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ludwiguy

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  1. This is very helpful. I have downloaded the pdf and will take some time with it. It looks like a serious tutorial. I was just going to ask if there was one for Ozone you would recommend, but this will get me started, I think.
  2. Thanks for the comments. I totally agree. Equipment did matter when I was using a Tascam 8 track cassette Portastudio, but not today. My situation when I first started was I was limited on finances. I bought the Tascam US-428 and a used unregistered copy of Cubase VST5.1. This program was very advanced in its day, and I love the capabilities. It cannot handle much of the newer software, but like you say, most of that is to appeal to our equipment cravings. At this point I would rather spend my time perfecting my craft than learning new software. As to my original question, the window for returning the SM7B is over. He was convinced that it would give him better vocals than my AT3035, so he is keeping it. Maybe I can prove to him as you suggested that the mixer is not the way to go. If you are still following this, could you offer your opinion of iZotope Ozone mastering software? I tried the demo and felt I could get the same result with my version of Cubase and Wavelab Essential. What I basically would like is a convenient way to match the EQ and levels of the songs on an album to reasonably close to one another.
  3. Your comment prompted me to further testing of the us-428 with the SM7B. While I have to turn up the gain, it is still very clean, even after I normalize the vocal in Cubase Wave editor. I have considered upgrading to a newer interface, but the controls and convenience is not found on the newer ones. I have not found a significant sound improvement in the newer ones I have compared in my environment. It seems to me that one must spend thousands more to get a significant improvement in home studio sound quality, which no doubt is needed for professional work today.
  4. Thanks again for the additional comments. I totally agree that the shortest path with the least amount of coloration is best with digital. My friend is still in the mindset of the tape era. I also understand that the Peavey is better for live performances where the small amount of noise would not be critical. Just trying to work with him or around him for now. I told him today that the cleanest way is to go directly into the Tascam interface and boost/modify it digitally. He still thinks that the Peavey unit has better reverb than I can get in Cubase. Just to clarify, I am not saying that the SM7B is generating hiss. And I know my ART preamp is not high end, but I have been getting sufficient gain in the past with both it and the Peavey mixer in the past with acceptable noise levels. I just think that the SM7B forces my preamps to increase the gain to the point where their hiss is noticeable, more than with any dynamic or condenser mic I have. Right now, I cannot justify the expense of a high end preamp with a cleaner boost for the SM7B. So he will either have to accept recording straight into the Tascam, or the noise of the Peavey, or find a mic he likes that has a hotter signal. Hence my question, is there an alternative for the SM7b in that price range that could help?
  5. Thanks for the comments. The mic is new, which is why I am wondering about returning it for a comparable condenser mic. Actually I can get enough gain direct into the Tascam to get a signal. I would have to normalize it some, and have not tested to see how much hiss would be noticed. Mainly he wants to use his Peavey701R mixer for EQ and effects as a preamp, and the noise from it is worse than the ART V3 or Project Studio tube pres I have. When I have enough gain going into the Peavey, its good. Even an SM58 does fine in the area of noise. I am certain that the SM7B has a weaker output than the SM58 and other hand held dynamic mics I use. A better preamp would help, but I cannot afford one right now. I would rather just have him return this for a higher output mic.
  6. What would you suggest? I am getting plenty of gain with my AT3035 and my Tascam us-428 interface. I cannot justify the cost of a high end preamp right now just to use the SM7B. I have two ART tube pre amps, which again, do not add significant noise to the AT3035, but with the SM7B there is the noise problem.
  7. A friend of mine wanted to buy a good mic to use in my home studio, and chose the SM7B. We were warned that it had low output and with my existing system I get significant hiss when I turn up the gain to a sufficient level. What I am hoping to find is a mic that has the same nice smooth tone with vocals but with higher output, either condenser or dynamic. Any suggestions?
  8. Earlier this summer, I had planned to order this compression pedal online, but was working on a larger purchase to get free shipping. Now it is nowhere to be found except ebay. Is there a replacement model? Or has the company gone under? Just wondering if anyone had heard something. Dan
  9. I have been playing on and off for 40 years. I use a Strat, an Epi LP, Dean 12 String, PBass with 100 Rumble amp, as well as 2 acoustics with an added pickup. I am having much more fun since I got this amp. My Strat with its stock pickups sounded thin until I switched for solid state to this tube amp. For versatility I haven't found a better deal. I would buy one again if the price was right, but would probably check out the current options.
  10. Recently I have been enjoying a couple of CD's of the Beatles live on BBC radio. I had no idea they played so many country and Everly Brothers songs in the beginning. Here in the US we thought they had started something new. Well it was new, in that the influence of American music came across so freshly in their different voices and their enthusiasm. By Revolver they really began trying new things. An enjoyable book by sound engineer Geoff Emerick really discribes the experimental spirit they had in those years. I can understand why some do not get it, but it would be difficult to measure the impact the 4 had on modern music yet today.
  11. DOD has by far the best compression circuit of modern "non-boutique" compressors. I think the Milkbox is the same as the old FX280B, which is very similar to the older Dynacomps but with an extra knob. I'd just get the DOD. Thanks for the info. Never heard that before. Just wish I could hear them side by side. There is a mod, however, for the Dynacomp, which is highly recommended. The claim is that it gets as good as more expensive compressors. Only I still think it lacks the attack control.
  12. Does the DOD Milklbox have a setting that eliminates the clicking sound of the pick attack?
  13. Some time back I tried the Milkbox and liked the sound, but now it is only available here via mailorder. I have been checking out the Dynacomp from GC as well, but I don't like the clicking sound when playing the clean channel. Since the Milkbox has the attack control, I was wondering if it can add sustain without the clicking sound, as well as have the option if I want it. The Dynacomp had less noise IMO than the EHX Soul Preacher, and I think less clicking. I have read a few reviews that the Milkbox is noisey. Could anyone tell me if it made more noise than the Dynacomp? Also, I don't like it that battery change is inconvenient on the Dynacomp. I mainly would like sustain available for leads, and a good compression for rythym and bass guitar, and 12 string electric. Dan
  14. Hey buddy, Glad for the opportunity to offer prayers to the One who knows what you need. Keep on hoping and believing! Dan
  15. balthazarr, I just looked for the CP-9 and it is discontinued. Now there is an expensive CP9Pro+ at $235.US. I am wondering if the older ones on Ebay are at least as good as yours. DB
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