDmYq2sftxA95JZXmvwJTzoJw8kjd9RFpqbtf6hStCkq2psglJdYRk-t_7m7_cad2Rip2vnVM5TR76b_vKXvp6tF0wYSx78-5fzV-kE_xDoMzOq82xDhAz9l/s1600/40db.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="35" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZymAPFXfOnqJyYl36mngfuDmYq2sftxA95JZXmvwJTzoJw8kjd9RFpqbtf6hStCkq2psglJdYRk-t_7m7_cad2Rip2vnVM5TR76b_vKXvp6tF0wYSx78-5fzV-kE_xDoMzOq82xDhAz9l/s400/40db.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Manley 40db </td></tr>
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The Pillow and the Stone</h3>
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So why the different preamps? If the Manley 40db sounded so amazing, why not buy 8 of them and you're done?</blockquote>
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Picture a stone floor. Beautiful, with colors, grain and veins running through it.<br />
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Now picture a Pillow, the nicest pillow you have ever felt or seen. Silky, soft, the perfect size.<br />
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If you take a tennis ball and throw it at the stone floor it's going to bounce back to you, quickly and with strength and purpose and note the stone does not move at all. The stone floor is not smooth so there is also various reactions, the ball may vary its course and not bounce back perfectly to you and the harder you throw the ball at it the more the angles come into play, we call this odd order harmonic distortion. You can have a fun time bouncing things off of it, a golf ball, super ball, even dropping a drinking glass on it is fun and yields a interesting shattering.<br />
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Now throw the tennis ball at the pillow. No bounce and not really fun. it does kind of react and the pillow really reacts to the ball hitting it, we'll call this reaction even order harmonic distortion. Dropping the glass on it and the glass is preserved perfectly. If I lay my head down on the pillow, it's amazing! ...and I would not want to sleep with my head on the stone floor.<br />
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So for somethings, the pillow is the best choice, other times the stone is. No right or wrong, simply choices since both are equally as good for their specific applications.<br />
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Harmonic distortion can best be heard in guitar amps. If you listen to an old solid state guitar amp, you will hear odd order harmonic distortion which can seem more harsh, verses a tube amp whose distortion is based on even order harmonic distortion that is sweeter sounding and often called more musical. </blockquote>
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Examples</h3>
I chose the "pillow" and "stone" because they are relevant to our audio uses. Tubes are the Pillow and solid state is the Stone in the example, My Great River and MASH unit mic pres are both solid state and the sound is more upfront than my Manley Tube Mic Pres. The Great River also sound more aggressive with a great strong mid-range, great for rock drums, bass, electric guitars, vocals... while the Manley is great for those things too but yield a different version, more depth, sweeter and more round, nice lows and sweet highs. <br />
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A bluesy electric guitar through the Manley Tube preamp sounds more 3d, warmer and full. The Great River yields a more upfront stronger sound. 2 completely different colors and each has its place.<br />
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For this example, and its not a prefect example, no Eq was used but some compression was used during tracking, same setting, 2 different compressor units (Ashley SC50/55). The Kick mic is a transformer-less SM57, Snare is my strange Cad dynamic mic. No overheads, just the 2 channels of kick and snare.<br />
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Kick and snare through the Manley Force<br />
<a href="http://www.eclecticarecordings.com/audio/blog102415/Manleydrums.mp3" target="_blank">www.eclecticarecordings.com/audio/blog102415/Manleydrums.mp3</a><br />
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Kick and snare through the Great River MP-2NV<br />
<a href="http://www.eclecticarecordings.com/audio/blog102415/GRdrums.mp3" target="_blank">www.eclecticarecordings.com/audio/blog102415/GRdrums.mp3</a><br />
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So I choose simply depending on what I am recording. For male vocals, Singer songwriter style, the Manley tube preamp, and for Male Rock vocal, most likely the Great River MP-2NV. For violin, tube, for acoustic guitar, tube, but for acoustic guitar in a driving dense mix, the Great River. <br />
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Its really wonderfully having these 2 very different types of preamp in a recording to add the range of colors. See my blog post on using variations to make your recordings BIG sounding. <a href="http://timdolbear.blogspot.com/2015/07/spice-is-spice-of-life.html" target="_blank">spice-is-spice-of-life</a><br />
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I hope this helps you understand and think about types of preamps and understand the value of good preamps. My best advice is to rent as many high end preamps as you can and try them out. When you find and buy ones you love, you will keep them forever so they are worth investing in.<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-39372951871602201682015-09-30T07:50:00.001-07:002015-09-30T07:50:43.584-07:00What is this? Tim Dolbear<br />
www.timdolbear.com<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkpCpSoZ8_6M4iJXukedaLkBBHRbftteER4aFSTeSBb_FVQq8CsEqUgpGKt7BErxmHXBxmkXhEWn_10vQX2EONjK0ubizWcdfDS9QK6dqBm5l_-nczHs3pBJr3FtKZVwkpbApMS1xYu16a/s1600/20150925_161218.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkpCpSoZ8_6M4iJXukedaLkBBHRbftteER4aFSTeSBb_FVQq8CsEqUgpGKt7BErxmHXBxmkXhEWn_10vQX2EONjK0ubizWcdfDS9QK6dqBm5l_-nczHs3pBJr3FtKZVwkpbApMS1xYu16a/s320/20150925_161218.jpg" width="320" /></a></div>
Last Friday I was in NYC and spent the day at <a href="http://www.batterystudios.com/" target="_blank">Sony/Battery Studios</a> located in the formal home of the Record Plant. I had a blast hanging out with the gang there. Everywhere you look was amazing history and vibe from years of amazing artist working in those rooms; John Lennon, Kiss, Aerosmith, Paul Simon, Jimi Hendrix, New York Dolls, and so many more. <br />
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Nowadays the studio is the mastering studio for Sony and its subsidiaries and they are not only master the new releases, but handle the transfer of the older music to digital for achieving. At one point Vic Anesini handed me a 1/4" reel in an old box, I flipped it over and it was the original master for many Elvis songs recorded in the early 1960's. Amazing!<br />
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That brings us to this:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxH_ipAX8l32c8jQmYl6wPdxYLZmXw1fC5Er2a-ffpSAfuXTi84_bB0KAqhlxzU0DbCGfHfr1bV_739PGUz7i6A_8kesvP27pMfBb5C39tq8uaaQ2y9dbeC7eRFDDhMkr_kfcpGbJG8cmx/s1600/20150925_142041.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxH_ipAX8l32c8jQmYl6wPdxYLZmXw1fC5Er2a-ffpSAfuXTi84_bB0KAqhlxzU0DbCGfHfr1bV_739PGUz7i6A_8kesvP27pMfBb5C39tq8uaaQ2y9dbeC7eRFDDhMkr_kfcpGbJG8cmx/s640/20150925_142041.jpg" width="640" /></a></div>
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Since records made during and just after WWII were made of lesser than quality ingredients, the lacquer is no longer sticking to its sub-frame and thus the album is falling apart. So in order to transfer in for achieving, they have to go to the original metal stamp that was made for record pressing... and this record player will play a metal stamp!<br />
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The table turns backwards and you use the arm on the left whose needle is an upside down "V" shape not a normal down facing point. Since not only does it spin backwards, but the the grooves are no longer valleys, but are mountains and the needle has to straddle the the ridge. Dig?<br />
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It was amazing to check out as it is a one of a kind.<br />
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Btw, it lives in this room:<br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0tag:blogger.com,1999:blog-4479109740746197221.post-61250641415291349092015-09-23T15:11:00.000-07:002015-09-25T16:56:21.254-07:00My Visit To Chez Boom Audio : Post Production - Deep in the Heart of TexasBy Tim Dolbear<br />
<a href="http://www.timdolbear.com/">www.timdolbear.com</a><br />
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In August, <a href="http://www.argosyconsole.com/" target="_blank">Argosy Console</a> asked if I would visit Shayna Brown of <a href="http://www.chezboomaudio.com/" target="_blank">Chez Boom Audio</a> and write about their move to studio A at Tequila Mockingbird Studios. I hope you enjoy learning about:<br />
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<h3 style="text-align: center;">
Post Production - Deep in the Heart of Texas</h3>
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Shayna Brown’s Chez Boom Audio and Argosy</div>
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In the center of Austin, just a few blocks west of the State Capital of Texas, is a studio rich with history and vibe called Tequila Mockingbird.<br />
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Known for hosting musicians from the Central Texas area such as Bob Schneider, Shawn Colvin, Dale Watson and so many others, this multi room studio compound has the look and feel that encompasses the charm that one hopes to find when you visit a studio located in such a music and film driven town. Tequila Mockingbird is also home to Emmy nominated and highly sought after audio engineer Shayna Brown’s Chez Boom Audio. In early August 2015, we got the opportunity to visit Chez Boom Audio and learn more about the workings of this post production professional.<br />
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Shayna Brown has worked with an amazing array of industry heavy-hitters throughout her years of work as an audio engineer doing voice over, film mixing, television and radio advertising, music editing and her specialty ADR or Automatic Dialog Replacement for film. ADR is the process of replacing the actors’ dialog that was recorded poorly while on location. Actors come to Chez Boom and redo their speaking parts.<br />
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Brown has hundreds of film and television credits including True Detective, Supernatural, Revolution, 12 Years A Slave, Gravity, Sideways, Once Upon A Time In Mexico…and the list goes on. A wide range of work that shows she is at the top of her game. But let’s step back a few years to when a 15-year-old Shayna Brown landed herself an internship at Tequila Mockingbird Studios.<br />
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“My father is a musician so I grew up in studios and so it’s very familiar for me. When my dad was in the studio, I would just go with him and help him out,” Brown said. “Then I started interning at Tequila Mockingbird Studios and I thought that I wanted to be a music engineer, but I didn’t like the late nights and music recording just wasn’t for me.”<br />
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Digital audio was just emerging as the new standard while Brown was studying at the University of Texas. “Back before it was even called Protools I started taking classes for it and my father’s friends started calling me saying ‘Hey, I’ll pay you to give me a lesson, how does this stuff work?’ And I kinda got into it that way,” Brown said.<br />
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“What then changed me from music to film is that film director Robert Rodriguez came to town and he did not have a studio to do ADR. So he set up with the basics we had here at the time at Tequila Mockingbird and his people came in for the session but I ran the board. His people showed me how to set up a session and how to do ADR,” Brown said.<br />
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“I was also working with Matthew McConaughey on a TXDOT spot and he needed ADR too, and I thought, hey I now know how to do this. Between him and Robert, the LA studios felt comfortable using me for their ADR needs.<br />
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“My work nowadays is split, half the time on ADR and half on post production, Radio and TV stuff, sound effects and music editing, which is also fun. I like how quick these types of projects go, I am not on any one project for more than a few days. I’m in a really cool city, which is a hotspot now for film and TV production,” Brown said.<br />
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Chez Boom Audio interconnects to the film and TV studios in Los Angeles and beyond via ISDN connection allowing for sessions to be “attended” and worked on from anywhere. For the ISDN feeds and monitoring CUE setups, she uses a Mackie 1604 mixer.<br />
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“Most people when they do ADR do not want anything more than just a microphone and a mic pre and that’s it,” Brown said. “I use a Grace Designs 2 channel mic pre for ADR but also have available mic preamps from API and the AVID HD Omni 2 channel preamp.” Other pieces of studio kit include a Manley Vari-mu Compressor and large LCD flat panel screens for video overlay. <br />
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In 2015, Chez Boom Audio moved its base of operations to a bigger room at the Tequila Mockingbird Studio Complex. “The move was just because I had finally outgrown that old room,” Brown said. “I was doing enough big, high profile ADR work that it seemed like the time to upgrade my room to match the work.”<br />
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The new studio has now been remodeled in a comfortable setup to match Brown and her clients’ workflow, with both a large live room and vocal booth, both with line of sight to the control room, as well as a client office just off the control room.<br />
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“The Argosy console is awesome, I think it looks like a starship. It was an easy choice to make coming from a no frills wood desk that was basically a table.” Purchased at the recommendation of friends and assembled by herself, the Argosy Dual 15 Workstation console is the centerpiece of the control room and lends a classy and professional tone to the entire studio image and workflow.<br />
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Chez Boom’s new live room can now accommodate all types of sessions, with movable sound baffles used to setup areas for ADR and voice over sessions. This allows the room to be scaled to the needs of the session. This is a great workflow solution as it allows for the area to accommodate from a single actor to a round table Podcast, and expanding it outward into the room allow for any combination of artist and even bands to work comfortably.<br />
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The main ADR setup includes a large LCD screen for playback and a clear line of sight to the control room. The mic selection consists of a Sennheiser MKH 416 microphone, the standard and most ask for mic for ADR work, and a Lavalier mic for backup, while a Neumann TLM 103 handles the voice version duties. <br />
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We had a lot of fun meeting Shayna Brown and touring Chez Boom Audio. For more information, check out Chez Boom’s website <a href="http://www.chezboomaudio.com/">http://www.chezboomaudio.com</a><br />
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<br />Tim Dolbearhttp://www.blogger.com/profile/14617388796756109507noreply@blogger.com0