The No.1 Website for Pro Audio
New HendyAmps "Pollock" Optical Bus Comp
Old 16th January 2019
  #151
Lives for gear
 
mirochandler's Avatar
 
🎧 10 years
Looking forward to your impressions!
Old 16th January 2019
  #152
Lives for gear
 
B Elgin's Avatar
 
There's definitely a fine line between classy and cheesy for LED lighting or color changing schemes in general. The videos of Pollock sure look awesome though! Maybe later this year I'll be able to add one here.

Looking forward to your impressions Jan - especially since you favor the puristic and minimal chain concept and are generally skeptical of hype and "new things".
Old 16th January 2019
  #153
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Ok, first I have to say I really hate trying out new stuff in the studio as to me there are always two factors to consists: the raw processing ability and the device interaction within the chain. Not easy to separate those two factors as both influence each other. I see absolutely no sense in testing a new device my all other stuff on bypass. So, testing stuff always means to me destroying my chain trying to integrate the new device in the best possible way. A huge bummer when doing real work at that time too.
My chain is fully fixed and most stuff is always "in", so I prefer gear that separates the in/out stages from the action.

So, I reserved myself the first 3 hours of the day exclusively for getting a first impression of the Pollock. After choosing a rather random place for it within the chain between two solid state buffer stages, I spend the first hour to get an idea about its base sound/boxtone.
So, compression at 0, Color and Style at 1 and Wet/Dry fully dry and immediately felt a bit disappointed; a bit thin in the lows and a bit too much in the present area and highs, slightly pushy and intrusive. Felt so different from the MA which to me rather has a tendency too some slight woolynees (especially with the stock tubes).
Took me quite some time playing around with Calibaration and Input levels to find out that it mainly comes from the wet/dry which I, to be true, thoughed of working more transparent. But it has a quite big influence on the sonic signature even without real compression action. But thats just Chris' designs I think, everything affect anything (but in a great usefull way).
So, I prefer the wet/dry to set more towards the wet with comperssion near 0 for the moment which result in still a bit colored, pushy kind of boxtone, but in a good way. But its hard to say whats really pure boxtone and what is compression here, as the VU meter havent even kissed the needle in all my tests yet... (and I will not open a lent unit to change that to my likings yet)

The Pollock also kind of balance out the music, tighten it up (some tracks even felt a bit faster when processed by the Pollock), but also calming down s***** aspects in the music in a very elegant way. Its still a bit high forward and with a kind of sandy attitude that more reminds at linen than at soft velvet. Hard aspects gets even out, but sometimes I had the slight feel rides and stuff felt a tiny bit less "silver" too.
Compression wise I realy like what the Pollock does to vocals, theres a kind of very creamy saturation behaviour in that area.

Its defintly much more than a pure compressor, it can really balance out the music in a way I havent heard fom others. All in all a lot of comps tend to force me to reach to further processing to overcome their sideproduct build up under compression (which leads me use very less compression in the past).
With the Color and Style theres a lot of tone in it and very different compression modes are possible. Aggressive sounds a bit aggressive/pumping to me and needs more time I think. Style also feels quite colored, while Color 3 makes really good work in taming down s***** highs.

All in all, when set up very carefully (its a beast that can easily overdone as the MA too) it can show a very calm behaviour to me, taking away nervousness from the music without making it dull or boring, something I do not know from other comps in that way.
Im really liking the unstepped potis (like with the MA) as very few mm can achieve a lot. But in opposite to the MA I really using the Bypass here very, very often t get an idea what the Pollock is really doing to the music. All those different modes slightly change levels too, so a unstepped output feels very handy here to me.

I really need much more time with as the Pollock is a really unique and complex device, so this are just my first random thoughts. Hope this helps nevertheless.

PS: Chris, whats "unity" at the Output poti? I ended up with 4 for now as this felt the most clean to me for the moment.

PPS: I just changed out the Rockruepel with the Pollock and now its changed its boxtone signature again to a more dimensional fullness (ah, there it is, the Hendyamp sound... ). So, its the same kind of Diva like the MA and the RR is, boxtone mostly depended very much on the surrounding which leads me to a huge dilemma at the moment; CompOne vs Pollock... Or another invest in something really able to drive it properly (which might fill my other thread with content again..). Ah, ****, I had big fears this would happen.

Last edited by JP__; 16th January 2019 at 03:17 PM..
Old 17th January 2019
  #154
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
I actually wanted to come back and add how great it feels using quality, well thought and tuned by ear equipment. You just need so much less processing to "correct" things, everything comes together with much less moves and without the side effects of technical "correction" processing (using Deessers for s*****/harsh highs for example).

But then I make the mistake trying to add both, Pollock and RR back to the chain, changed a few things in the sequence and now everything kind of collapses. Resulting in a RR that sound very much diff from what I was used to lately and a Pollock that shows back that behaviour I described yesterday at first, both thin and flat. No wins, just losses... So, another wasted hour under the table to bring everything back in working order. Have I already mentioned how much I hate trying out new stuff...
Old 17th January 2019 | Show parent
  #155
Lives for gear
 
Giuseppe Zaccaria's Avatar
 
🎧 5 years
Quote:
Originally Posted by JP__ ➡️
I actually wanted to come back and add how great it feels using quality, well thought and tuned by ear equipment. You just need so much less processing to "correct" things, everything comes together with much less moves and without the side effects of technical "correction" processing (using Deessers for s*****/harsh highs for example).

But then I make the mistake trying to add both, Pollock and RR back to the chain, changed a few things in the sequence and now everything kind of collapses. Resulting in a RR that sound very much diff from what I was used to lately and a Pollock that shows back that behaviour I described yesterday at first, both thin and flat. No wins, just losses... So, another wasted hour under the table to bring everything back in working order. Have I already mentioned how much I hate trying out new stuff...
Yes you mentioned, but only when you put the effort to do it you discover how to improve the quality of your work, whatever you doing will improve your skills and the work you deliver, so no waste of time here just understand that this art will always become something else, developing in better... keep up the good things
Old 17th January 2019 | Show parent
  #156
Lives for gear
 
teebaum's Avatar
 
Verified Member
5 Reviews written
🎧 10 years
Quote:
Originally Posted by JP__ ➡️
Ok, first I have to say I really hate trying out new stuff in the studio as to me there are always two factors to consists: the raw processing ability and the device interaction within the chain. Not easy to separate those two factors as both influence each other. I see absolutely no sense in testing a new device my all other stuff on bypass. So, testing stuff always means to me destroying my chain trying to integrate the new device in the best possible way. A huge bummer when doing real work at that time too.
My chain is fully fixed and most stuff is always "in", so I prefer gear that separates the in/out stages from the action.

So, I reserved myself the first 3 hours of the day exclusively for getting a first impression of the Pollock. After choosing a rather random place for it within the chain between two solid state buffer stages, I spend the first hour to get an idea about its base sound/boxtone.
So, compression at 0, Color and Style at 1 and Wet/Dry fully dry and immediately felt a bit disappointed; a bit thin in the lows and a bit too much in the present area and highs, slightly pushy and intrusive. Felt so different from the MA which to me rather has a tendency too some slight woolynees (especially with the stock tubes).
Took me quite some time playing around with Calibaration and Input levels to find out that it mainly comes from the wet/dry which I, to be true, thoughed of working more transparent. But it has a quite big influence on the sonic signature even without real compression action. But thats just Chris' designs I think, everything affect anything (but in a great usefull way).
So, I prefer the wet/dry to set more towards the wet with comperssion near 0 for the moment which result in still a bit colored, pushy kind of boxtone, but in a good way. But its hard to say whats really pure boxtone and what is compression here, as the VU meter havent even kissed the needle in all my tests yet... (and I will not open a lent unit to change that to my likings yet)

The Pollock also kind of balance out the music, tighten it up (some tracks even felt a bit faster when processed by the Pollock), but also calming down s***** aspects in the music in a very elegant way. Its still a bit high forward and with a kind of sandy attitude that more reminds at linen than at soft velvet. Hard aspects gets even out, but sometimes I had the slight feel rides and stuff felt a tiny bit less "silver" too.
Compression wise I realy like what the Pollock does to vocals, theres a kind of very creamy saturation behaviour in that area.

Its defintly much more than a pure compressor, it can really balance out the music in a way I havent heard fom others. All in all a lot of comps tend to force me to reach to further processing to overcome their sideproduct build up under compression (which leads me use very less compression in the past).
With the Color and Style theres a lot of tone in it and very different compression modes are possible. Aggressive sounds a bit aggressive/pumping to me and needs more time I think. Style also feels quite colored, while Color 3 makes really good work in taming down s***** highs.

All in all, when set up very carefully (its a beast that can easily overdone as the MA too) it can show a very calm behaviour to me, taking away nervousness from the music without making it dull or boring, something I do not know from other comps in that way.
Im really liking the unstepped potis (like with the MA) as very few mm can achieve a lot. But in opposite to the MA I really using the Bypass here very, very often t get an idea what the Pollock is really doing to the music. All those different modes slightly change levels too, so a unstepped output feels very handy here to me.

I really need much more time with as the Pollock is a really unique and complex device, so this are just my first random thoughts. Hope this helps nevertheless.

PS: Chris, whats "unity" at the Output poti? I ended up with 4 for now as this felt the most clean to me for the moment.

PPS: I just changed out the Rockruepel with the Pollock and now its changed its boxtone signature again to a more dimensional fullness (ah, there it is, the Hendyamp sound... ). So, its the same kind of Diva like the MA and the RR is, boxtone mostly depended very much on the surrounding which leads me to a huge dilemma at the moment; CompOne vs Pollock... Or another invest in something really able to drive it properly (which might fill my other thread with content again..). Ah, ****, I had big fears this would happen.
it would have made sense if you'd read a bit about what which parameter really does at pollock first, that helps with such a unique device.
the "mix" controller is not a "mix" in the usual sense, but a kind of reduction of the signal in the control path.
color 1-3 and style 1-3 are also relatively interactive, but chris made a nice pdf for them.

but i also have to say that i had a few phone calls with chris to better understand the pollock.
my first impression wasn't euphoric either, meanwhile i know it better and it is in 20-40% of all my masters in the chain.

i can share your impressions to about 10%, no idea, if it's your chain.
my pollock is stepped, unity gain is at 0.
i have increased the sensitivity of the meters.

the rr is known to react relatively specifically to the environment, the output gain changes the output impedance here.
Old 17th January 2019 | Show parent
  #157
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Quote:
Originally Posted by teebaum ➡️
it would have made sense if you'd read a bit about what which parameter really does at pollock first, that helps with such a unique device.
the "mix" controller is not a "mix" in the usual sense, but a kind of reduction of the signal in the control path.
color 1-3 and style 1-3 are also relatively interactive, but chris made a nice pdf for them.

but i also have to say that i had a few phone calls with chris to better understand the pollock.
my first impression wasn't euphoric either, meanwhile i know it better and it is in 20-40% of all my masters in the chain.

i can share your impressions to about 10%, no idea, if it's your chain.
my pollock is stepped, unity gain is at 0.
i have increased the sensitivity of the meters.

the rr is known to react relatively specifically to the environment, the output gain changes the output impedance here.
I had Chris' PDF by hand while testing and it indeed definitly helps a lot (I missed a manual a bit). But once understand, its very clear to operate.
Regarding the wet/dry: I have a similar feature at my ADT comp, so I was really aware what it does and what not (Chris has also explained it here before).
Maybe my post reads differently than I had expected. I really love the unit, its very special and I really do nit understand why it doesnt gets the same rave here like the MA back then.

Im no gear tester, its not my aim to write anything objective or to be polite. I just described what I did and what hear, because some ppl ask me to do.
All I can say is: the Pollock, as every other transformer based gear that I know, is very picky regarding the surroundings. Some might see that as a downside, some as a way to really finetune it to their likings.
Old 17th January 2019 | Show parent
  #158
Lives for gear
 
teebaum's Avatar
 
Verified Member
5 Reviews written
🎧 10 years
Quote:
Originally Posted by JP__ ➡️
I had Chris' PDF by hand while testing and it indeed definitly helps a lot (I missed a manual a bit). But once understand, its very clear to operate.
Regarding the wet/dry: I have a similar feature at my ADT comp, so I was really aware what it does and what not (Chris has also explained it here before).
Maybe my post reads differently than I had expected. I really love the unit, its very special and I really do nit understand why it doesnt gets the same rave here like the MA back then.

Im no gear tester, its not my aim to write anything objective or to be polite. I just described what I did and what hear, because some ppl ask me to do.
All I can say is: the Pollock, as every other transformer based gear that I know, is very picky regarding the surroundings. Some might see that as a downside, some as a way to really finetune it to their likings.
my chain seems to be a bit less sensitive regarding the interaction. i also have 1, 2 devices that don't like to come one after the other - mostly they are combinations of transformer devices with solidstate servosymetrated, but in this context i didn't notice the pollock very much.

i use the pollock by the way to 95% with color1/style1, the mix control is rarely over 2 or 3.

I don't know the whole phenomena with the "thin out".
depending on the material he can help the voices, almost always the drums, especially the bass, sometimes the rooms.
also to say is that i operate it m/s, which is a bit special with pollock, especially since i partly push the level in the chain of the s-signal (and then lower it again).

Last edited by teebaum; 18th January 2019 at 12:53 PM..
Old 17th January 2019 | Show parent
  #159
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Quote:
Originally Posted by Giuseppe Zaccaria ➡️
Yes you mentioned, but only when you put the effort to do it you discover how to improve the quality of your work, whatever you doing will improve your skills and the work you deliver, so no waste of time here just understand that this art will always become something else, developing in better... keep up the good things
I just mentioned it here, because I think its something some ppl are not really aware of when working analog. And a reason why soundfiles can sound so damn different.
The soundfiles I heard from the Pollock dissapointed me at first, but it was the same with the MA and others as well. In my first test I was able to reproduce that sound by accident and my dissapointment become a bit bigger, til the point I changed it with the RR.

And its similar to my long year experiences with the RR were other ppl have told me its always a bit mid forward, slightly aggressive, flat and thin/tight sounding. Yes, it can, when paired with wrong gear or it can sound full and organic and 3D.
Old 17th January 2019 | Show parent
  #160
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Quote:
Originally Posted by teebaum ➡️
my chain seems to be a bit less sensitive regarding the interaction. i also have 1, 2 devices that don't like to come one after the other - mostly they are combinations of transformer devices with solidstate servosymetrated, but in this context i didn't notice the pollock very much.

i use the pollock by the way to 95% with color1/style1, the mix control is rarely over 2 or 3.

I don't know the whole phenomena with the "thin out".
depending on the material he can help the voices, almost always the drums, especially the bass, sometimes the rooms.
also to say is that i operate it m/s, which is a bit special with pollock, especially since i partly wear the level in the chain of the s-signal (and then lower it again).
Im mostly on Style1, Color1, Compression around 1, but mostly rather wet for the moment (but things like that might change over time, this was definitly the case with the MA that needed a long journey to master it). Color 3 can be a weapon for deesser duties. With Color 2 Im not sure about atm. Same with Style 2 and 3.
The wet/dry is rather a pure tone control to me, not really a feature to controll the compression. With some mixes I used while my tests I had the feeling to really be able to master with only the Pollock, because of its flexibilty regarding being a tone control and a "finisher" in one and the MA (its a cool duo which very much complements each other). Also my ADT comp seems to pair very well with it (and the MM which is still THE weapon for pairing with transformer based gear, even when the EQ bands are mostly bypassed).

I still work exactly like you regarding M/S. Sometimes had the feel the Pollock might sound a tiny bit better feeded with normal L/R, but this definitly needs some further investigation before making claims here. Im still mostly focussed on boxtone atm, not so much on his endless featureset and possibilties.

Last edited by JP__; 17th January 2019 at 06:53 PM..
Old 18th January 2019 | Show parent
  #161
Lives for gear
 
teebaum's Avatar
 
Verified Member
5 Reviews written
🎧 10 years
Quote:
Originally Posted by JP__ ➡️
Im mostly on Style1, Color1, Compression around 1, but mostly rather wet for the moment (but things like that might change over time, this was definitly the case with the MA that needed a long journey to master it). Color 3 can be a weapon for deesser duties. With Color 2 Im not sure about atm. Same with Style 2 and 3.
The wet/dry is rather a pure tone control to me, not really a feature to controll the compression. With some mixes I used while my tests I had the feeling to really be able to master with only the Pollock, because of its flexibilty regarding being a tone control and a "finisher" in one and the MA (its a cool duo which very much complements each other). Also my ADT comp seems to pair very well with it (and the MM which is still THE weapon for pairing with transformer based gear, even when the EQ bands are mostly bypassed).

I still work exactly like you regarding M/S. Sometimes had the feel the Pollock might sound a tiny bit better feeded with normal L/R, but this definitly needs some further investigation before making claims here. Im still mostly focussed on boxtone atm, not so much on his endless featureset and possibilties.
with most devices i know after a few minutes what is able and what they are good for, the basic character and the basic potential are clear. in the following weeks this impression usually consolidates and you discover a few additional features or notice that an aspect that was initially enthusiastic is now a little tiring.

with pollock it was quite different and i waited a few weeks before writing something on gz.
you have to learn to "play" it like an instrument - similar to michelangelo.
Old 18th January 2019 | Show parent
  #162
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Quote:
Originally Posted by teebaum ➡️
with most devices i know after a few minutes what is able and what they are good for, the basic character and the basic potential are clear. in the following weeks this impression usually consolidates and you discover a few additional features or notice that an aspect that was initially enthusiastic is now a little tiring.

with pollock it was quite different and i waited a few weeks before writing something on gz.
you have to learn to "play" it like an instrument - similar to michelangelo.
Definitly.
But it should be sure that what I have written yet has nothing to do with a review or something similar. It mainly was just for myself to collocate my initial thoughs after hearing the unit the first time. If its interesting for anyone else, Im happy. If not, please just ignore.

When I test gear I normally first try to find out if its fits my chain or not from a boxtone perspective. Regarding the Pollock it was about finding its sweetspot in the chain and see how it interacts with whats there (this only costs me more than half a day). An important question to me was: will it bring to much one dimensional (not meaning the opposit of 3D) color into my chain, especially in conclusion with the MA?
What a processor really is able to bring to the table (especially such a complex one than the Hendyamps) its a completely different question to me and nothing I'm able to fully answer within this short test period anyway.

Last edited by JP__; 18th January 2019 at 06:28 PM..
Old 18th January 2019
  #163
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
I think the Pollock pairs very well with the MA and they are able to balance out themselfs in a very usefull way.
Theres indeed a kind of similarity in its tone (wonder why... :D ), but its not like color goes through the roof when pairing both (playing around with tubes might be a good idea here as well).
Its that kind of classy, full and organic sound, but paired with a modern kind of creamy saturation sheen (still need to find the sweetspot input gain wise). I especially like what it does to vocals (I just worked on a track with sexy, smoky female voice. Wow... .) and Drums (also worked on a old school style reggae track where it adds that cool buttery, but punchy vinyl sound to the percussion group), it really can add a kind of velvet like intimate roundness without taking out the punch. It also can be a groove machine. But I still didnt really understand why it sometimes act like this and sometimes like that even with very similar setting.
If one mode (Color1) isnt really working, an alternative is one click away, what makes it really useful in quite broad band of possibilities. It can even work like a Deesser/Deharsher in a quite unique way. Really cool.
Style seems a bit too colored for my taste and seems to need mixes that really lacking something or compression settings that are very strong.

But for me, at least at the moment, its not a tool for me that can recreate an idea thats in your head, but a more a thing you play around with til you find a sweetspot where it goes with the music and adds balance and life at the same time.
So, maybe not the ideal tool for the head driven type of users...?
It also can be overdone very easy (like the MA) and very little can come a long way here too. Its not a set and forget unit like so many others, I think.

The wet/dry gets more useful the more I use it, a important part of the design imho (so Kudos to Chris for adding this), really useful to finetune what the Pollock adds to the music.

Definitely worse a test for those who felt in love with the MA too.

Last edited by JP__; 18th January 2019 at 04:56 PM.. Reason: Confused Style with Color, sorry...
Old 23rd January 2019
  #164
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
The Pollock comes to stay.
Old 23rd January 2019 | Show parent
  #165
Lives for gear
 
B Elgin's Avatar
 
Quote:
Originally Posted by JP__ ➡️
The Pollock comes to stay.
Surprise twist! Does the RR still have a role in your chain?

I'm curious how the pumping/aggressive mode works - is that suitable for a very limited tempo/stylistic range?

In considering the tuning depth and reading these reports it seems like a deep box that rewards exploration well - of course once you feel like you know its potential, eventually tube rolling madness awaits...
Old 23rd January 2019 | Show parent
  #166
Lives for gear
 
JP__'s Avatar
 
Verified Member
🎧 10 years
Quote:
Originally Posted by B Elgin ➡️
Surprise twist!
No, no, not at all. Maybe my initial states were overpicky (you now me... ) or some things were lost in translation. I thought the unit was very special from the first moves. It just needs time to find a good working place within the chain, but that counts for all stuff imho.

Quote:
Does the RR still have a role in your chain?
Good question. Its out for the moment, but I will try hard to find another place for it within the next few days. Otherwise...
With now two Hendyamp units my chain may tend to sound a bit too much in one direction. The RR, from its boxtone, is a bit a ying to the yang and therefore probably needed to balance this out a bit. On the other side, the less the better...
Surprisingly, at least in my chain the Pollock pairs very well with an academic, bit boring VCA comp (which brings the ADT back to more actual compression work in my case).

Quote:
I'm curious how the pumping/aggressive mode works - is that suitable for a very limited tempo/stylistic range?
Good question too. To be true, I dont think I already mastered 1/3 of all the possibilities the Pollock offers. For now Im mostly in the Smooth mode (the "safe" mode... :D), but Aggressive already worked great for Deessing kind of tasks or pushing back an overloud snare back into the mix.

Quote:
In considering the tuning depth and reading these reports it seems like a deep box that rewards exploration well - of course once you feel like you know its potential, eventually tube rolling madness awaits...
It definitely is.
Some tubes are on its way already...
Old 4th November 2019 | Show parent
  #167
Lives for gear
 
zulusound's Avatar
 
1 Review written
🎧 15 years
Any more real life users want to chime in on the Pollock?
Old 5th November 2019
  #168
Lives for gear
 
teebaum's Avatar
 
Verified Member
5 Reviews written
🎧 10 years
i'm selling my pollock, a great compressor, but in my chain i had to decide for more solidstate and less tubes/transformers, i've had enough of that already.

if you are interested, please contact pm.
it is the stepped version.
Old 28th March 2021
  #169
Lives for gear
 
andersmv's Avatar
 
🎧 10 years
I'm grabbing a Pollock next month and will be doing a video on it. Chris is also going to send a mono/solid state version over here for me to compare to, so I'll be sure to include that as well. Chris has already done a good overall video of the tube Pollock on YouTube. There's also a longer live stream recording where he went through and compared the tube and solid state Pollock and Michelangelo at one point. For anyone thinking of buying one or that's curious, what do you want to hear or see in a video? Anything you're curious about?

I'm buying it mainly for mix buss duties, I'll be setting it up on my API console and mixing into it. It's also capable of being a great color box, so I'm happy to get into it as far as tracking and using it just to color a source a bit.
Old 30th March 2021 | Show parent
  #170
Lives for gear
 
🎧 5 years
I have two solid state Picassos, which are channel strips with preamp, Michelangelo and a one knob Pollock circuit.

I have interest in a Pollock, likely solid state, and would like to hear vocals through a full Pollock. Looking for the cleanest gain reduction.

Also interested in mixes run through Pollock SS and Tube.

Quote:
Originally Posted by andersmv ➡️
I'm grabbing a Pollock next month and will be doing a video on it. Chris is also going to send a mono/solid state version over here for me to compare to, so I'll be sure to include that as well. Chris has already done a good overall video of the tube Pollock on YouTube. There's also a longer live stream recording where he went through and compared the tube and solid state Pollock and Michelangelo at one point. For anyone thinking of buying one or that's curious, what do you want to hear or see in a video? Anything you're curious about?

I'm buying it mainly for mix buss duties, I'll be setting it up on my API console and mixing into it. It's also capable of being a great color box, so I'm happy to get into it as far as tracking and using it just to color a source a bit.
Old 30th March 2021 | Show parent
  #171
Lives for gear
 
andersmv's Avatar
 
🎧 10 years
Quote:
Originally Posted by StevenLMorgan ➡️
I have two solid state Picassos, which are channel strips with preamp, Michelangelo and a one knob Pollock circuit.

I have interest in a Pollock, likely solid state, and would like to hear vocals through a full Pollock. Looking for the cleanest gain reduction.

Also interested in mixes run through Pollock SS and Tube.
I can do that. I’ll definitely do a comparison between the two on the mix buss, but just keep in mind I’ll have to do a separate left/right pass on the solid state one since it’s mono. The imaging might end up seeming different because of that.

I’ve got a stereo Warhol preamp and really love it. I’ve been tempted to have Chris do a solid state Picasso, I wasn’t sure if he had made any yet. The tilt EQ and simple compressor on the Warhol are great, but you can’t always use the EQ and compressor at the same time because of the passive nature of the tilt EQ. When you activate the passive EQ, you loose some level and it throws off the gain staging for the compressor. Not the end of the world, but that’s how they have to work in the circuit to sound the best.
Old 30th March 2021 | Show parent
  #172
Gear Nut
 
OTRM's Avatar
Quote:
Originally Posted by andersmv ➡️
I'm grabbing a Pollock next month and will be doing a video on it. Chris is also going to send a mono/solid state version over here for me to compare to, so I'll be sure to include that as well. Chris has already done a good overall video of the tube Pollock on YouTube. There's also a longer live stream recording where he went through and compared the tube and solid state Pollock and Michelangelo at one point. For anyone thinking of buying one or that's curious, what do you want to hear or see in a video? Anything you're curious about?

I'm buying it mainly for mix buss duties, I'll be setting it up on my API console and mixing into it. It's also capable of being a great color box, so I'm happy to get into it as far as tracking and using it just to color a source a bit.
I'd be interested to hear the Pollock in a minimalistic mastering sense. As in, what does it add to a mix just by putting it in the chain with no or maybe just a touch of GR for glue. It would be great if you could run a mix thru it in that sense. Wondering how it compares to a Dangerous Comp in that role....
Thnx
Old 30th March 2021 | Show parent
  #173
Lives for gear
 
andersmv's Avatar
 
🎧 10 years
Quote:
Originally Posted by OTRM ➡️
I'd be interested to hear the Pollock in a minimalistic mastering sense. As in, what does it add to a mix just by putting it in the chain with no or maybe just a touch of GR for glue. It would be great if you could run a mix thru it in that sense. Wondering how it compares to a Dangerous Comp in that role....
Thnx
As far as it working in a mastering roll: what would you want to hear that would be different then it being on the master buss of a mix? I can pull up a finished mix at some point (that already has some different stuff on the master buss) and then run that through it. I understand why you're asking, I just want to make sure we're on the same page. There's plenty of guys using these in their mastering setups.
📝 Reply

Similar Threads

Thread / Thread Starter Replies / Views Last Post
replies: 61 views: 6312
Avatar for MarkF48
MarkF48 5th January 2013
replies: 987 views: 157555
Avatar for ianbarter@mac.co
[email protected] 1 week ago
replies: 5265 views: 538178
Avatar for Gabriel C Media
Gabriel C Media 4 days ago
replies: 111 views: 22089
Avatar for RoundBadge
RoundBadge 22nd September 2019
Topic:
Post Reply

Welcome to the Gearspace Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…

Forum Jump
Forum Jump