|
|
Post by iamasound on Nov 11, 2024 10:21:12 GMT -6
Just ordered a used Beyerdynamic MC834. Some fellow here in der Schweitz was selling one on a local website about a year or so ago and touted the microphone as a large capsule condenser. When I pushed back and informed him that it was approximately in between a large and a small capsule at 31/44 inches he became very irritable and told me that I was misinformed. We went back and forth a few times before I wished him well and hoped that he sold his ware. Oh boy. |
|
ericn
Temp
Balance Engineer
Posts: 16,103 
Member is Online
|
Post by ericn on Nov 11, 2024 10:55:25 GMT -6
Just ordered a used Beyerdynamic MC834. Some fellow here in der Schweitz was selling one on a local website about a year or so ago and touted the microphone as a large capsule condenser. When I pushed back and informed him that it was approximately in between a large and a small capsule at 31/44 inches he became very irritable and told me that I was misinformed. We went back and forth a few times before I wished him well and hoped that he sold his ware. Oh boy. Yeah there has always been this disagreement over what an LDC & what a MDC is. It has no way for a mic to know what exactly it is, other than a good mic. Who cares about size? |
|
|
|
Post by chessparov on Nov 11, 2024 14:22:38 GMT -6
Hmm… Must be a joke somewhere.  Maybe they’re hard to Beyer at best. |
|
ericn
Temp
Balance Engineer
Posts: 16,103
Member is Online
|
Post by ericn on Nov 11, 2024 15:06:20 GMT -6
Hmm… Must be a joke somewhere. Maybe they’re hard to Beyer at best. I just couldn’t Beyer it, everyone’s standard seamed so dynamic, changing every day. |
|
|
|
Post by trappist on Nov 11, 2024 16:26:04 GMT -6
My SAMAR ShokBase has been delivered Now go jump up & down, record it and give us your verdict 😁 I have no idea how to quantify the vibration absorption verses my other shockmounts. 🤷 My SAMAR certainly takes up an immense amount of less space and looks better than all the others I own. …. no elastic band to come loose or break 👍 |
|
|
|
Post by chessparov on Nov 11, 2024 16:58:39 GMT -6
Upgraded from N-Track 9 to 10.
Chris
|
|
|
|
Post by Hudsonic on Nov 12, 2024 8:18:58 GMT -6
Test driving a Tegeler Audio Schwerkraft Maschine here. A hardware vacuum tube compressor with a heavy transformer complement. A dial switches between about 8 different compressor styles including Neve type diode, vari-mu, multi-band, crusher etc. Can be controlled with a plug-in interface and each knob is motorized to move as the plug controls it.
Let's see how it works here as I pass the 2 mix through it for a final compression finishing step. Will report back.
|
|
|
|
Post by Hudsonic on Nov 15, 2024 18:45:55 GMT -6
Tested the Tegeler Audio Schwerkraft Maschine this past week. It did not work out for my classical program material beause the threshold level and adjustment range is for loud rock music or for pop music with a limited dynamic range. Low level material here did not trigger the threshold and loud orchestral tuttis overloaded the Tegeler box. I have returned the box to VK.
|
|
|
|
Post by poppaflavor on Nov 16, 2024 6:55:16 GMT -6
Tested the Tegeler Audio Schwerkraft Maschine this past week. It did not work out for my classical program material beause the threshold level and adjustment range is for loud rock music or for pop music with a limited dynamic range. Low level material here did not trigger the threshold and loud orchestral tuttis overloaded the Tegeler box. I have returned the box to VK. That's a bummer, after your post i went and read up on it. Sounds like it has some freaky complex calculations and manipulations of the tubes going on to deliver all those different compress modes. Did you feel that all the different modes truly provided a wide array of compressor types? Or were they all basically the same gal in a different dress? Also, do you know if it is doing AD/DA to the audio signal? The description for multiband indicates that: "Like other compressors, the Schwerkraftmaschine breaks the signal into several frequency bands. This is handled at the digital level, however, through side-chaining." Thanks for any info. |
|
|
|
Post by sean on Nov 16, 2024 7:07:37 GMT -6
Did some trading for a Chandler Curve Bender. One of those things I never thought I’d own but you never know what someone might offer!
|
|
|
|
Post by nick8801 on Nov 16, 2024 8:10:21 GMT -6
Did some trading for a Chandler Curve Bender. One of those things I never thought I’d own but you never know what someone might offer! That’s always been one of my favorites in plugin version. What are you using it for? |
|
|
|
Post by tonycamphd on Nov 16, 2024 8:36:29 GMT -6
Tested the Tegeler Audio Schwerkraft Maschine this past week. It did not work out for my classical program material beause the threshold level and adjustment range is for loud rock music or for pop music with a limited dynamic range. Low level material here did not trigger the threshold and loud orchestral tuttis overloaded the Tegeler box. I have returned the box to VK. Interesting how multi boxes are usually the SUV’s of pro audio, the embodiment of compromises, not a sports car not a truck, doesn’t do anything particularly well, just ok at best |
|
|
|
Post by sean on Nov 16, 2024 9:29:42 GMT -6
Did some trading for a Chandler Curve Bender. One of those things I never thought I’d own but you never know what someone might offer! That’s always been one of my favorites in plugin version. What are you using it for? I’ve used it on mixes in the past, and it’s also really nice on drums/overheads. Especially with ribbon mics as overheads you can cut out some of that low mid build up and add a little top end and really bring some clarity to them. And it definitely has some character, will probably use it for a lot of things (hopefully) |
|
|
|
Post by poppaflavor on Nov 16, 2024 11:15:20 GMT -6
Interesting how multi boxes are usually the SUV’s of pro audio, the embodiment of compromises, not a sports car not a truck, doesn’t do anything particularly well, just ok at best That's kind of my take on things as well. However, I recently encountered an exception to the rule :-) I've had it a few weeks, was waiting to post here until I had fully decided to keep it or return it. I'm keeping it for sure. So this post I guess is doing double duty by mentioning muh new Whitestone P331 EVL (black version). It's definitely not as subtle as some folks let on. Upon initially hearing it I thought... Oh Shit. Kinda intense for me, I perhaps should have gotten the white version :-O It's a REALLY well thought out compendium of complementary and contrasting character. Utterly delightful! I think of it like a mastering channel strip, although I'd prolly get flayed if I called it that around actual mastering engineers. Rather than providing umpteen different ways to do one thing (like compress for the case of the Schwerkraftmaschine), the Whitestone P331 EVL provides 4 basic functions and each of those basic functions is fairly simple in it's implementaiton. I mean 'simple' as in elegant. There is a continuously variable tube loading function that changes the way the tube responds to a given amount of gain, a feedforward/feedback/clean thru setting, a couple of transformer settings for mid or low freq emphasis and a couple fo EQ points (HF, LF, both) that make a smiley when used together or either side of the smiley when used individually. That's it. Done. It's how they work together and are modular so you can use or not use them for each different record. So, yeah... I agree that is the rule, but there are exceptions and P331 EVL is one of them. |
|
|
|
Post by crillemannen on Nov 16, 2024 14:44:23 GMT -6
I traded my Neumann U87 to a Fender Jaguar from 64. Old refin other then that it's all original.  |
|
|
|
Post by plinker on Nov 16, 2024 19:50:11 GMT -6
I traded my Neumann U87 to a Fender Jaguar from 64. Old refin other then that it's all original. That thing is choice. Speaking of which, I think you made the right choice! |
|
|
|
Post by notneeson on Nov 16, 2024 20:13:59 GMT -6
I traded my Neumann U87 to a Fender Jaguar from 64. Old refin other then that it's all original. That thing is choice. Speaking of which, I think you made the right choice! Yeah, buddy! I bought a refinished 62 a few months ago, I love it. |
|
|
|
Post by drumsound on Nov 16, 2024 23:44:46 GMT -6
Interesting how multi boxes are usually the SUV’s of pro audio, the embodiment of compromises, not a sports car not a truck, doesn’t do anything particularly well, just ok at best That's kind of my take on things as well. However, I recently encountered an exception to the rule :-) I've had it a few weeks, was waiting to post here until I had fully decided to keep it or return it. I'm keeping it for sure. So this post I guess is doing double duty by mentioning muh new Whitestone P331 EVL (black version). It's definitely not as subtle as some folks let on. Upon initially hearing it I thought... Oh Shit. Kinda intense for me, I perhaps should have gotten the white version :-O It's a REALLY well thought out compendium of complementary and contrasting character. Utterly delightful! I think of it like a mastering channel strip, although I'd prolly get flayed if I called it that around actual mastering engineers. Rather than providing umpteen different ways to do one thing (like compress for the case of the Schwerkraftmaschine), the Whitestone P331 EVL provides 4 basic functions and each of those basic functions is fairly simple in it's implementaiton. I mean 'simple' as in elegant. There is a continuously variable tube loading function that changes the way the tube responds to a given amount of gain, a feedforward/feedback/clean thru setting, a couple of transformer settings for mid or low freq emphasis and a couple fo EQ points (HF, LF, both) that make a smiley when used together or either side of the smiley when used individually. That's it. Done. It's how they work together and are modular so you can use or not use them for each different record. So, yeah... I agree that is the rule, but there are exceptions and P331 EVL is one of them. I was at Welcome to 1979's Summit last weekend and Dave Rosen of Whitestone was there. His wife is mastering engineer Kim Rosen. The first one was a custom unit and Gil from Wavedistro convinced them to turn it into a product. That's the white version, the EVL was developed to be 'not to subtle' like the White. I believe, Kim has both in her rack these days. |
|
|
|
Post by crillemannen on Nov 17, 2024 4:41:27 GMT -6
I traded my Neumann U87 to a Fender Jaguar from 64. Old refin other then that it's all original. That thing is choice. Speaking of which, I think you made the right choice! I don't know that much about vintage guitars but I do think I did a good deal🙃 |
|
|
|
Post by sean on Nov 17, 2024 7:06:18 GMT -6
Interesting how multi boxes are usually the SUV’s of pro audio, the embodiment of compromises, not a sports car not a truck, doesn’t do anything particularly well, just ok at best That's kind of my take on things as well. However, I recently encountered an exception to the rule :-) I've had it a few weeks, was waiting to post here until I had fully decided to keep it or return it. I'm keeping it for sure. So this post I guess is doing double duty by mentioning muh new Whitestone P331 EVL (black version). It's definitely not as subtle as some folks let on. Upon initially hearing it I thought... Oh Shit. Kinda intense for me, I perhaps should have gotten the white version :-O It's a REALLY well thought out compendium of complementary and contrasting character. Utterly delightful! I think of it like a mastering channel strip, although I'd prolly get flayed if I called it that around actual mastering engineers. Rather than providing umpteen different ways to do one thing (like compress for the case of the Schwerkraftmaschine), the Whitestone P331 EVL provides 4 basic functions and each of those basic functions is fairly simple in it's implementaiton. I mean 'simple' as in elegant. There is a continuously variable tube loading function that changes the way the tube responds to a given amount of gain, a feedforward/feedback/clean thru setting, a couple of transformer settings for mid or low freq emphasis and a couple fo EQ points (HF, LF, both) that make a smiley when used together or either side of the smiley when used individually. That's it. Done. It's how they work together and are modular so you can use or not use them for each different record. So, yeah... I agree that is the rule, but there are exceptions and P331 EVL is one of them. Nice pick up! The EVL is on my “short” wish list…really impressive units. I’m with you on the idea of well built pieces that only have a couple tricks, but those trick always work. |
|
|
|
Post by basspro on Nov 17, 2024 17:12:29 GMT -6
Just scored a great deal on a 50th anniversary API 550a. I hate that it’s gold, but love that it’s hand-wired
|
|
|
|
Post by chessparov on Nov 17, 2024 18:48:41 GMT -6
Does a "Peanuts"/Snoopy Ugly sweater and a Perry Como styled Cardigan count? Gettin' ready to break out the traditional Holiday Tunes live around Town! Chris |
|
|
|
Post by Hudsonic on Nov 19, 2024 7:15:07 GMT -6
Tested the Tegeler Audio Schwerkraft Maschine this past week. It did not work out for my classical program material beause the threshold level and adjustment range is for loud rock music or for pop music with a limited dynamic range. Low level material here did not trigger the threshold and loud orchestral tuttis overloaded the Tegeler box. I have returned the box to VK. That's a bummer, after your post i went and read up on it. Sounds like it has some freaky complex calculations and manipulations of the tubes going on to deliver all those different compress modes. Did you feel that all the different modes truly provided a wide array of compressor types? Or were they all basically the same gal in a different dress? Also, do you know if it is doing AD/DA to the audio signal? The description for multiband indicates that: "Like other compressors, the Schwerkraftmaschine breaks the signal into several frequency bands. This is handled at the digital level, however, through side-chaining." Thanks for any info.Besides the level problems I encountered I would say that they so-called "different compressors" sound basically all the same. So it is not a box that offers a great variety of compressors or a box that can behave so differently each time a different compressor, (multi-band, diode, vari=mu etc.) is engaged. As far as any possible digital conversion is concerned, I did not hear any "digititus" from the box. I cannot confirm if the unit is doing an a/d & d/a conversion. I did not talk to Germany to confirm or get news about that aspect of the unit. |
|
|
|
Post by Ward on Nov 19, 2024 14:27:21 GMT -6
I picked up a Neumann Km54 today. Pretty much unused, in mint condition. I compared it to my reskinned KM56 and it sounded glorious. Such a beautiful sounding microphone!  I have one! Far from mint, but boy howdy, does it ever sound glorious! |
|
|
|
Post by Ward on Nov 19, 2024 14:28:57 GMT -6
Just ordered a used Beyerdynamic MC834. That's good, because you can't order a new one! P.S. You talked me into buying one and it was money WELL spent! |
|
