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Cranesong STC 8 tricks?
Old 2nd March 2007
  #1
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Cranesong STC 8 tricks?

I follow up the Massive pasive Tricks? What about Cranesong STC 8 tricks? Any favorite Preset settings? Do you use the V modes most of the time? Is the PK theshold useful for mastering? I don't use it a lot.
Old 3rd March 2007
  #2
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Variable modes. The limiter is... A little hard. Usually off. Ki/Hara switch can save mixes.
Old 3rd March 2007 | Show parent
  #3
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Jumpers 9 & 10 (and John's investigation into them, thanks again) changed my life. There are a few other undocumented jumpers inside, I would love to know what they do.
Old 3rd March 2007 | Show parent
  #4
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Oh crap - I almost forgot about that. Yeah, for mastering purposes, it's pretty much a must. Changed my life as well.

(We're referring to buffering the sidechain by 10dB by using a set of jumpers in the STC-8, giving you much more "swing" with the threshold at higher levels)
Old 3rd March 2007 | Show parent
  #5
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Quote:
Originally Posted by MASSIVE Master ➑️
Ki/Hara switch can save mixes.
Do/can you compensate for the loss in high freq's in Ki mode?
The warmth of Ki can be nice on certain mixes indeed but i actually never use it since i feel i lose definition in the high freq area. Do you agree?

Peter
Old 3rd March 2007
  #6
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Quote:
Originally Posted by masterpool ➑️
Is the PK theshold useful for mastering? I don't use it a lot.
The peak-threshold seems to help the compressor in A-mod modes.
But i only adjust it to the point where the peak-led doesn't blink anymore.

When the led does blink, the peaks distort sometimes. I started to think my unit was broken but now i see that more of you wonder about the limiter's usefulness in mastering...

Peter
Old 3rd March 2007 | Show parent
  #7
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Quote:
Originally Posted by finetuner ➑️
Do/can you compensate for the loss in high freq's in Ki mode?
The warmth of Ki can be nice on certain mixes indeed but i actually never use it since i feel i lose definition in the high freq area. Do you agree?

Peter
I'm not John, but I agree with him that it is just the thing for some mixes. Generally, I don't use it when the highs are already nice (say, when the source is from 1/2" tape). But if the mixes are brittle in the highs or the client feels they are too "sizzly" or "digital," it can be just the thing (or one thing in addition to other things) to help tame the high end response.

So, in other words, no need to compensate for the high-frequency loss when that loss is the goal!
Old 3rd March 2007 | Show parent
  #8
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Quote:
Originally Posted by hams ➑️
Jumpers 9 & 10 (and John's investigation into them, thanks again) changed my life. There are a few other undocumented jumpers inside, I would love to know what they do.
Please, can you direct me to a link about this subject?
Thank you.

chrissugar
Old 3rd March 2007 | Show parent
  #9
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Quote:
Originally Posted by chrissugar ➑️
Please, can you direct me to a link about this subject?
When you jumper those pins it adds a 10dB pad to the side chain, allowing greater range for the threshold knob on program material.
Old 3rd March 2007 | Show parent
  #10
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Quote:
Originally Posted by finetuner ➑️
Do/can you compensate for the loss in high freq's in Ki mode?
The warmth of Ki can be nice on certain mixes indeed but i actually never use it since i feel i lose definition in the high freq area. Do you agree?

Peter
Pretty much with Carl on that - If the highs are nice, no problem. But the Ki mode can occasionally take care of brittle sounding mixes sometimes much more transparently than trying to EQ them into submission.
Old 3rd March 2007 | Show parent
  #11
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John, I hope you don't mind, I'm going to quote you from PSW:

Okay - Here's the scoop. On board versions 5** and up, there are two standard PC-style jumpers marked JP9 and JP10. As you're looking at the unit from the top front, they'll be around 2 inches in (just beyond the front rail) and just off to the right of center. One may be vertical and the other horizontal (again, board version) and may be spaced about a centimeter or so apart.

Grab a pair of jumpers from an old 2400 baud modem and you're stylin' big time. Whooda thunk that my favorite compressor could be made even better using a couple of two-cent jumpers...

This is NOT in the current documentation for the STC-8 (1.11 I believe is the latest), but Dave said it will be in future versions. He also mentioned that many units may already have the jumpers inside (although obviously not connected).

And as Brad (and Dave) mentioned, the 10dB pad on the sidechain insert is the option for V.4 and earlier boards.

**The board version is in the far right hand area just below the rear rail.
Old 4th March 2007 | Show parent
  #12
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Geez, no trouble at all - Glad you found it.
Old 5th March 2007 | Show parent
  #13
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Quote:
Originally Posted by Brad Blackwood ➑️
When you jumper those pins it adds a 10dB pad to the side chain, allowing greater range for the threshold knob on program material.
Thank you Brad. What a great trick. At this moment I build a compressor and I will include this feature. In fact I think any comp can be modified to do this. You need just a resistor and a switch.

Quote:
Originally Posted by hams ➑️
John, I hope you don't mind, I'm going to quote you from PSW:
This explains why the search function didn't show anything related to this subject here. Thank you Hams for the quote, and thank you John for the original info.

chrissugar
Old 19th March 2007 | Show parent
  #14
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🎧 15 years
Hi guys,

Selling my STC-8 mint 1A!

PM me if youΒ΄re interested !
Old 14th May 2007
  #15
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STC-8 jumpers

Today i finally took the time to execute the "extended threshold range" modification, described earlier in this thread (it's not in the manual).
I just want to emphasize again how handy this is for mastering / 2-bus.
Thanks for this great tip !!

While the unit lay open before me, i also tried the modification of the HF effect by the KI switch, which IS described in the manual. This disables the HF loss at gain reductions below 6dB. Since you never go further than that in mastering, it means you always lose high end in KI mode by default.
Never liked that.

With a simple jumper movement (J3, see manual page 16) this effect becomes much more subtle. (the audio path remains transparent, only the compression component becomes 2nd harmonic).
And therefore, IMHO, finally usable for mastering.
Should have done this earlier.
Highly ;-) recommended!

Peter.
Old 14th May 2007 | Show parent
  #16
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Quote:
Originally Posted by finetuner ➑️
Today i finally took the time to execute the "extended threshold range" modification, described earlier in this thread (it's not in the manual).
I just want to emphasize again how handy this is for mastering / 2-bus.
Thanks for this great tip !!

While the unit lay open before me, i also tried the modification of the HF effect by the KI switch, which IS described in the manual. This disables the HF loss at gain reductions below 6dB. Since you never go further than that in mastering, it means you always lose high end in KI mode by default.
Never liked that.

With a simple jumper movement (J3, see manual page 16) this effect becomes much more subtle. (the audio path remains transparent, only the compression component becomes 2nd harmonic).
And therefore, IMHO, finally usable for mastering.
Should have done this earlier.
Highly ;-) recommended!

Peter.
cool!!!!!!
ill have to try it

thumbsup
Old 15th May 2007 | Show parent
  #17
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yeah both changes are great
Old 15th May 2007 | Show parent
  #18
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stc peak limiter

yeah, the limiter is brutal.

but i find the peak threshold setting useful, by setting it just below clipping the A/D (i like to have the STC last in the analog loop, if at all). and on a really rockin' track, i might "tickle" the limiter ever-so-slightly.
Old 16th May 2007 | Show parent
  #19
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Quote:
Originally Posted by finetuner ➑️
(yada, yada, yada, about the jumper on the KI switch)
I have to dig out the manual again... I find myself very rarely using the KI anymore. Well, when something comes in that's just killing me with scratchies, it's fine. Live (I dragged it out a few times on special occasions) it was absolutely brilliant. But for everyday use here, it'd be interesting to try that option...
Old 16th May 2007 | Show parent
  #20
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Interesting comments on the limiter. I had always thought that the limiter function on my STC-8 was broken and have never used it ever since I bought it new a few years ago.
Old 16th May 2007 | Show parent
  #21
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Quote:
Originally Posted by The MPCist ➑️
Interesting comments on the limiter. I had always thought that the limiter function on my STC-8 was broken and have never used it ever since I bought it new a few years ago.
Don't forget that the peak limiter is also used to change the attack time of compression when using a-mod settings. With slower overall attack times the limiter shortens the overall attack.

I have to admit that I've never used KI for mastering. I think that there are better options for "warming" things up on a mix. It can be cool for tracking vocals though.

My favorite STC-8 "trick" or feature is that it still passes signal when turned off. True bypass. I wish LTD-2s did that.
Old 21st June 2007 | Show parent
  #22
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Stereo link

Someone who is using the Stereo link button in off mode when working with mastering? I think it sounds more "wide".
Old 21st June 2007 | Show parent
  #23
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Quote:
Originally Posted by masterpool ➑️
Someone who is using the Stereo link button in off mode when working with mastering? I think it sounds more "wide".
I use it unlinked most of the time. If the mix is a little too wide I'll switch it over to linked to solidify the center just a little bit.

I also love the Ki sidechain modification. It makes the Ki mode much more usable more often.
Old 21st June 2007 | Show parent
  #24
arf
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Quote:
Originally Posted by acorneau ➑️
I use it unlinked most of the time. If the mix is a little too wide I'll switch it over to linked to solidify the center just a little bit.

I also love the Ki sidechain modification. It makes the Ki mode much more usable more often.

I know it's a popular mastering practice to unlink a stereo limiter/compressor, and it does sound a little louder and wider that way, but it's also a kind of false seduction because it reduces the impact of the bass and bass drum and weakens the beat. Unlinked changes the mix more than linked.

My tupence.
Old 5th July 2007 | Show parent
  #25
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I've been mastering a couple of albums with the stereo link in off mode. I think it's difficult to get the balance right in L&R. If I turn on the stereo link, it's OK. Even if I have the same settings on the knobs, the left side is maybe 6 db lower. Maybe I have to calibrate it? I also notice that the threshold knobs react different. So, I think it was difficult to master this way, but the sound is betterheh .
Old 5th July 2007 | Show parent
  #26
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Quote:
Originally Posted by arf ➑️
I know it's a popular mastering practice to unlink a stereo limiter/compressor, and it does sound a little louder and wider that way, but it's also a kind of false seduction because it reduces the impact of the bass and bass drum and weakens the beat. Unlinked changes the mix more than linked.

My tupence.

i agree with you Arf,
unlinked it can be seducing, but the stereo image gets lost quite imediatly

who use its stc8 in MS ? and how ?
Old 22nd October 2007 | Show parent
  #27
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sidechain use on STC8

I thought I would rekindle this thread as I just got the sidechain cable for my STC8M, I haven't talked with Dave about how it works but I assume the reason he has a send and return for sidechain is to tap off the incoming signal as a send to make sure phase isn't messed up? I would have prefered to be able to send a duplicated and EQed track to just a SC input, so as not to require additional eq hardware but I don't think that will work with the way he has it set up.
I am curious how many people use the side chain on their STC8s and how. I am looking to reduce compressing on the kicks (so will high pass SC above 120 aprox) and also maybe to play with de-essing a sibilant mix. Anybody have any luck with that? Would like to hear what eqs people have found to work well in the chain etc.
Old 22nd October 2007 | Show parent
  #28
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🎧 15 years
Quote:
Originally Posted by thephatboi ➑️
I thought I would rekindle this thread as I just got the sidechain cable for my STC8M, I haven't talked with Dave about how it works but I assume the reason he has a send and return for sidechain is to tap off the incoming signal as a send to make sure phase isn't messed up? I would have prefered to be able to send a duplicated and EQed track to just a SC input, so as not to require additional eq hardware but I don't think that will work with the way he has it set up.
I am curious how many people use the side chain on their STC8s and how. I am looking to reduce compressing on the kicks (so will high pass SC above 120 aprox) and also maybe to play with de-essing a sibilant mix. Anybody have any luck with that? Would like to hear what eqs people have found to work well in the chain etc.
I think the reason for the send is because there is no switch to engage the sidechain input (i.e the return), so you would normal the send and return on your patchbay and patch the external signal into the return when necessary.

I hope that makes sense.
Old 23rd October 2007
  #29
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Am I tripping or was / is there some way connection wise to 'partner' it with the Cransong Hedd converter in a special way?
Brad?

(good to see you at the AES BTW!)

Was that a limiter only technique?

I forget....
Old 23rd October 2007 | Show parent
  #30
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🎧 15 years
Quote:
Originally Posted by Jules ➑️
Am I tripping or was / is there some way connection wise to 'partner' it with the Cransong Hedd converter in a special way?
Brad?

(good to see you at the AES BTW!)

Was that a limiter only technique?

I forget....
No, there is a way. I'll have to look around to see if I can find it, but essentially, the limiter becomes an 'over protector' for the HEDD...

[edit - added the following]
OK, checked out the STC-8 manual and on page 10 it tells how to set up the STC-8 to protect against overloads with any ADC following...
πŸ“ Reply

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