Opinions on Equipment

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Here it is again. Post any opinions you have of equipment you own or have auditioned right here.

-- Lynn Fuston (go3daudio@aol.com), February 08, 1998

Answers

I am considering getting a Phillips Omniwriter CDRW for Mac or a Ricoh 6200S. Any experiences with either would be helpful in my decision.

Thanks in advance,

Kelly

-- Kelly Reynolds (KelRey@aol.com), February 08, 1998.


I'm looking at inexpensive reference amps for a set of nearfields(Alesis Monitor Ones). I've seen the Alesis RA-100 and the Samson Servo amps. They are both in the price range I am looking for. Has anyone out there in SSS exile had any experience with either of these or any recomendations for any others in the same price range. Thanks in advance for your responses.

-- Harold (CWProd@aol.com), February 09, 1998.

A friend just got the SCSI Ricoh 6200S, put it in a PC. It went in no problem, and, with the exception of the learning curve (burning a few silver coasters, etc) has turned out very well for him. I'm considering the same drive.

-- Tom Armbruster (pcctomtrf@aol.com), February 09, 1998.

>>any opinions on these amps<<

I tried the Samson about 2 years ago.. made my nearfields sound like I had covered 'em with a wet blanket.

I've never tried the Alesis, but know a few guys who do and they seem satisfied.. personally..I'd look at a Hafler. Best amp I ever owned.

Donny

-- Donny (Donny269@aol.com), February 10, 1998.


I've had the Ricoh 6200s for about three months now and I love it. It was by far the cheapest when I searched(approx $400 w/1 MB buffer)from...damn, I can't think of the company...e-mail if interested and I'll look it up.

-- (Twenty8000@aol.com), February 10, 1998.


>>I'm looking at inexpensive reference amps for a set of nearfields(Alesis Monitor Ones). I've seen the Alesis RA-100 and the Samson Servo amps. They are both in the price range I am looking for. Has anyone out there in SSS exile had any experience with either of these or any recomendations for any others in the same price range. <<

I run a set of NS10s off of a carver pm150, which is about 62W a side during normal program material and more than enough for the cheaper nearfields. I think they run about the same price new, and the carver will *smoke* the alesis or samson. As someone else mentioned, Hafler amps are excellent... but a bit more $. See if you can't dig a little deeper and get something that will serve you better.

jfs

-- the artist formerly known as ai3000jfs (judson@avdeli.com), February 10, 1998.


Hi everyone,

My brother has a PC with a SoundBlaster sound card and wants to know if there is any software that will let him do simple edits and mixing. He has a Miro video card and sometimes needs to tweek the audio a little bit. Nothing fancy, obviously not near pro quality. Just something that he could use to import .wave files, and clean up the audio tracks when needed.

I don't know anything about PC software, so I told him I would post a message in this forum.

P.S. Thanks Lynn!

-- Christopher Knight (cristoferk@aol.com), February 11, 1998.


Tell him to do a search on the Mission Recording and Audio website, where there is a ton of good information. You may want to check the IQS website. They were running a special on obtaining SAW, a digital audio editor/multitrack recorder, for about $75 -- and it's a good one, too. There's a lot of software out there, and a lot of it is quite affordable. What he needs to do is determine what he wants it to do, and then search around on the above website for something that seems appealing. Mission Recording and Audio, as well as other websites, have demo downloads, also.

-- Ken/Eleven Shadows (ElevenShad@aol.com), February 11, 1998.

Hey guys......

Thoughts on PCM 80, PCM 90, M2000, H3000SE, SRV-330.......

Let's hear it!!!!!!!

-- Matt Fortier (MattFort@AOL.com), February 13, 1998.


Three "compressor questions" coming up! #1) O.K., remember that FMR Audio RNC1773 compressor Craig wrote about in EQ magazine? (Yes, I read the article!) I'm thinking of picking one up in the not-too-distant future but I thought I'd still solicit some opinions from anyone who actually ordered and is using one, is it as good as reviewed? #2) Secondly, it perhaps sounds strange but I'm thinking of using the unit not only as an invaluable studio tool, but as an enhancement to an acoustic/electric guitar, live on stage (and competing with electric guitars, drums, bass, etc.) chaining it between my standalone preamp unit and a direct box (an onstage mixing board isn't practical here, I'll be taking the XLR out from the direct box to a snake, then to the main house board) am I crazy, will this work (with this type of compressor) to "even out" the dynamic subtleties of a full-bodied but often "lost in the FOH mix" acoustic-electric guitar? (Again, for a myriad of reasons, it isn't practical for the compressor to be used as a mixing board insert, thus this unorthodox method!) #3) Would anyone familiar with either or both the Presonus Blue Max "smart compressor" and the RNC1773 compressor units care to take a stab at comparing the quality of the two? They are both relatively similar in price and both have been well-reviewed.

-- A.M. (EasyBeeMgt@aol.com), February 13, 1998.


Has anyone out there ever used a Fostex E-16? I found a good (at least it seems good) deal on one. $1400 with remote, re-lapped heads, a new take-up motor, schematics, a splicing block (yeah!!! Can you take out the extra four bars at the end of the third verse? sure we can kick it old school style) And to top it off it's local so I don't have to get it shipped. My only previous experience with Fostex stuff was a roommates 4-track which didn't sound nearly as good as my Tascam. Thanks.

-- Jay Kahrs (BrownSnd14@aol.com), February 14, 1998.

>>My brother has a PC with a SoundBlaster sound card and wants to know if there is any software that will let him do simple edits and mixing. He has a Miro video card and sometimes needs to tweek the audio a little bit. Nothing fancy, obviously not near pro quality. Just something that he could use to import .wave files, and clean up the audio tracks when needed. <<

There's a pretty doggone good shareware audio editor out there, called GoldWave, sorry, don't know where it may be on the web, but theres a fully functional demo on AOL. Also, Cool96, the stereo version of Cool Edit Pro, is very good, shareware demo available, 50 bucks to regiser it. I use it all the time to clean stuff up, etc. It can be had at www.syntrillium.com

-- Tom Armbruster (pcctomtrf@aol.com), February 15, 1998.


<<>>

I had a G-16S a few years ago, and I still have an E22 ( a three head 1/2" 2trk w/center track TC- same transport as the E16). I replaced the G16S with 3 ADATs, and aside from having 8 extra tracks, I was dissapointed. The G16S was a killer sounding machine and the logic of the transport was amazing- it would even sense the end of the reel and slow down so you never ended up with frayed thwappata thwappata tape tails. The E series transports aren't as elegant, but my E22 specs out amzingly well -3db at 32Khz. Timbuk 3 recorded their first two projects on an E16, and as simple as it is, that stuff sounds pretty good. I'd buy it if I were you. Joe

-- Joe Egan (gt12ax7@aol.com), February 16, 1998.


Is anyone using the Sytek MPX-4A mic pre? I read a good review of this mic pre on EM Nov.97, and i'm thinking of getting one, but would like to get some opinions on this before buying. I called a few dealers but they didn't seem to know much about it. Thanks.

-- E.B. (ots60@aol.com), February 17, 1998.

You may now consider me a new RNC compressor fan. I have not put it through extensive testing yet, but it is very clean, very quiet, and sounds great. The Super Nice mode works extremely well on vocals so far. I am actually glad that there is a light indicator when engaging the unit in Super Nice Mode, as I would have great difficulty at times determining whether the compression was on or not!!!! It really does sound great. Do a search on Dejanews for lots of posts on the RNC, especially on the rec.audio.pro newsgroup.

-- Ken/Eleven Shadows (ElevenShad@aol.com), February 18, 1998.


I was reviewing a studio-in-a-box for EQ and it started to dawn on me -- at some point, I really will be able to junk everything and just buy a box that's a complete recording studio. No computer, no mixer, no transport, just a control surface, a bunch of inputs and outputs, a hard disk for audio storage, and a video monitor out. Sure, you can do that now, but I do too many weird interconnections of analog gear to be compatible with something like a VS-880. Still, with more devices including aux buses, and more plug-ins, you never know. My questions to you are: Would you be willing to unload all your gear for a studio in a box? How far away are we from something that would satisfy your needs enough to get you to give up a traditional studio? Finally, how many of you are doing everything in a studio in a box? Comments, please.

-- Craig Anderton (Anderton@aol.com), February 18, 1998.

I use the sytek. It's definitely better than mackie pres though not as full as my telefunken v76. It's a nice basic 1 rackspace 4 channel unit that's convenient for location recording. Orrin Starr sells it for $750 + $12 shipping. He posts a notice about once a week on rec.audio.pro or the aol used music pro gear classifieds.

-- Henry Shapiro (HenryShap@aol.com), February 18, 1998.

<,Would you be willing to unload all your gear for a studio in a box? How far away are we from something that would satisfy your needs enough to get you to give up a traditional studio? Finally, how many of you are doing everything in a studio in a box? Comments, please. >>

Well, as you know, I've been happily (most of the time) moving in that direction. I've been using 1 or 2 VS880s for a couple of years, and I've created and produced a lot of music. The portability is an amazing benefit--I just pack up the VS, a mic pre and a mic, a set of phones and I'm off. (OK, I occasionally bring along a compressor and a headpone amp, depending on my project.)

There are limitations and tradeoffs with any system, I suppose. The VS880 lacks flexibility when it comes to adding outboard gear. The upcoming VS1680 wisely includes 10 outputs, 2 aux sends, and 4 on board stereo effects. Until I saw one of these, I had almost decided to sacrifice the benefits of the all-in-one box in favor of a standalone HD record, such as a Fostex D160, and a cool console. Now, I'm getting comfortable with the thought of continuing with the studio-in-a-box format.

Ultimately, I think there will be some wonderful advances in this format, and I'll probably be there to enjoy them. Whether the features, such as EQ, will ever rival more traditional setups is always a point of debate. Manufacturers just have to keep innovating, but the concept is definitely on-trend: it offers unbelieveable convenience, it travels easily with you, wnabling you to accomplish more in these action packed times.

-- Doug Robinson (Jazzooo@aol.com), February 18, 1998.


<,Would you be willing to unload all your gear for a studio in a box? How far away are we from something that would satisfy your needs enough to get you to give up a traditional studio? Finally, how many of you are doing everything in a studio in a box? Comments, please. >>

The studio in a box thing is great for convenience. It seems like we may be headed more and more in that direction. I like the component sort of setup, where each piece is selected on the merits of its individual sound and function. It seems to me that it is largely up to how one works that determines what need is best. We will soon see more of the studio in a box sort of things, I think, but for me, I like piecing together individual components for my type of working. I like the hybrid studio for this purpose. I track on analogue, mix down to digital, and then edit while staying in digital.

-- Thing (Thing@earthlink.net), February 18, 1998.


--The studio in a box thing is great for convenience.--

I have to humbly disagree. When you run out of rackspaces, you go buy another rack, but how are you going to get an eyeline of 32 virtual tracks w/ faders, fx, dynamics, and automation on a couple of 20" screens? I like where my mac sits in the chain right now, it is often called upon to do 8-12 tracks, but for some reason, I'm tracking anything that's fit to track to tape, it's only comps or problematic tracks that I'll fly in.

-- It seems like we may be headed more and more in that direction. I like the component sort of setup, where each piece is selected on the merits of its individual sound and function. It seems to me that it is largely up to how one works that determines what need is best. We will soon see more of the studio in a box sort of things, I think, but for me, I like piecing together individual components for my type of working. I like the hybrid studio for this purpose. I track on analogue, mix down to digital, and then edit while staying in digital. --

I think the recent trend with all of the tdm and vst plug ins is going to slow down a bit. Right now it's the 'answer' to so many people who are buying it not really knowing how much $ and time it takes to get pretty much the same results. The thing about computers is their obsolesence rate. I remember when my mac 8500/180 was the coolest mac you could buy. Now it's 18 months later and it's a flower pot compared to what most people are using. I don't like this track, I'm getting off.

jfs

-- the artist formerly known as ai3000jfs (judson@avdeli.com), February 18, 1998.


my problem is that I need a computer to run the sequencer and scoring (speed and versatilitey major here) and then HD to edit , however after this current project I'm just going back to the studio to handle all the recording. I'm a composer and I simply want something to facilitate that end of it. The sequencer seems the right way to go particularly for the scoring. I wish someone would put this all together in a box that is STABLE!!! I repeat...STABLE! The last thing a musician needs is something that delays your work. We're poor enuff as it is.

-- michaelmedley (zappaq@aol.com), February 19, 1998.

Craig Anderton writes: >> My questions to you are: Would you be willing to unload all your gear for a studio in a box? How far away are we from something that would satisfy your needs enough to get you to give up a traditional studio? Finally, how many of you are doing everything in a studio in a box?<<

Good question..I think, like most other convenience-oriented audio breakthroughs, the all-in-one studio box allows the musically talented yet technically intimidated musician to record more readily and at a higher quality level, a nice grassroots development..I think many of the "portastudio" generation are now encouraged to step up to digital because of these boxes, take more time to realize their arrangements (not to mention experiment with miking techniques, effects combinations, etc.) and, as the boxes themselves become more all-encompassing and sonically more sophisticated, I think you'll have a "trickle up" as well as a "trickle down" theory at work here. Many musicians will relish the opportunity to hone and develop their recording skills (over time) on these CD-ready boxes and their interest will help to keep prices reasonable and designs practical. A good number of the gearhead project studio types will appreciate being able to leave a mix, effects and all and come back to it a month later with all settings intact, not to mention the portabilty benefits of an all-in-one box (and the data interchangeability, when collaborating with others long-distance). The "techheads" will help to inspire the further development of "pro" features in these products with their high standards and expectations. I actually acquired my VS-880 because 1) I'm of the Powerbook and Portastudio mentality (i.e. "Give me full functionality, but put it in a little box I can carry from place to place!). 2) After years of demoing tunes at home on four tracks and then going into the studio maybe once a year to record a CD and being spoiled by automated mixing, near unlimited tracks for alternate takes, digital editing and auto-muting (and wishing I had more studio time!)..I wanted nothing less when I decided I was going to make the move from demo to "project" studio. And, 3) Though I obviously use my computer frequently, I'm not sold on the idea of having to fire the thing up every time I need to record! No I wouldn't give up all of my outboard gear, I use an outboard mic pre and it would be a boring world if there was nothing "quirky" for me to introduce into the signal chain (ie. a wah-wah pedal, sansamp box...though I usually print those during tracking) but I also remember many occasions in some pretty sophisticated studios where I'd hear that "last chance" call for final mix alternatives before the outboard EQ's, compressors and reverbs would have their settings changed and, board automation or not, it would be unlikely that you could re-create your exact mix again for re-tweaking (not to mention, after the fact overdubbing!). My studio in a box has been a great learning tool, a means of income, an opportunity for unlimited creative experimentation (just wish I always had the time!) and a very efficient and high quality way for me to record the way I want to. Can't complain, it works for me. As for how far away are we from the ideal "box"(?)..from everyone's description of the new VS-1680 at NAMM that seems to have addressed most of my "please add" issues for VS-880 improvement..though I'll have to wait awhile to upgrade!

A.M. EasyBee Mgt.

-- A.M. (EasyBeeMgt@aol.com), February 19, 1998.


I just bought the E-16, it's in decent shape except for a few burnt out led's on the meters and it's sorta dusty. Anyway I've got three questions... 1) The alignment tape I got is shedding like a mother and I can't use it, does anyone know the phone number for MRL or know of a place where I can buy another reel? Also what are they going for? I can borrow one but I'd rather own it. 2) The former owner turned up the machines input gains by 14db bringing it from a operating level of -10 to +4. The output gains won't go above -5. So if I bring the inputs to -10 from +4 will I have to re-align (probably but I can always hope!!!) The inputs are before the noise reduction if it matters. Or should I try and find 16 -10 to +4 amps to put on the outputs. I might go with the amps but it depends on cost. 3) It's set up for 30ips but can run at 15 if you pull it apart and switch the contacts on the motors. Is it possible to put a switch on it to go between 15 and 30? I would have my local electronics guy do it.

-- Jay Kahrs (BrownSnd14@aol.com), February 23, 1998.

Guess what? I have a beta copy of Sonic Foundry's ACID program for loop creation. It is very, very, very wonderful. Basically, it takes any loop you throw at it and time stretches to the desired tempo, and can also change keys. This works best for percussive material, but melodic material isn't mangled too badly. You can also load in one-shot, not just looped, material, and do standard streaming hard disk recording (the loops are retained in RAM). The hard disk recording isn't implemented on the beta, though.

Anyway, I was testing it the other night, and threw a bunch of loops I'd done from the SR-16 drum machine. The results were AWESOME. I then threw in a quick sampled bass line and lo and behold, real music was coming out of the speakers. I think Sonic Foundry has a winner here, and what's cool is that it's a new product category -- not a sequencer, not a digital audio editor, but something completely new.

-- Craig Anderton (Anderton@aol.com), March 05, 1998.


Hey everybody, I'm leaving for the Frankfurt show on Monday and will be gone for a week. I'll report back with news here. This also means I won't be able to participate too much in the discussions. In fact, I aplogize for not being more active here, but there's so much to do to get the new site going. Please keep posting...

-- Craig Anderton (Anderton@aol.com), March 05, 1998.

>>MRL<<

Phone: 650-965-8187 FAX: 650-965-8548

You may want to contact Fostex and find out which specs to align the machine to, IEC or NAB. My guess is probably NAB, but I'd call to make sure....

Donny

-- Donny Thompson (Donny@aol.com), March 06, 1998.


Okay gang..here's one for ya..I need a little help. I've decided to upgrade my console situation. I have narrowed my choices down to 4..(primarily because they fall within the price range.) (yes..I would love and SSL or Neve..LOL..NO..I can't afford it!)

1.) Amek Angela; 24/24/28, patch bay, MasterMix Automation; $11k

2.) Amek Big; 28/12/28, Super True Auto, Virtual Dynamics, $17k

3.) Soundcraft DC2000; 24/24/24;Moving Faders, $13k

4.) Trident Series 24; 28/24/28; Magi Automation, $15.5k

If anyone has had any experience or knowledge of these consoles, I would appreciate it if you could drop me a line!!

Thanks..

DonnyThompson Donny269@aol.com

-- Donny Thompson (Donny269@aol.com), March 08, 1998.


>Anyway, I was testing it the other night, and threw a bunch of loops I'd done from the SR-16 drum machine. The results were AWESOME. I then threw in a quick sampled bass line and lo and behold, real music was coming out of the speakers. I think Sonic Foundry has a winner here, and what's cool is that it's a new product category -- not a sequencer, not a digital audio editor, but something completely new.<

kind of a 'vinylizer' thing then? interesting enough, tho SF only supports the windoze platform, so I guess I'll never know.

here's my low-fi tips for today:

1) sample a record's dead space and loop it under the rest of the track

2) manual time-stretch, tho I don't personally like the results.

3) turn of anti-aliasing filters on your sampler

4) run a send to a auratone or similar, mike it, and bring that signal back on a return or another stick.

5) do seventeen digital bounces via SPDIF and a minidisc recorder (HA!)

jfs

-- jfs (judson@avdeli.com), March 09, 1998.


Answering Craig's: <<"How far away are we from something that would satisfy your needs enough to get you to give up a traditional studio? Finally, how many of you are doing everything in a studio in a box?">>

I truly think we're just a "heartbeat" away from totally satisfactory (in sound quality & tech-specs) digital-studios-in-boxes. The present offerings are a light-speed jump from what was available even 2 years ago__ IMHO all it takes to create a digital recording super-nova is for mfgrs. to drop the market-niche limitations-on-features musical chairs game, adorn their boxes with at least 8 simultaneously recordable analog AND digital ins & outs, 18-bit-minimum signal path and 48-bit (not 24) internal effects processing for no-grit smoothness, at least 1 effects send & return on EACH channel. . . and frankly i think they'd surprisingly reap a much bigger piece of a much bigger pie because we'd not be agonozing over which box can do more of the basics, and you'd still have different sonic pallettes known to different manufacturers (Akai's & Fostex's warmth, Sony's crispness, etc.) fo us to argue over (smile). I finally have acquired an Akai DPS12, and believe its present price/features set will put it ahead of the pack whenever software upgrades come (u know they will), but having blasted the 'waiting for upgrades' game before, i didn't buy it for that--but for the speed & convenience of producing the 800+ songs God's given me (with a lotta nice vocals recorded in bedroom demos on cassette) in ways only a digital base can possibly enhance & clean them up without hocking the house. Still love my analog setup for some tracking, but who knows?___Akai may alter that. God Bless You all.

-- G Ollison (WiserToday@aol.com), March 10, 1998.


I just heard that the Avalon 737 preamp with the purple knobs doesn't sound as good as the Avalon 737 preamp with the silver knobs. I know there is a difference between the two, other than the knobs, because the silver-knobbed version costs more. Anyone with first-hand experience care to share?

-Lynn

-- Lynn Fuston (go3daudio@mindspring.com), March 12, 1998.


Speaking of Avalon, I was trying out their stereo equalizer (not the mastering version) and though it sounded nice, I couldn't use it. When I switched it into the circuit, I couldn't believe how different everything sounded!! With every knob set to flat, when I would switch it into the circuit, it sounded like I had activated an exciter circuit. There was no difference in gain, in or out. But I was wanting to use it to pull a little harshness out of the mix, and whenever I switched it in, the whole thing was so much more brittle that I had to pull it out of the signal path. Anyone else have experience with this unit?

I will say, to its credit, that when the bypass switches are pushed, switching the EQ out of the circuit, it is COMPLETELY out of the circuit. The bypass is a hardwire bypass, and you can pull the power to the unit and it will still pass signal straight through. That is very nice.

Lynn Fuston

-- Lynn Fuston (go3daudio@mindspring.com), March 12, 1998.


Mac G3's are coming down. Apple announced price cuts on current models this past week. There is a link at the 3D Audio FYI page.

-- Lynn Fuston (go3daudio@mindspring.com), March 12, 1998.

<>

I would stay away from the Amek consoles. I used to intern at a studio that had a Mozart which is about 6 y/o. There were tons of problems with busses going dead, the mix bus sounded like a bowl of Rice Crispies (snap crackel and pop) on any given day. Not to mention noisy pots and switches. Not to mention the insane patchbay layout (e-mail me if you want details about it) Some of it came from the fact that it wasn't well maintained, but I talked with the engineer who had worked there for 5 years sience they opened and he said the console hstarted acting like that after the first year. Although a lot of people have the BIG and it gives you a lot for your money, I think the Trident 24 would be the best choice. It's sweeter sounding then the BIG plus you can always use the extra channels at some point or another. You might also want to look into a used Neotek. For less then 20g's you can get a sweet sounding console with autiomation. If you go to www.odysseyprosound.com you can look at their used console listing which has some Neoteks, Trident, Harrison, Soundcraft etc. If you hunt around enough you can turn up a used Helios, Harrison, Sphere, Calrec or something similar for your price range, but then you have to figure in the cost of maintaining a vintage console.

-- Jay Kahrs (BrownSnd14@aol.com), March 13, 1998.


1.) Amek Angela; 24/24/28, patch bay, MasterMix Automation; $11k 2.) Amek Big; 28/12/28, Super True Auto, Virtual Dynamics, $17k 3.) Soundcraft DC2000; 24/24/24;Moving Faders, $13k 4.) Trident Series 24; 28/24/28; Magi Automation, $15.5k<

I would have to agree with Jay. The Trident is a serious contender and the Soundcraft would probably have more features than the others, and it is a solid sounding console. The Trident will have the most "name-recognition-value" of the bunch, and don't forget how important that is. It doesn't matter how good the console sounds, if nobody ever comes in to hear it. There's a lot to be said for having a name on the equipment that people know and trust. That's why no matter how good a mic or console Peavey ever makes in the future, they will always be haunted by the garbage they made in the past. And so will the people who buy them. "It really sounds great, even though it is a Peavey." I hear it all the time. Don't put yourself in a situation where you have to apologize for your gear.

-Lynn Fuston

-- Lynn Fuston (go3daudio@mindspring.com), March 13, 1998.


Check with Randy Blevins at Blevins Audio Exchange for used consoles. His web address is "http://www.questx.com/bae". He's a good guy and has lots of connections when it comes to used recording gear.

-Lynn Fuston

-- Lynn Fuston (go3daudio@mindspring.com), March 13, 1998.


>Is anyone using the Sytek MPX-4A mic pre? I read a good review of this mic pre on EM Nov.97, and i'm thinking of getting one, but would like to get some opinions on this before buying.<

If anyone is looking for a great preamp, or bank thereof, ORAM Sonics is making an eight channel preamp, single rackspace, that sounds great. It's called the Octasonic, I think. To my ear, it sounds just like a Trident 80B. And I worked on one of those for 8 years, so I know their sound. I don't know how much it costs, but it would make a great addition to any studio that needs to cut large live groups and can't afford preamps that cost $1.5K per channel. Check it out.

-Lynn Fuston

-- Lynn Fuston (go3daudio@mindspring.com), March 13, 1998.


I am going to get at least a 4 gig External HD for digi recording. I have a Mac System.

What is the best and quietest?

Any opinions would be helpful.

Thanks in advance,

Kelly

-- Kelly Reynolds (KelRey@aol.com), March 13, 1998.


Donny, I almost forgot to mention Oram!!! I went to Sweetwater Sounds web site to get prices b/c they are the only dealer in the USA that I know of. Anyway, if you have the budget look into the Oram BEQ824. It's a 24 channel 72 input 8 bus console. All kinds of nifty things like 100mm channel fader and 60mm for the monitor, 7-8 sends, great eq, and it's built like a tank if it's made like the MWS (mic work station) which also sounds great. The list price is a whopping $18,166 for the 824 and $23,358 for the 32 channel. Meter bridge and stand are $2590 and $643 respectively. Because the console dosen't have automation you could get the Mackie Ultramix and a Mac to automate 34 channels, 32 channels plus the mix bus. That would be a better sounding console then the Trident 24 you were looking at, plus it won't be old, cranky, and noisy like the Trident might be. Intresting factoid, John Oram used to work for Trident. If you go to the Oram web site, they have all kinds of cool pics plus specs on their equipment.

-- Jay Kahrs (BrownSnd14@aol.com), March 14, 1998.

Does anyone have any opinions on the relative merits of the M2000 or the MPX-1? I'm getting ready to buy one or the other... Thanks, Andy Dorfman

-- Andy Dorfman (AZDorfman@aol.com), March 15, 1998.

RE: Consoles

Jay, Lynn, thanks for your valued opinions. I agree, Lynn, while it's sad that the name plays a contender (not that I would go as far as to put Peavey anything in my studio), I realize that I'm fighting the fact that the name counts..I've actually considered getting a laid out Mackie 56 input w/ auto in a nice Argosy frame, (it would actually sound pretty good using a few API and Neve Mic Pre's and EQ's I'm sure) but I'm fighting the logic that everyone now has a Mackie "something or other" in their bedroom, basement, garage, etc... and I can hear the wheels turning now.."why should I pay 50 bucks an hour for use of your Mackie when my cousin has one in his basement..etc etc... The fact that I'm using Neumann Mics, Tube Mic Pre's, Lexicon Verbs, and a professionally designed 2500 sq ft live room, etc, will make no difference to them....not too mention the knowledge that their "cousin" probably doesn't have... But alas, such is the way of the world.. I've heard great and not so great things about the Amek line.. everything from "nicest EQ and Pre's in it's price range" to "wouldn't touch it with a ten foot pole.." But I've also heard the same varying descriptions about Soundcraft, MCI and even Trident...depending on who ya talk too.. I'm still considering a Trident, Neotek, and even a Harrison 4032.. (I found a good deal on a DDA AMR 24... but there's no way in hell I could ever fit the thing into my control room.. (15 feet long or something) The new Oram's look nice, but for what I need the price is just too steep. I never thought it would be so tough to spend money..LOL... anyway..thanks to all for their advice.. I'll let ya know when I decide....

Donny

-- Donny Thompson (Donny269@aol.com), March 15, 1998.


I've got a DPS12 now, and unexpected problems. My initial ecstasy heraing the Jaz demos has turned to frustration trying to record on it. ALL'S NOT WELL (YET) IN CAMELOT__ I NEED BIG HELP!

[PROBLEM 1:] (you won't believe it) H-I-S-S, like a snake!! From the 6 analog-ins, with NOTHING plugged in. One Musician's Friend tech thinks it's a bad board from the manufacturer, but referred me to someone more familiar with it on tomorrow. [PROBLEM 2:] Low headphone monitoring level. After having to almost scream into the mike (at the input's -4 setting), i must push the phones fader to the max) to hear it moderately.

Craig, i haven't read your review, so any help from you or others is welcome. If someone advises to get a VS-880, i'm listening ... I do like its sound, and i have gotten user-friendly with it in numerous music stores over the past year. I also expected on the DPS a non-existent (1) scrub feature, (2) windows-style waveform highlighting on the display for cutting & pasting (not there), and (3) the waveform display does not scroll with played tracks in jog play mode __ it 'blanks out', and i don't see it again 'til about a second after playing stops. ALL HELP IS MUCH APPRECIATED, OR IT GETS RETURNED IN 2 DAYS.

-- G Ollison (WiserToday@aol.com), March 15, 1998.


Can anyone tell me anything about the fostex D5 dat deck. I want to get a second one, it doesn't need be great because I plan do use outboard ad/da. I am curious how it sounds compared to the tascam and sony models. To be the tascam is too bright with it's own converters and the sony sounds artificial. The thing is I need to decks, but I will have to wait on 2 outboard a/d's so one of these machines needs to be able to record on it's own. -Muhammad

-- Muhammad Lee (mrl2@lehigh.edu), March 21, 1998.

I own a Fostex D5 DAT, and it sounds fine. I really don't have very much to compare it to, but it seems fine. It sounds a little better than my old Sony 55ES -- I guess a little fuller -- but it should. The other one's an old consumer deck model. It seems to have decent features for its price point. I would think that the new Sony models with the SBM would sound better, but that's just a guess. I've had my deck since Feb. 1996, and haven't had a problem with it, either.

-- Ken/Eleven Shadows (ElevenShad@aol.com), March 26, 1998.

Okay, I am in the market now, finally, for a new DAT deck. And I have a few questions, because I want to be able to do some 'mastering' with it. Not Lynn quality mastering, but in the past, I have gotten good results going from the DAT mixdown, back to ADAT, and then adding overall eq's and such when mixing down again. Good enough for the rock and roll demos I usually do. Plus, I can always mix down some basic tracks to DAT, then bump 'em back to ADAT to add a few more vocal tracks, or whatever... (Working with only one ADAT, I am always looking for more tracks...) My question is, is there any way to keep it in the digital realm? Are there any DATs that have a lightpipe protocol, where it would transfer to say, tracks 7 and 8 of the ADAT? I know this is probably asking alot, but it seems better right now than saving up for another DAT... (Or starving for a year to buy a digital board.)

Drew

-- Andrew Mazzocchi (MeatWeasel@aol.com), March 29, 1998.


>Are there any DATs that have a lightpipe protocol, where it would transfer to say, tracks 7 and 8 of the ADAT?<

Nope, but you can get a format converter to go from lightpipe to AES/EBU or SPDIF. Unfortuneatley that's major $$$ right now. In 3-4 years who knows, you might be able to get them for $100. I would stick with using the analog I/O for now to save money and you get the added bonus of being able to use all of your analog gear for mastering. I'm in the market for a DAT myself and I've norrowed it down to the Otari DTR-8S, the DA-30MkII, or the PCM-R500. Any thoughts? If I run short on money I might go with the DA-20MkII or the PCM-R300, but hopefully it won't come to that.

-- Jay Kahrs (BrownSnd14@aol.com), March 29, 1998.


> ------------------------------------------------------------------------ >Are there any DATs that have a lightpipe protocol, where it would transfer to say, tracks 7 and 8 of the ADAT?< Nope, but you can get a format converter to go from lightpipe to AES/EBU or SPDIF. Unfortuneatley that's major $$$ right now. In 3-4 years who knows, you might be able to get them for $100. << The best way I know of is still the discontinued Alesis AI-1. You can find them used for around $600. You might look at the MOTU 2408, and see if it will do what you need. Not a lot more money but lots more features. Also, the Optical in on the back of a DAT machine will be a stereo "Toslink" I/O, which is the same plug as the ADAT Lightpipe, but it is not compatible, because the ADAT uses a multiplexed 8-channel format. You must have a box like the AI-1 or the Otari UFC to strip out two channels at a time.

-Lynn Fuston

-- Lynn Fuston (go3daudio@mindspring.com), March 30, 1998.


Anybody have a recommendation as to where to send my malfunctioning Tascam DA30 MKll?

-- Doug Robinson (jazzooo@aol.com), March 31, 1998.

I took the plunge today (yesterday at this point) and bought a DA-30MkII. While I was at Sam Ash I was looking through the used rack and I ended up walking out the door with a used Lexicon Reflex for $225 no box/book. I spent about an hour tonight playing my strat through the console so I could compare the Reflex to my Midiverb 4. In some ways I almost prefer the Midiverb 4. In comparison (keep in mind this was with a pair of K141's, no monitors) the Reflex seemed grainier. Sometimes it was a more lusher but the tails got grainy esp. when I put the drum machine through them both. Anyway, should I try to get a copy of the manuel for the Reflex and figure out how to program the thing? (if anyone has a copy or could help me out that would be great) Or should I just return it and get something else? They also had a Boss SX-700 for $300, a pair of ART fxr elites for $80 each and some old Ibanez delay for $60. I was also looking at the REV500 but if it's not a big step up, I don't really want it (not now anyway) I think that it might be good if only I knew how to program it... oh well at least I have 30 days to decide.

-- Jay Kahrs (BrownSnd14@aol.com), April 04, 1998.

You know, Jay, when we were IMing yesterday, I hadn't realized that you could return the Reflex. Like I mentioned, I've never used the Reflex, but I keep hearing that the REV500 has dropped to $300 now. If that is actually true, then it's only $75 more than the Reflex for you. I can tell you that the REV500 is *not* grainy at all. It's a very nice reverb for the price.

-- Ken/Eleven Shadows (ElevenShad@aol.com), April 06, 1998.

Re: Jazzooo's failing Tascam: I've had really good luck with VST for servicing. However, they're in Pasadena. If you are so inclined, you may call (626) 794-8196 and ask for Dave Segimoto. They do really, really good work, are very honest, and have reasonable prices.

-- Ken/Eleven Shadows (ElevenShad@aol.com), April 06, 1998.

The REV500 is the way to go. It is a clean solid unit with no grainyness on the tails. I have a few Alesis verbs that cost more but do not compare in build quality or sound. the unit is the best in its price range, especially if you are looking for a good bang for the buck reverb only unit!!!

-- Tom bongiorno (tbong@access1.net), April 07, 1998.

I got the manual for the Reflex today. I just spent about 2 hours with it and it's really nice. The reason the reverbs sounded grainy is because Lexicon set the high freq. cutoff on the preset's way too high, around 14khz. I brought it down under 10k and all is well. If I need it brighter then I give it a small boost around 5-6khz and it's smooth, bright and not even the slightest bit grainy. By the way the Reflex is the replacement for the LXP-1 if that gives you any refrence to sound quality. It's also a step up in sound from the Alex.

-- Jay Kahrs (BrownSnd14@aol.com), April 09, 1998.

> Anybody have a recommendation as to where to send my malfunctioning Tascam DA30 MKll? <

I just got a new DA-30MKII and there was a green page in the owners manual that has all their distributors and service facilitys listed. It has them listed for the middle east and the West Indies, but they do have a number to call and find the closest authorized service center (not always the best choice, my local amp guy is a little flakey) It's 1-800-447-TEAC

-- Jay Kahrs (BrownSnd14@aol.com), April 09, 1998.


Just thought I'd thank everyone for their valued opinions on consoles this past month or so. I finally settled (and sealed the deal) on a 1 yr old D&R Orion 51 , LCRS Panning, Automation, Patch bay, Harnessing, etc for 22k. Thanks again to all who helped with their opinions and advice! While I've never mixed on one, I was hard pressed to get any negative comments about it either. I know the EQ section on this thing is ridiculous; Hi Def Eq...sweepable up to 22k Lows sweepable down to 10Hz, so I ought to be driving the local K9's crazy...LOL.. anyway..thanks again.

Donny

-- Donny Thompson (Donny269@aol.com), April 14, 1998.


I was wondering if anyone had any experiences or opinions regarding the Flying Cow A/D converters. Would they make a noticeable improvement in sound quality over the stock A/D converters in the Fostex D-5 DAT recorder? Thanks!!!

-- Ken/Eleven Shadows (ElevenShadows@theeleventhhour.com), April 18, 1998.

I've never used the Flying Cow's but they're aimed at people doing digital recording into a computer and have crappy converters in their soundcard. It might be better then the stock D-5 converters but it might be a marginal increase in quaility unless it was 20 bit. The D-5 is the same as the Tascam DA-20 and the DA-20 has really nice (for stock) 18 bit converters.

-- Jay Kahrs (BrownSnd14@aol.com), April 18, 1998.

Curious ---has anyone who's used one experienced better sound quality with VS840's 20-bit "sound-stream" vs. the 880's 18-bit?

After my DPS12 mis-experience, I've been in digital retreat until my money and a unit fitting my needs come together (the VS-1680, so far), but with all those features in that box at its nice-nice-price, and even a recordist who has had a 2" analog & ADAT studio for years telling me it sounds really good on MT1, I'm tempted to spend what I've got on it & go forward. (but don't want to do the order-&-send-back-in-disappointment shuffle again, a la the DPS). 'Preciate your perspectives.

-- Galen Ollison (WiserToday@aol.com), April 20, 1998.


Speaking of VS-1680's......wasn't Roland supposed to be shipping about mid April, or so? I'm surprised by the lack of talk on this machine, especially after all the attention the 880 got.

So, anyone out there take the big dip and get one of these in yet? Don't keep us in suspense...let's hear about it!!!

-- Mike Moncilovich (mrm917@aol.com), April 24, 1998.


Hmmm...around here, a lot of musicians are blabbing about it. We did discuss it in the NAMM folders a while back. It certainly sounds good...

-- Ken/Eleven Shadows (ElevenShad@aol.com), April 26, 1998.

Well, the 1680 is tres cool!

I've been working with mine all evening. It's bigger and sturdier than the VS880. the screen is quite great, though a bit cluttered. The user interface is gonna be sweet, but takes some figuring out. I'm a slow learner unless a piece of gear is ABSOLUTELY straight-forward, and this isn't exactly that. But the features! The sound! The portability!

There are a couple of geeky routines which I will learn to circumvent. Roland always leaves some things looking and feeling like the engineers had the last say, not a musician. But hey--I'm not complaining.

-- Doug Robinson (jazzooo@aol.com), April 29, 1998.


> Anyway, should I try to get a copy of the manuel for the Reflex and figure out how to program the thing?

Only if manuel is a legal resident of the united states.

(if anyone has a copy or could help me out that would be great) Or should I just return it and get something else? They also had a Boss SX-700 for $300, a pair of ART fxr elites for $80 each and some old Ibanez delay for $60.

for $300 the sx700 is great. i bought mine a year ago for $400 and it was such a welcome addition to the rack. it sits between the low-end gritty-az-fuk low-fi stuff like the quadraverb gt and yamaha fx900 and the better, cleaner, wimpy stuff.

but man, whoever stayed up for weeks designing the algorithm for the RSS stuff was on! if you really sit back and listen, the 3d stuff really does work. I know it's all smoke and mirrors, but what the hell else are you gonna do with 2 speakers?

your lexicon piece should go back. if you want lexicon, you gotta pay for lexicon. i learned that lesson when i thought i was getting pro tools for $500 when i bought an audiomedia card. nope.

peeeeeeeez-jfs

-- the former aol terrorist, and mad fat chick killah, ai3000jfs (judson@avdeli.com), April 30, 1998.


LAYLA HAS ARRIVED!!! We just got them in today at the Guitar Center in Springfield NJ. Talked to the rep yesterday and he said that the main reson it didn't ship was because of a problem with the power supply. Just thought everyone would like to know.

-- Jay Kahrs (BrownSnd14@aol.com), April 30, 1998.

LAYLA HAS ARRIVED!!! About Flippin' Time! What's the story, Jay? And how much are you gonna charge a fellow homeless SSS'er?

-- Tom Armbruster (pcctomtrf@aol.com), April 30, 1998.

Jazzooo, what would you say are any limitations of the 1680? I ask because my friend is really interested in purchasing one for the purpose of recording his band and putting out albums.

-- Ken/Eleven Shadows (ElevenShad@aol.com), May 03, 1998.

LAYLA >>>> Here's the scoop. The main reason it hasen't shipped untill now is because of a problem with the power supply. It turns out that it was causing a 60 cycle hum and had to be redesigned from the ground up. In doing so thry had to change the placement of things internally. That problem is now rectified and they say it works. The first 200 units have a wall wart (blah!!!) but the rest all have the internal transformer. As of right now I haven't even seen the packaging yet because I've been busy with rep's but I'm going to check it out tomorrow. I get all kinds of cool things from t-shirts and key chains to a series 1000 6' Monster cable speaker cable (it made a huge diffrence in my guitar rig, but then again it is a $100 dollar cable) and a copy of Sound Forge with all the plug in's so I have to get either Gina or Layla now. Working at Guitar Center is like being at a giant toy store it just sucks monry out of your wallet.

-- Jay Kahrs (BrownSnd14@aol.com), May 04, 1998.

Ken,

The limitations of the 1680? Only 8 simultaneous inputs. Man, I'm having a hard time thinking of much more than that. i guess because it is all digital, and many of the functions are menu-based rather than being knobs, some will have a hard time getting used to it. But it's relatively inexpensive, has built-in automation, 4 independent stereo efx and COSM thingies, it sounds great, and is relatively user-friendly.

Can you think of them?

DR

-- Doug Robinson (Jazzooo@aol.com), May 04, 1998.


It seems like the LAYLA might be too little too late with the release of the MOTU 2408. Anyone have any idea how in the world Event expects to compete with MOTU? The 2408 has 3 times the ins and outs, very flexible routing and synching capabilities including (a big one for me) ADAT sync and 3 lighpipe ins and outs. That a hard act to follow!

-- Lance Gibbon (lgibbon@lkwash.wednet.edu), May 05, 1998.

I found you guys. Hey Craig. Just reading through the posts here - it's nice and mellow. Just wanted to throw my $.02 for the RNC compressor. It is the bomb. Compares with compressors costing $1000's and I've been speaking with Mark about fitting it into a DBX 900 rack slot. Also has anyone checked out the new Sony FX box ? I hear it is amazing for the money.

-- robert hoffman (rob1622@ix.netcom.com), May 07, 1998.

I have a guy that's intrested in the Soundcraft Ghost. Here's my question that Soundcraft can't answer... He want's to use the onboard transport controls to control his adats and the manual says that we have to use the Alesis AI-2 for this. Can he use his JLCooper data synch for the same purpose? Thanks,

-- Jay Kahrs (BrownSnd14@aol.com), May 14, 1998.

That Sony box you mentioned, is that the multi-effects box -- V something -- something 55? I heard it just through head phones at the NAMM show, so hardly a true test drive, but it sounded good nevertheless, and worth checking out. What is a dbx 900 rack slot? I would just slap the things on a rack shelf and Velcro them on. Should be able to fit three of them on one shelf.

-- Ken/Eleven Shadows (ElevenShad@aol.com), July 06, 1998.

Hi guys, it's been awhile. 2 things, please.

I'd be might grateful if anyone can e-mail me an attached manual, tweaking instructions, or a technical diagram or such to help me "un-pump" my significantly pumping TEAC DX-8, revive 2 channels that don't work, and restore naturalness to the restored (expanded) playback signal which is bass-heavy and has almost no highs over 8k it seems.

2) I can't find a used (or new, for that matter) ART MDM-8L ANYWHERE on the Web, for max signal control while 8-tracking ensemble style. Any clues, or other suggestions, (besides the Presonus that I can't afford yet)?

Thanks.

-- G. Olison (formerly WiserToday) (LoveMusic@cheerful.com), July 30, 1998.


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