51m0n

You can mix and master now to far higher fidelity than anything produced in the 70s and 80s. On a laptop. All on board. No studio. You can't track for stinky poo without a good room though. There were great rooms in the 70s and 80s. There still are, but they cost a huge amount of cash because there are even less of them. Vinyl cannot reproduce bass as accurately as digital, so that is not the issue. The consensus of quality has changed vastly over time. The loudness wars on cd ruined 2 decades of cd quality masters in a never ending spiral of average volume over everything crystal meth style addiction. Streaming has actually addressed this more than anything else due to all the algorithms these sites have generated to figure out equivalent playback output volumes across masters from all eras as close as possible. But bit depth is compromised and they are lossy compression formats normally which tends to affect the loudest masters the most adversely by nature of data compression mechanisms. Its super important to understand the difference between data and audio and audio data compression before trying to understand what might be adversely affecting your playback in a given instance. Mastering engineers now work on gaming those Streaming algorithms to their advantage. And so it goes on....

Have a look at a Becos Stella too. Up there with the Cali76 imo

If you sidechain filter you might find you can get a sound that works for you with somewhat faster attack times. For an always on compressor I like anything from 30 to 70ms attack time and a short release too.

I'm really sorry chaps, I am completely snowed for the foreseeable doing house renovations that are becoming ever more epic.

Sorry, I'll be more specific, sufficient metering. One light, even changing colour, I find hard to use fir compression. Is it showing input level, output level or compression, how many dB of compression is signified by which colour? I could go on, and have before at length 😆 The new Empress compressor looks good, but I haven't tried it....

Struggle to recall a single good one knob compressor that I have ever used, on a pedal or amp. No controls, and no meters, utter fail for me 😆 Becos Twain for 5 strings or more, the Becos Stella for 4 strings or less. They're absolutely superb.

Not interested if it doesn't have metering on it....

I don't like the Beatles...

Being omnis stereo gets 'interesting', tending to result in a reliance more on time delay than frequency response compared to a cardioid for instance. Basically if they aren't spaced out, you don't get a propee stereo image really. Hence a decca tree relying on spaced cardioids and a central omni.

Old omni reporters mics by the likes of audio technica at8004 will definitely handle the spl. I use one as a 'core' mic on drum kit somewhere approximately equidistant between snare and kick drum shell. Max SPL is huge, but this mic adds a mass of kit character that I can't get any other way and can kinda dial in a vintage tone too. Works great for ambience and super rugged, no phantom power either. Plus they are omni, literally designed to pick up ambience!

Get an old omni reprters mic off ebay for £40

Record the rehearsals No compressing the result no polishing the turd Do your best but don't be afraid to let your inaccuracies as forced on you by monster ego to be heard Play it back to them in the rehearsal through the pa If its as crap a mix as you think the drums will be too quiet, let alone the rest Tell him he sorts his levels out or he's gigging on his own If he gets shouty apologise to the rest and go home Wait for them to call Explain he will need to apologise to your face at the next rehearsal or you are not interested

I've done tempo mapping in Reaper about s squillion different ways, but found this method recently and it's so good I thought I'd share. It's notable to me that this guy records mainly classical so a ralentado across s bar is not an unusual thing to need to deal with. Hence his method is super accurate. I've yet to find s single 'automated' means of achieving this that works for my main usage, which is for adding horn ideas to rehearsals and thus wanting a really good tempo map on a stereo room recording. The use of spectral editing is key for easily locating the kick drum transient in the stereo wav for grid positioning. I can run through a 10 minute jam on a groove in a couple of minutes now with the key mapping I have and it really makes horn ideas a breeze afterwards as I can drag and drop midi files anywhere and they stay tight to the band. Anyhow enough of that, here's the link https://youtu.be/C2Z5mjufb98

Worst was a SGFX Supafunk. Also the only, but definitely the worst, I've never sent something back as utterly unfit for purpose to the point of being effectively broken before.

He I ran my becos twain into it and that didn't help at all for me 😆 I have an email trail from Greg at SGFX where he ends up wondering if it was just a faulty pedal, but I really don't think so now, having heard quite a few disappointed stories about this pedal Damn shame because it's a damn funky sounding thing

Sent my Supafunk back, either a duff one or the design can't handle 18v bass preamps. Sounded terrible, clipping very badly

Yeah mine is going back on Tuesday. Its either a duff one or the pedal simply cant begin to handle an active bass. Clips all the time, no setting will tame the cheap and nasty mega distortion going on. Consider me thoroughly unimpressed.

Oh you cheeky bugger 😆😆😆

My EA iAmp Classic has a monstrous defeatable eq section. 4 sweepable bands. You can lose yourself in there for hours 🤪

Depends, the eq curves, Q's, and centre frequencies are probably different on the two eqs so they will sum to a more complex final curve than either can achieve on its own.

I think Reaper buss s are phase accurate, you can try for yourself by setting up various types of group, swapping output phase and getting a perfect null. Sample accurate delay compensation is there too I think, although I'll let you know for sure when I finish my Becos Twain review, which will involve reamping as well. There has been work on Eucon since 2013, but not having any of those interfaces I couldn't tell you how well that works.

Some of the best vocal performances in history would be ruined by auto tune It's a tool to fix a bad or lacking performance. If you possibly can, get the performance right, even if that is not perfectly in tune, it has to carry the emotional intent of the song to the listener. Too much insistence on perfect in tuneness can destroy that connection I think. That having been said, Bob Dylan can do one, worst vocalist in history IMO. Bob Vylan on the other hand, now he's superb.