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How many tube mics make sense?
Old 2 weeks ago | Show parent
  #121
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🎧 15 years
Quote:
Originally Posted by Bushman ➡️
Which suggests two possible new threads:

1. What is the best-sounding silence?
the kind that like silent raindrops fell


Quote:
2. Which saturation plug is best for improving the sound of silence?
IK Multimedia's "Subway Walls" is great if you want that words of the prophets thing.
Old 2 weeks ago | Show parent
  #122
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idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by RayHeath ➡️
Yes. Dan impresses the heck out of me. If he is doing it, then I must be doing something wrong!

Ray H.
In my approach I always try to get the sound as perfect as possible with the right mic with the right combination of the right preamp.
A Tube Mic is not always doing a lot of Saturation. Tube's can also sound rather transparent. Micing with Tube-Mics is somewhat more difficult, as if the character from the mic does not fit for the instrument or style, then you have a problem in the mix. But if it does fit, then the mix is easier. What I like is, that the dynamic range of my recordings are better suited for playback on loudspeaker (again only if the right mics have been chosen). A clear concept in sound and planing are crucial.
I.e. for Jazz I often like a Neumann U67 on the Snare. However I must be sure, that there is never a track in which the drummer plays the snare loud, as then then 67 would over-compress and oversaturate. In that situation I would take a solid-state mic with a high headroom (or then a Neumann CMV5 which can handle the headroom). Same for the Bassdrum. I tend to like a Tube-Mic there, but it is an old bottle mic here too (CMV 3 or similar). But in the last years I got lazy and often just use a Neumann 47 fet, which does the job well.

Long story short - if a lot of love is spend while micing instruments, you could mix without any EQ. Al Schmitt does that on his recording and on my last video I tried that too. The Result was very intersting for me:-)

https://youtu.be/PMoTWbamkyY

Cheers,
Daniel
Old 2 weeks ago | Show parent
  #123
Lives for gear
Quote:
Originally Posted by idee und klang ➡️
In my approach [. . .]
Thanks so much for the thoughtful and compelling response, Daniel!

I am definitely going to have to up my game - in a lot of areas.

. . .and what an amazing tutorial - absolutely, positively, that's something to write home about!


Loved it - totally loved it!

Ray H.

BTW, I've watched your other videos, including the Analog vs Digital Processing on Drums video - which I loved, too. But I have been wondering if you believe your upcoming paid tutorial is well suited, appropriate and useful for ITB guys like me with Pro Tools Ultimate and plugins? If so, I'm in.
Old 2 weeks ago | Show parent
  #124
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idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by RayHeath ➡️
Thanks so much for the thoughtful and compelling response, Daniel!

I am definitely going to have to up my game - in a lot of areas.

. . .and what an amazing tutorial - absolutely, positively, that's something to write home about!


Loved it - totally loved it!

Ray H.

BTW, I've watched your other videos, including the Analog vs Digital Processing on Drums video - which I loved, too. But I have been wondering if you believe your upcoming paid tutorial is well suited, appropriate and useful for ITB guys like me with Pro Tools Ultimate and plugins? If so, I'm in.
Thanks Ray.

Feel free so share the video a little bit - I think that especially this one could be an inspiration (hopefully) for many to invest more time and love in the microphone setup.

Yes - the paid tutorial ist ITB only. The Analog vs. Digital is great for those free videos, as I think it is understood wrong by many engineers today and there is so much blabla about that.
But in the domain of serious education I think that nowadays mixing should start in the computer. Then it is about taking it to the highest level there and then, if you feel that you need analog tools for giving something that is not possible in digital - go for that later.

Cheers,
D.
Old 2 weeks ago | Show parent
  #125
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🎧 10 years
We finally get to the critical importance of appropriate mic selection in post #122 .
Thank You Daniel Dettwiler!
Hugh
Old 2 weeks ago | Show parent
  #126
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1 Review written
🎧 5 years
Quote:
Originally Posted by hughshouse ➡️
We finally get to the critical importance of appropriate mic selection in post #122 .
Thank You Daniel Dettwiler!
Hugh
...except that to get tracks which don't 'need' eq (and maybe not even dynamic processing), one does not necessarily depend on using tube mics; also, not using eq (these days) may be be a valuable or even laudable approach and takes experience but not everyone strives for this. worth mentioning that it largely depends on additional factors such as the available means (in terms of room, gear but also time) and finally, it's not quite correct on absolute terms: by selcting the mics (which have built-in 'eq' steming from the capsule, the baseket, the innards), pattern, position and distance to the source etc., we're affecting the mic's frequency response, whether we want to do so or not...
Old 2 weeks ago | Show parent
  #127
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idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by deedeeyeah ➡️
...except that to get tracks which don't 'need' eq (and maybe not even dynamic processing), one does not necessarily depend on using tube mics; also, not using eq (these days) may be be a valuable or even laudable approach and takes experience but not everyone strives for this. worth mentioning that it largely depends on additional factors such as the available means (in terms of room, gear but also time) and finally, it's not quite correct on absolute terms: by selcting the mics (which have built-in 'eq' steming from the capsule, the baseket, the innards), pattern, position and distance to the source etc., we're affecting the mic's frequency response, whether we want to do so or not...
I'd like to add here, that getting a certain sound with a mic that does that sound is not equal to having a neutral mic and EQ it later (although, also to make that point clear, I am absolutely not against EQ).

A mic is like a sensor to measure the virbration of the Air-Molecules at that time. The electric representation is nowhere similar than as it would sound there, if you were there at that point with your own ears. Compare that to when you are on a boat and watch to the sea and you are blown away by that beautiful view with all the waves. Now you could put a sensor somewhere on the sea. This sensor would measure at that time the up and down of the water. Look to that on a screen - it would not be magical anymore.

Reality is not coming to the living room. Every microphone has it's color, even transparent mics are not really transparent, as they also have a capsule (which has it's own characteristics and inertia). And there is the pressure jam (not sure if that is the right word for "Druck-Stau"), that affects high-frequency behavior, or you could put pressure balls around it and and and... then there is, at least in condensator-mic, the amplification, that again has a bias.

A lot is goinig on in a mic (no matter which typ of mics it is). However that Color and Sound that the mic with the right preamp is giving is not the same, as if you would take the most transparent mic and then EQ or compress it later.

As an example on that song in the video: I chose a Neumann U67 on the Snare, knowing it would provide me exactly with what I needed later. But if the drummer would have played loud I would have taken a dynamic mic on it. And I used two Neumann M49 as overheads as I knew that would give me the perfect sound for that recording with that very drummer in that very room. It would not have sounded the same, if I did use transparent mics and did the coloring later. Not that it would not have worked, but usually I think it is well worth to spend time to think how to nail something with the mics available.

If then, later, an EQ is needed, I don't have a problem with that.

D.

Last edited by idee und klang; 2 weeks ago at 04:12 PM..
Old 2 weeks ago | Show parent
  #128
Lives for gear
 
🎧 10 years
Thank you Daniel for the absolute clarity of thought in the importance of mic selection. Tube mics were chosen by the the OP for this thread and to that end I totally agree with your assessment pursuant to when, where and why placement issues with the U67 were so critical. I have been involved with vocal and acoustical instrument recording and live performance SR for more than 5 decades. My introduction to tube mics was with a U47 in 1969 in my cousin's studio. Thru the analog years I did not see a big need to invest in tube mics until I joined the digital revolution. The digital, clean, transparent sonic landscape was missing the analog "warmth" provided by tubes and transformers. They had delivered the expected sound of most all of the music produced in the last half of the 20th century.
My first tube mic was an AT4060 20 years ago, followed by 4 Pelusos and a Flea47 next. They provide the tube and transformer color that I was missing for the Bluegrass and acoustic Americana music that I work with.
The nomenclature and sonic properties of our tracking space and the amount of room I like to capture initially is mostly determined with mic placement. Spending the time to fit the mic and it's placement with a given source until it "sounds good" is certainly my protocol and after watching your video it is apparently yours as well.
Hugh
Old 2 weeks ago | Show parent
  #129
Lives for gear
Bob Gerson: Francis D. Corvin.
Sara Holland: Is he dead?
Bob Gerson: Only if I'm lucky.
- James Cromwell & Marcia Gay Harden, Space Cowboys. 2000
Quote:
Originally Posted by deedeeyeah ➡️
...except [. . .] one does not necessarily depend on using tube mics [. . .] additional factors such as the available means (in terms of room, gear but also time) [. . .] we're affecting the mic's frequency response, whether we want to do so or not...
Have you noticed how everybody seems to be dead lately?
- Col. William 'Hawk' Hawkins | Tommy Lee Jones, Space Cowboys. 2000
As a - well, let’s say: not still young - musician, time may not be on my side. I mean, I can - and I do - put any completely unreasonable amount of time into mic selection and placement. But the additional degrees of freedom, constraints and attributes you mention have played a clear hand in my scenarios. With respect to tube mic selection, the practicality of limited resources and experience yet scopes options available to my imagination.

Quote:
Originally Posted by idee und klang ➡️
[. . .] As an example on that song in the video: I had chosen a Neumann U67 on the Snare, knowing it would provide me exactly with what I needed later. But if the drummer would have played loud I would have putten a dynamic mic on it. And I used M49 as overheads as I knew that would give me the perfect sound for that recording. It would not have sounded the same, if I did use transparent mics and did the coloring later. Not that it would not have worked, but usually I think it is well worth to spend time to think how to nail something with the mics available. [. . .]
I expect great, experienced recordists would have made diverse mic and preamp selections for Jasmin Tabatabai’s recording - even if they had a roughly [rather than exquisitely] similar vision for the tune? You needn't be careful with my feelings if you elect to answer.

Particularly, my mind focused on the effective EQ aspects consequential from compression and reverb in your stunningly beautiful results.

The notion of a deep tube mic locker remains attractive to me, and I'm making investments. But - at some point - depth seems proportional to the inverse of reasonable budgets. So, I seek to make investments where I expect to get compelling returns. Hence, the initial query of this thread. Thanks for your responses.

EDIT: And I should remark that - for me, as a musician - part of mic selection has to do with the performances they inspire. . .adding yet another [very abstract and hard to define] dimension to the equation.

Aside: Anticipating the GS Satellite may well react by arming itself and initiating a precarious sideways spin, I admit adoption of various virtual preamp plugins - still struggling with effects of capsulejfetvalvepreampaphobia. I own no tube/transformer preamps. Hopefully, virtual preamps will get additional coverage in your tutorials. Either way, I am very much looking forward to the paid version.


[gear] space cowboy,

Ray H.
[Last Lines. . .Frank and Barbara Corvin are standing by their home and staring at the Moon]
Barbara Corvin: Do you think he made it?
Frank Corvin: Yeah, I think he made it.
- Barbara Babcock & Clint Eastwood, Space Cowboys. 2000

This post was brought to you by the Brand Identity Team at Ray Heath, LLC [an S Corporation, registered in the State of Florida] - and was inspired, in part, by Mics on the Moon and Mars, a creative writing from the dazzling mind of The Great MondoB. . .and every young boy’s dream to be an astronaut. . .a cowboy. . .and/or an eloquent and effective studio recordist. Fly Me To The Moon Remastered Soundtrack courtesy of Space Cowboys, Frank Sinatra, Count Basie, and the Count Basie Orchestra.

Last edited by RayHeath; 2 weeks ago at 08:40 PM.. Reason: the performances they inspire
Old 2 weeks ago | Show parent
  #130
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idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by RayHeath ➡️

I expect great, experienced recordists would have made diverse mic and preamp selections for Jasmin Tabatabai’s recording - even if they had a roughly [rather than exquisitely] similar vision for the tune? You needn't be careful with my feelings if you elect to answer.

The notion of a deep tube mic locker remains attractive to me, and I'm making investments. But - at some point - depth seems proportional to the inverse of reasonable budgets. So, I seek to make investments where I expect to get compelling returns. Hence, the initial query of this thread. Thanks for your responses.
I am sure everybody would have chosen what he thinks would be best. At the end it's then also the engineer's taste what he does. In my philosophy the journey goes to something that is beyond experience, what, for me, is important is Insight in something. It is like cooking. I like to eat good sometimes and I like to go to different good restaurants. I speak a lot about that in my tutorial. For me it would be interesting to hear how somebody else would haved mixed that tune. Maybe he would mix it more in a pop-style and it would be totally great. But don't get me wrong, I am not saying you need to have a lot of tube mics to get a great recording. Soyuz i.e. makes some fantastic solid state mic's, I love their 017 fet. Or then, the older I get, the more I use Ribbon Mics, while when I was young I hated them. I always change my working mode and my preferences.

Quote:
Originally Posted by RayHeath ➡️

Aside: Anticipating the GS Satellite may well react by arming itself and initiating a precarious sideways spin, I admit adoption of various virtual preamp plugins - still struggling with effects of capsulejfetvalvepreampaphobia. I own no tube/transformer preamps. Hopefully, virtual preamps will get additional coverage in your tutorials. Either way, I am very much looking forward to the paid version.
I

I am a fan of many plugins that emulate hardware, but I would be very careful with virtual preamps. To my ears they are not doing what the real preamp is doing. I usually prefer to use transarent preamps if there is nothing there with color (i.e. on my scoring work, although warmth is good, but I am too lazy to bring many preamps to the room's were we track orchestra, so I just bring my Horus, loaded with 40 channels. But then I would not use Virtual Preamps, but rather mix the transparent tracks keep that quality (which is also great), and just on the tracks were I want to put warmth I use some saturators. Preamp Emulations always come at a certain coast. But what the Trafo really is doing (it decouples the signal from the speaker, in a way that no emulation can do, and it removes some bass but what you hear is still warm and seems to have even more bass), the emulation is still lightyears away. Not saying that one should not use emulations, but if you just throw, say a neve emulation on every track you get a little bit of that original color, but also a little bit of mistakes on every channel. I prefer to stay a little bit more transparent in such a case. But that's just my 2 cts..

D.
Old 2 weeks ago | Show parent
  #131
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by idee und klang ➡️
I'd like to add here, that getting a certain sound with a mic that does that sound is not equal to having a neutral mic and EQ it later (although, also to make that point clear, I am absolutely not against EQ).

A mic is like a sensor to measure the virbration of the Air-Molecules at that time. The electric representation is nowhere similar than as it would sound there, if you were there at that point with your own ears. Compare that to when you are on a boat and watch to the sea and you are blown away by that beautiful view with all the waves. Now you could put a sensor somewhere on the sea. This sensor would measure at that time the up and down of the water. Look to that on a screen - it would not be magical anymore.

Reality is not coming to the living room. Every microphone has it's color, even transparent mics are not really transparent, as they also have a capsule (which has it's own characteristics and inertia). And there is the pressure jam (not sure if that is the right word for "Druck-Stau"), that affects high-frequency behavior, or you could put pressure balls around it and and and... then there is, at least in condensator-mic, the amplification, that again has a bias.

A lot is goinig on in a mic (no matter which typ of mics it is). However that Color and Sound that the mic with the right preamp is giving is not the same, as if you would take the most transparent mic and then EQ or compress it later.

As an example on that song in the video: I chose a Neumann U67 on the Snare, knowing it would provide me exactly with what I needed later. But if the drummer would have played loud I would have taken a dynamic mic on it. And I used two Neumann M49 as overheads as I knew that would give me the perfect sound for that recording with that very drummer in that very room. It would not have sounded the same, if I did use transparent mics and did the coloring later. Not that it would not have worked, but usually I think it is well worth to spend time to think how to nail something with the mics available.

If then, later, an EQ is needed, I don't have a problem with that.

D.
i'm with you that nothing on earth can mimic the 'sound' of a specific mic (regardless of type/design), positioned 'correctly', paired with the 'right' preamp (and setting) - it's just that far too often, i get into the situation where TIME is the limiting factor (not only because i'm mostly mixing live) so i've adopted a rather robust approach which uses mics with more or less flat fr, mainly directional mics and all of the same preamps/converters (generally speaking) - this necessitates adding anything that's missing at a later stage, meaning after the mic.

that said, i very much enjoy hitting my tracks with signals of which i think they will not need much (or any) processing so on a few selected sources, i practice an approach that is closer to yours - still, these mics don't necessarily need to be tube mics...

___


many years ago, someone questioned my plan to buy additional mics and (external) preamps by asking: 'why would you wanna invest lots of extra cash in gear that you'll be using only half of time - at best?!'

i admit that this statement shaped my further gear purchases quite a bit and in fact even described the path i was going to follow: to me, the desk is the quintessential piece of gear and i'm glad i now have a digital broadcast desk which allows me to easily move between rehearsing, recording, mixing (in the studio and live) and broadcasting.

snowflakes stop reading here:

to finance the desk, i sold some vintage tube mics!

[sorry ray, this wasn't meant to spoil your thread, just to offer a different perspective.]
Old 2 weeks ago | Show parent
  #132
Lives for gear
Quote:
Originally Posted by deedeeyeah ➡️
[. . .] sorry ray, this wasn't meant to spoil your thread, just to offer a different perspective.
On the contrary, the comments strike me as very relevant - even, on-point - with respect to the OP and your experience.

BTW, I actually don't mind if I would only use a very expensive mic rarely [1] - as long as when I do use it, the payoff is proportionally significant to my vision and aspirations.

The only thing. . .short of a quasar with a maliciously-minded black hole. . .that could have spoiled the thread, would have been silly matrix math jokes. [2]


We'll be right back, after we go to the bathroom,

Ray H.

[1] Thriftiness isn't one of my virtues, sadly, when it comes to these investments.

[2] Hey, he started it!

Footnotes: NASA Has Just Unveiled a Brand-New Space Toilet—And It Costs $23 Million

Old 2 weeks ago
  #133
Gear Guru
 
They recorded her with an U87i-stuck in Omni!
Chris
Old 2 weeks ago | Show parent
  #134
Lives for gear
 
1 Review written
🎧 5 years
Quote:
Originally Posted by chessparov2.0 ➡️
They recorded her with an U87i-stuck in Omni!
Chris
Careful! You may start a “best broken mic story” thread.
I bet there are some great stories.
Old 2 weeks ago
  #135
Gear Guru
 
Wow! That's actually a great idea.

"How Can You Mend A Broken Part?"
"Break Up To Make Up".
"Breaking Up Is Hard To Do".
"Unbreak My Part".
"What Becomes Of The Broken Parted"

(Hey this would make great "on hold" Muzak,
for Klaus' Mods, and also Chad @ Signal Arts. )
Chris
Old 2 weeks ago | Show parent
  #136
Lives for gear
Quote:
Originally Posted by hughshouse ➡️
Thank you Daniel for the absolute clarity of thought in the importance of mic selection. [. . .] Thru the analog years I did not see a big need to invest in tube mics until I joined the digital revolution. The digital, clean, transparent sonic landscape was missing the analog "warmth" provided by tubes and transformers. They had delivered the expected sound of most all of the music produced in the last half of the 20th century. [. . .]
I mostly always imagine you with your Flea47. But I'm thinking that adds up to six tube mics, total - and seem to recall U67 and C12 clones have fancied your aesthetic preferences.

Quote:
Originally Posted by idee und klang ➡️
I am sure [. . .] I am a fan [. . .]
I deeply appreciate the extra comments and associated intuitions. Thank you!


Thanks again, guys.

Ray H.

PS: I ordered the Jasmin Tabatabai album, Jagd auf Rehe - and Zeit Für Lyrik will now likely be one of my favorite tunes for a while.
Old 2 weeks ago | Show parent
  #137
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MandoBastardo's Avatar
 
🎧 10 years
Quote:
Originally Posted by RayHeath ➡️
...I own no tube/transformer preamps.
And if... er... when you invest in the Schoeps Digital Colette Amplifier system you still won't.

No Silver Bullet for you.

Might as well cancel Thermionic Culture now. Snow Petrels can't migrate into that little bitstream of coletteables.

Fearn VT-2? Not gonna be growing on your tree branch. Neither will the Tree or Branch. You might still coil your cables, but won't Coil your sound.

On the bright side, you won't spend hours agonizing over which vintage tubes to overspend on to re-magic-a-lize your vintage LA2/Pultec vocal channel.

In your brave new capsule-to-DAW world, all these old curmudgeons of the thermionic craft will be unemployed.

Forced to shill on the street corner simpering behind masks and plexiglass. Just to sell low-rez ffts of their once legendary tubular devices in zip format.

Zips on Zip drives. Because vintage device ffts deserve unreadable vintage media to fully cover obsolescence of the song(makers).
Old 2 weeks ago | Show parent
  #138
Gear Addict
 
idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by RayHeath ➡️

PS: I ordered the Jasmin Tabatabai album, Jagd auf Rehe - and Zeit Für Lyrik will now likely be one of my favorite tunes for a while.
Nice:-)
I think there are even nicer tracks on that CD. I chose Zeit für Lyrik because that was the song which we sent to two Mastering-Engineers to see whom we give the entire album.

One that I really like from that Album is:
"Shekare Ahoo"
https://youtu.be/GL45ge8MP3g


While we are at it:
As I said in the video, on "Jagd auf Rehe" we chose to record directly at my control room, because a) the producer wanted to have a more intimate sound and b) the huge room we rented for the last Jasmin CD also was getting more and more expensive. But a) was the main reason.

But the older Jasmin CD we recorded at a huge 500 m2 Room, that sounded beautiful. I did not use those tracks for this "No EQ" tutorial, as then everybody would have said that it is only possible in such a huge room.

Here is a Clip from the older recording, done in that huge room:
https://youtu.be/rdUd1S6xCjg

Here is a photo of the Volkshaus Studio Basel, which is easily one of the greatest room to record acoustic music. That room was rented for about 10 Years by the Radio Basel for their Radio-Orchestra. They invested a lot in a nice acoustic. Later it was used for public things, but for a certain time-period, producer David Klein and myself could use it as a recording room. It's not used anymore for recording's nowadays, as the operating company uses that room more for conferences and concerts.

Daniel
Attached Thumbnails
How many tube mics make sense?-heidi-2838.jpg  
Old 2 weeks ago | Show parent
  #139
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idee und klang's Avatar
 
🎧 15 years
Quote:
Originally Posted by deedeeyeah ➡️

to finance the desk, i sold some vintage tube mics!
Isn't it a great thing with vintage-mics? They are great to build some "reserve" and if you need something else you just sell some vintage mics.
I think in your scenario (more live work) I would also have done that, you need things that makes the live work great. I probably would rate stability and usability way higher than some esoteric tube sound.

Cheers,
D.
Old 2 weeks ago | Show parent
  #140
Gear Guru
 
1 Review written
🎧 5 years
Quote:
Originally Posted by idee und klang ➡️
Nice:-)
I think there are even nicer tracks on that CD. I chose Zeit für Lyrik because that was the song which we sent to two Mastering-Engineers to see whom we give the entire album.

One that I really like from that Album is:
"Shekare Ahoo"
https://youtu.be/GL45ge8MP3g


While we are at it:
As I said in the video, on "Jagd auf Rehe" we chose to record directly at my control room, because a) the producer wanted to have a more intimate sound and b) the huge room we rented for the last Jasmin CD also was getting more and more expensive. But a) was the main reason.

But the older Jasmin CD we recorded at a huge 500 m2 Room, that sounded beautiful. I did not use those tracks for this "No EQ" tutorial, as then everybody would have said that it is only possible in such a huge room.

Here is a Clip from the older recording, done in that huge room:
https://youtu.be/rdUd1S6xCjg

Here is a photo of the Volkshaus Studio Basel, which is easily one of the greatest room to record acoustic music. That room was rented for about 10 Years by the Radio Basel for their Radio-Orchestra. They invested a lot in a nice acoustic. Later it was used for public things, but for a certain time-period, producer David Klein and myself could use it as a recording room. It's not used anymore for recording's nowadays, as the operating company uses that room more for conferences and concerts.

Daniel
this thread contiues to be fun, although i feel a bit guilty of occasionally dominating it a bit...

...so i promise i'll refrain from posting much in the future (mainly 'cause i think that my approach is probably not much valuable for too many other folks and there are plenty of other threads in which i can tease ray) - before i do so, here are a few more pics of the room of which daniel was talking and in which i started working as kid in the late '70 and in which i still/again get to work regularly, albeit mostly live.

for amplified situations, the room is less than stellar but still a fair bit above your average venue (and possibly the best in town)...

looking forward to team up with daniel on a project in that venue one day!
Attached Thumbnails
How many tube mics make sense?-rokia_traore_04.jpg   How many tube mics make sense?-u_1460407711_bfb16-8apr-3814.jpg   How many tube mics make sense?-u_1460392342_2016-04-07_bluesfestivalbasel2016_marcusbonifant_kingking_donnerstag_8994.jpg   How many tube mics make sense?-20180506_171927.jpg  
Old 2 weeks ago | Show parent
  #141
Lives for gear
Quote:
Originally Posted by MandoBastardo ➡️
[. . .] No Silver Bullet for you. [. . .]
START OFF TOPIC RESPONSES:

Cape Canaveral isn't that far a drive. I can sometimes see the rockets launching from my house. And I have considered sneaking a mint Fairchild 670 onto the wedding gift registry if my girlfriend and I ever do get married. Maybe view it as a toaster?

I live in Florida. . .and the last things I need are hot tubes driving up my AC bill. Got all the warmth I can handle.

I also struggle with cablemessaphobia. . .and generally take a few Audio Ltd A10 kits along in the event of an attack.

Robots are taking all of the really fun jobs these days, anyway - bummer!

I love the smell of MATLAB in the morning. Smells like. . .[sniff]. . .algebra.

7-Zip is my preference. Or zlib, if I'm coding [C++].

I go for On The Beach over Brave New World every time. The salt-sea air. A light breeze. Brilliant warm sunshine sparkling on the water. Waves splashing against my ankles and shins in the delicious, crystal clear surf as I wade along the shore. Ah, what a life!


No, it wasn't an accident [. . .] But it was a mistake.

Ray H.

END OFF TOPIC RESPONSES.

What was important was that it was a bright, sunny day; her first narcissi were in bloom, and the daffodils behind them were already showing flower buds.
- Nevil Shute, On The Beach
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