Hi Colt, for everyone that is reading this, your video made me a bit emotional. So much bs out there on UA-cam, but this man. We can never know when people are just trying to sell gear! I don’t know you in person, but with this video, you made yourself someone with very high credibility, because almost every piece you talk about I own and they are exactly what you are describing! Simple and to the point!
I agree with you about summing but what a lot of people ignore is that summing digitally is just combining 1s and 0s. If you convert them back to an analog signal, and sum them through a mixer, you’ll be combining frequencies and not numbers. It does have an effect on the sound more than most people think. Even panning in analog sounds different. But to get 95% there, you are 100% right!
Digital is combining 0s and 1s and then an algorithm produces a perfect sine wave reproduction of the sum. In ABX testing 2 of my friends sold their summing boxes... We were preferring the itb sums most of the time.
Thank-you, Colt. I remember when the Tube-Tech LCA-2 first came out; I was at Master Disk in NYC mastering with Howie Weinberg. He used it, as with most of his compressors, just for a little "coloring," not a lot of heavy compression. I couldn't believe it. On my recommendation, one of my close friends, who owned a studio in Manhattan called "Lo-Ho Studios," picked one up. The early versions ran really, really hot. Consequently, Lo-Ho Studios took the top off their unit, permanently. I used LCA-2's at Sear Sound and rented them from time to time. They are truly a stand-out type of vacuum tube compressor in a crowded field. Tube-Tech make some fantastic equipment. I love your passion, enthusiasm, dedication and sincerity for recording. Thank-you.
Thank you colt for sharing. I would not mind a part II. Idea/suggestion: video of expensive analog gear you acquired that you regret buying or you hardly use.
Thanks Colt! This was awesome! I've had the Auratones, the Lauten, a 1176 and the PRS SE Hollowbody on my list for years! You've convinced me to ante up!!
A little life hack that I've been doing when it comes to summing. if you can't or dont want to spend money on 2 very high quality preamps, the warm audio bus comp is an incredible summing box. just bypass the compressor switch and leave the transformer. Ever since I got that piece of hardware I've been getting the best summing results in my 10+ years of mixing career. Total game changer and it's pretty affordable. Hope this helps and cheers from Puerto Rico.
You should make a dedicated video for proper spacing in your hardware racks and why it’s important!! If you read the manual for your equipment, it will state the proper installation procedures and if it says to add spacing for heat dispersion purposes then listen. My SSL Fusion died as a result of heat from not having that spacing. (I got it used from a friend and he never had it spaced) Just a heads up to us all who spend boatloads of money on nice gear. Also if your equipment is passed the warranty date then double down on this. It will save you money, time and headache. 🙌🏻
I had a Dangerous D Box in my studio. It added this 3 dim sparkle to a mix that was really nice. But swapping cables each time was a hassle after tracking. I found an SSL 2 bus compressor and other SSl gear to add this clear clairty sound with the added fast transients that was really nice. I have since sold my Dangerous Box. I will check out the Tube Tech LCA 2 B. Thanks
Hey, Colt! This is Terry that you used to work with. I just found your channel as a recommendation in my feed. I live in Kenya now, have a pretty cool band, plus working on building my own studio.
Yep had the same experience with the 1176. Had a CL1B for a long while but I use the black Audioscape 1176's in stereo and I've got an Audioscape blue stripe. The way they catch peaks is pretty different from the software in that they don't sound squashed when pushed for the moment.
The biggest improvement for me was proper acoustic treatment in ny studio. I went with GIK and Auralex. I agree with you on the Iso Pucks. They do make a difference. I had the mod pads previously, and they did help, but I found the pucks were a little better with clairty. 1176 hardware is much better than my 1176 plug in's. Thr fast and clean transients they provided especially on guitars is a game changer. I found the UAD AE version was the closest out if the plug ins but it still lacked that fast transients. I picked up a Gibson 335 in 60's cherry and the open woody tone is wonderful. Deluxe Reverb is great, I went with the Fender Twin 65 reissue and its amazing.
Colt, Great video, as always. I love what you do! Quick point of feedback. While routing your master bus through a mic preamp and back into your DAW will indeed pass the signal through an analog circuit, this process won't accomplish analog summing in the traditional sense. As you know, analog summing is the process of combining multiple individual audio tracks together in the analog domain using a summing mixer or summing amplifier. This results in imparting a certain sonic character due to the summing circuitry, potentially including subtle harmonic enhancements, crosstalk, and what many describe as a "glue" effect that can make the mix sound more cohesive. Sending your master bus through a single mic preamp (which I also do sometimes when working ITB) will not sum your individual tracks since they will already be summed digitally by your DAW. However, doing this does pass the already summed stereo mix through the analog electronics of the preamp, which (to your point) imbues your mix with the characteristics of the preamp's circuitry, such as harmonic distortion, transformer coloration, or EQ coloration, depending on the preamp's design and how hard you are driving the input. It sounds great if you do it with a nice preamp. If someone reading this is seeking the sonic characteristics associated with analog summing in particular, you would need to use an actual analog summing device, such as a dedicated summing mixer or summing box. These devices take multiple outputs from your DAW and actually combine them in the analog domain, giving you the analog summing effect on a multi-track level. However, if you do not have access to an analog summing mixer (though they aren't hard to build, google "How to Build a DIY Passive Summing Box"), routing your stereo mix through a high-quality preamp (like the Vintech Colt mentioned) can still be beneficial in its own ways: 1. Good preamps impart warmth and presence to your mix because of the transformer-coupled circuitry and amplification stages. 2. Pushing the levels into the preamp can introduce harmonic saturation, which can make the mix sound fuller and more "analog". (Note: If you overdo it, you'll end up with unwanted distortion.) 3. The electrical interaction between your interface’s outputs and the preamp’s input through impedance imbalances can sometimes yield subtle desirable changes to your mix's sound. These changes can stem from the way different impedances interact, affecting the frequency response and dynamics of the audio signal. This can lead to a perceived improvement in the 'depth' or 'warmth' of the sound, depending on the characteristics of the preamp and its interaction with the rest of your equipment. The approach Colt mentioned here is quite different from actual summing and will affect the entire mix rather than the interaction between individual tracks. The result from a preamp will be more subtle than what you can achieve with a multi-channel analog summing. That said, it does sound great and is an easy way to bolster the richness of your mix! Both techniques have their place in your production and mixing workflows. We are after all making art here and everything just depends on the specific character you wish to impart. Love your work, Colt, and thanks for taking the time to make these videos. -Alex
Colt, are you running line level into those pre-amps for your mix bus. Can you discuss exactly what the chain is out of your interface and back in, wires and settings? Please.
As a teen I used to love getting my mix to resonate the table, items on shelf etc… then mic them & record back in! But yes been meaning to get some isoacoustic stands for ages it’s about time 😂
I do this transformation right now for my mixing service. And i discovered, that plugins kinda struggleing with compression and saturation, and my harware sound sooo much better.
I love my Moog Sub37 and your review helped me decide to get it! And it is great you mentioned acoustics and acoustic decouplers in your essentials list. I would also add to your microphone nook a movable Acoustic diffuser to put in front of the door - it will diffuse any harsh reflections from the door back to your broadband absorbers.
Colt, thanks for all you do for us here on the Tube. I don't think I've missed a single video of yours since discovering you. I really appreciate your knowledge and authenticity. Just wanted to let you know that I just dropped over three grand at SW using your link.. almost forgot but made sure to do it as a way of saying thanks! Hope you're doing well brother!
@ColtCapperrune a couple of recommendations for you try which I believe will yield you better results than a few of the devices mentioned. First is the Whitestone P331 EVL and Vertigo VSM-2 either of these two will astound you for mix bus duties, I have both, they are astonishing. I used to run pre's on the 2 bus as well for reasons mentioned, VT-2 comes to mind, but try the loading amplifier and the VSM-2. The finest dynamic and transparent VCA comp I am aware of is the VSC-3 also from Vertigo. Gives these a look. You can thank me later :)
Dude, that is awesome. You’re talking about the Auratones & the Atlantis 😏 which I USE EVERY DAY- and I’m telling my wife as she’s sitting here…SEE!!!!!
The Atlantis Mic - not always the best mic for the source, but it's never the wrong mic. Love mine, like you said, it's the workhorse LD mic in my studio.
OK - but do these, or others have absolute parity with the real deal? Lots of claims out there but I am genuinely curious. I like the Warm guys and might consider for instance ...
@@BlackenedNLhe did one a while back about signature blacked out Capi preamps and they do this “big-erizer “ thing - think harmonic saturation and a bit of low level boosting. Pretty great sounding if I recall. I’d love to have a pair!
touching upon auratones midrange mixing - I utilize a hardware equalizar that imitates the NS10 frequency response. Yes the monitors dont change how it sounds in consideration of the materials used, but it makes me focus on the midrange without getting my perception off by the amounts of lows or highs. Given my KRK6000 are passive, it kinda works for me in that regard
totally agree on the 1176 - greatest compressor of all times. cant record vocals without one!! MUST have! Now, it isnt only about the UA, but about some of the clones as well
I think there is going to be major competition in the mic industry. The big names are either going to have to lower their price or start sinking. The dawning of the clones is here.
Is that a bottle of bourbon on that panel behind you? If so I do the same thing! Lol. Great video! Here's one thing I think you need to buy and that is Paint Pens. Why you ask. Well I use them to mark my cable that I use hooking up all my outboard gear. It makes it super easy when you need to unhook and re-hook your equipment back up for whatever reason. Paint is way better than markers!
I’ve already addressed this in another video, and will likely do a video on software controlled hardware in general. But for me personally, the time the flock saves me, and the convenience is enough to make me overlook it. Now in earlier years of my career, before I was as established, as I am now, it was too hard to justify, for all the reasons that I generally don’t like software controlled hardware. But at this point, it lets me do better work significantly faster so I’ll take it.
I got affordable compressors for the 500 system from IGS audio. The Blue Stripe (1176 style) and the S Type (SGI bus compressor style) doing the job for me without breaking the bank.
@ 4:04 I've used MIDI clock to (tempo) sync devices since the eighties. An initial problem was that the synced device would always start from bar one, no matter where you were in the song. Song Position Pointer (implemented later) allowed you to start the song at any point. Also added to the MIDI 1.0 protocol was MIDI Time Code, MTC. The MIDI version of SMPTE, allowing you to sync to video. It also allowed me to sync my Atari based MIDI rig to my 4 track reel to reel, using a converter box made by Midiman (later renamed M Audio). And I am talking about old fashioned 5 pin DIN MIDI. Nothing new under the sun 𝄢
I'm new to all this. Can you explain what kind of mic pre would do what he's talking about and does it have to have 2 inputs or be 2 channel? How are the actual connections made? I went to his link but it looked like mono channel 500 series pre amps and I'm not sure if it has to be that or not and uncertain of the number of channels needed in how it would be done in logic pro and all that.
Hi Colt, Thaks a lot for your words and for your channel. It´s been a real guide for me in several ways. Have you ever experienced working on McDSP APB? I would love to know what you think about it. Thanks again.
Quick question: the Barefoot series of speakers come with a MEME controller, and this allows you to switch the studio monitors between "Hi Fi", "Flat", "Old Scl" and "Cube". The Old Scl setting is voiced to mimic Yamaha NS10's, and the Cube setting is voiced to mimic the Auratone 5C speakers. This is a very nice feature because you essentially get 4 sets of speakers in one pair of studio monitors, which saves a lot of space & money. Do you think this is a good enough approach to mix on from what you're talking about above?
Very interesting video. It's funny how some people swear by mixing through preamps and some people warn against it... I gues try it out and see if it works for you.
@@ColtCapperrune it was a good video and I liked the information, just had to poke. There is an old Star Wars drinking game that is guaranteed to cause liver failure before they leave Mos Eisley. One of the first things listed is “Luke whines” heh
Loved this! And yes it gets my gears turning! I at least have the Moog and a nice Hollowbody. I am steering toward the high end side for tracking for a number of reasons. It seems expensive, but hey you can get most of this for the down-payment on a new truck. That’s how I pitch it to my wife anyway! And I would get a lifetime of awesome mileage out of it! What did you start with for power conditioning?
Colt... You seem to have a promiscuity problem. You've been "sleeping on" a lot of things! I would love to see your reviews on more affordable gear for those of us who haven't the wherewithal for some of the excellent gear you have, that most of us never will. Great review! Learned a lot. You da Man!
perhaps I'm wrong here, but it seems your speakers are facing down the wider side of the room, not the more narrow side of the room. I thought all room advice is to have the speakers pointing down the long side of the room, centrally, to ensure that the sound is balanced on both sides of the room
I’m sort of a hobbyist who’s looking to transition my hobby into a side hustle. Knowing what you know now, what piece of hardware processing would you recommend getting first? I’ve treated my room, and have nice speakers, headphones, and a Neve 88M interface.
It really depends on what you do. If you are tracking at your place, a great microphone and microphone preamp are a must. If you have both of those, a great compressor would be next. If you’re just mixing, then a mixed bus compressor, or a pair of microphone preamps to run your mixed bus through would be my top pick.
@@ColtCapperrune I am so glad you clarified that here for me too and indeed as I plan to focus on tracking I am already looking at the mic, pre, and compressor. I have a few good mics - AKG 414/B ULS and Sennheiser 441, but want a premium vocal mic and improved cab and instrument mic’. I am horribly deficient in the preamp and compressor dept.
@@abzee733 They are totally different things, I’m not sure I would do that. It would be like selling an LA2A for an SSL G comp; unless that’s what floats your boat.
It was a "Game changer" to hear you say "Game changer" in this video. This video are real "Game changer" when it comes to be a "Game changer"! With love ❤ bro! 😁😉 Couldn't resist it! All recommendations are valid though! 👍🏻 Thanks! / Freddie
Do you listen to the aura tone 5c at the same time with your focals for mixing or separately to monitor as reference ? Thinking of getting the aura tone 5c Currently have the Yamaha hs8 , should I upgrade to another studio monitor or is it fine for mixing ? Small room 3m x 3m
I don't have experience with a CL2B, but I have the same sentiments with the Dangerous Compressor. The most transparent compressor I've ever heard. Have you tried that one?
I love my Lca2b....it shines on everything but people dont like it as the cla1b......the only time that I hate it was when one of its transformer got faulty and fucked up my cranesong AD..... TWICE....Another thing is the calibration......😊
Colt, thanks again for another amazing video. I would love to see a video on how you run vocals through the 1176 when mixing. Do you run one vocal track one by one through the 1176? Do you send all leads to one single lead bus and send them all through the 1176 at the same setting. I am curious because I,m in the process of moving to a hybrid setup. I've watched your video of you mixing a song from start to finish, and it was only one vocalist on that particular song. What if there is more than one vocalist. How do you incorporate the 1176 into a mix? Also, is it correct to assume you have an input for your mix bus and an input for the leads that run through the 1176, and that's where the ITB summing comes into play?
I typically saved the hardware vocal chains for the lead vocal, and use plug-ins for all background Vocals/harmonies. So the 1176 in this case would get used as a hardware insert on the vocal channel. I have videos covering all of these things that you can search for. Hope that helps!
Thanks for this list! So, I’m getting an Atlantis soon, and I’m trying to decide if I want to get a pre as well. I have an Apollo x8p currently. Any suggestions for a pre that would pair nicely with the Atlantis for a max of $1k?
Part of it is the camera angle, but when I lower my chair all the way the monitors are in the correct position. That said, I wouldn’t mind lifting them a bit, so I didn’t have to lower my chair all the way.
Hey Colt, are you still using the Neve Newtons I splurged on Shelfords but only have 4 So far that’s been enough But they still blow my mind Didn’t see them in this vid, please forgive me if I’m commenting to the wrong engineer I rap with so many and your all great, cheers
why in the list of chapter "gear in this vidéo" there is no title link to focal Solo6 ST6 + ( it seem it is a Solo6 ST6 +) . no need of subwoofer for listen music ? regard's
I started working in studios in 2009, that's 15 years ago, and everyone was already running their busses and master through pre-amps. Is this guy actually claiming he was early to the game? lol
When you talk about running your mix through the pre-amps how would that compare to something like the Neve MBT? Would it give you a similar result or does it specifically need to be pre-amps?
Sorry but those mic stands are no good I have them and the tightening mechs goes bad. My most expensive mic stands and they break faster than any other.
@@ColtCapperrune I been using them for over 10 years now. Bought back a couple of them thinking it was me putting too much weight like a reflection shield but even with out it still happens. The mechs goes back from my experimenting them. My first I bought at sweetwater for mic month a telefunken cu-29 and I didn’t really use it until like a year after but by then I bought a couple more stands because I had a big project coming up. I have eight and use none of them but I bought cheaper ones that for me works better.
@@ColtCapperrune by the way great vid as always and I do appreciate your advice and value a lot of your opinions and hope you continue for a long time. Oh thanks for reply also
I don't think 8 large IsoAcoustic Pucks for 196 € (or 8 small ones for 85 €) are "very much affordable" ... that's a lotta money for a tiny amount of rubber.
Hi Colt, for everyone that is reading this, your video made me a bit emotional. So much bs out there on UA-cam, but this man. We can never know when people are just trying to sell gear! I don’t know you in person, but with this video, you made yourself someone with very high credibility, because almost every piece you talk about I own and they are exactly what you are describing! Simple and to the point!
I agree with you about summing but what a lot of people ignore is that summing digitally is just combining 1s and 0s. If you convert them back to an analog signal, and sum them through a mixer, you’ll be combining frequencies and not numbers. It does have an effect on the sound more than most people think. Even panning in analog sounds different. But to get 95% there, you are 100% right!
Digital is combining 0s and 1s and then an algorithm produces a perfect sine wave reproduction of the sum. In ABX testing 2 of my friends sold their summing boxes... We were preferring the itb sums most of the time.
Thank-you, Colt. I remember when the Tube-Tech LCA-2 first came out; I was at Master Disk in NYC mastering with Howie Weinberg. He used it, as with most of his compressors, just for a little "coloring," not a lot of heavy compression. I couldn't believe it. On my recommendation, one of my close friends, who owned a studio in Manhattan called "Lo-Ho Studios," picked one up. The early versions ran really, really hot. Consequently, Lo-Ho Studios took the top off their unit, permanently. I used LCA-2's at Sear Sound and rented them from time to time. They are truly a stand-out type of vacuum tube compressor in a crowded field. Tube-Tech make some fantastic equipment. I love your passion, enthusiasm, dedication and sincerity for recording. Thank-you.
the "Game Changer" edition...LOL... take a shot every time you hear "Game Changer" ..LOL love it
🤷🏻♂️😂
I came here just to make this joke.
@@RenfieldXIII me too!
You beat me to it
Thank you colt for sharing.
I would not mind a part II.
Idea/suggestion: video of expensive analog gear you acquired that you regret buying or you hardly use.
Excellent! I’ll work that up
Thanks Colt! This was awesome! I've had the Auratones, the Lauten, a 1176 and the PRS SE Hollowbody on my list for years! You've convinced me to ante up!!
A little life hack that I've been doing when it comes to summing. if you can't or dont want to spend money on 2 very high quality preamps, the warm audio bus comp is an incredible summing box. just bypass the compressor switch and leave the transformer. Ever since I got that piece of hardware I've been getting the best summing results in my 10+ years of mixing career. Total game changer and it's pretty affordable. Hope this helps and cheers from Puerto Rico.
You should make a dedicated video for proper spacing in your hardware racks and why it’s important!!
If you read the manual for your equipment, it will state the proper installation procedures and if it says to add spacing for heat dispersion purposes then listen. My SSL Fusion died as a result of heat from not having that spacing. (I got it used from a friend and he never had it spaced) Just a heads up to us all who spend boatloads of money on nice gear. Also if your equipment is passed the warranty date then double down on this. It will save you money, time and headache. 🙌🏻
I had a Dangerous D Box in my studio. It added this 3 dim sparkle to a mix that was really nice. But swapping cables each time was a hassle after tracking. I found an SSL 2 bus compressor and other SSl gear to add this clear clairty sound with the added fast transients that was really nice. I have since sold my Dangerous Box.
I will check out the Tube Tech LCA 2 B. Thanks
I've had the WA-2MPX tube pre amp on my mix bus for years now it's got tape emulation and it is my most important piece of gear by far.
@@Lil_Brayne Nope.
Hey, Colt! This is Terry that you used to work with. I just found your channel as a recommendation in my feed.
I live in Kenya now, have a pretty cool band, plus working on building my own studio.
Yep had the same experience with the 1176. Had a CL1B for a long while but I use the black Audioscape 1176's in stereo and I've got an Audioscape blue stripe. The way they catch peaks is pretty different from the software in that they don't sound squashed when pushed for the moment.
The biggest improvement for me was proper acoustic treatment in ny studio. I went with GIK and Auralex.
I agree with you on the Iso Pucks. They do make a difference. I had the mod pads previously, and they did help, but I found the pucks were a little better with clairty.
1176 hardware is much better than my 1176 plug in's. Thr fast and clean transients they provided especially on guitars is a game changer. I found the UAD AE version was the closest out if the plug ins but it still lacked that fast transients.
I picked up a Gibson 335 in 60's cherry and the open woody tone is wonderful.
Deluxe Reverb is great, I went with the Fender Twin 65 reissue and its amazing.
lol "comes in at seven... teen hundred dollars" I was real hopeful for a sec.
Y’all witnessed me having a mini stroke in real time lol
Colt,
Great video, as always. I love what you do!
Quick point of feedback. While routing your master bus through a mic preamp and back into your DAW will indeed pass the signal through an analog circuit, this process won't accomplish analog summing in the traditional sense.
As you know, analog summing is the process of combining multiple individual audio tracks together in the analog domain using a summing mixer or summing amplifier. This results in imparting a certain sonic character due to the summing circuitry, potentially including subtle harmonic enhancements, crosstalk, and what many describe as a "glue" effect that can make the mix sound more cohesive.
Sending your master bus through a single mic preamp (which I also do sometimes when working ITB) will not sum your individual tracks since they will already be summed digitally by your DAW. However, doing this does pass the already summed stereo mix through the analog electronics of the preamp, which (to your point) imbues your mix with the characteristics of the preamp's circuitry, such as harmonic distortion, transformer coloration, or EQ coloration, depending on the preamp's design and how hard you are driving the input. It sounds great if you do it with a nice preamp.
If someone reading this is seeking the sonic characteristics associated with analog summing in particular, you would need to use an actual analog summing device, such as a dedicated summing mixer or summing box. These devices take multiple outputs from your DAW and actually combine them in the analog domain, giving you the analog summing effect on a multi-track level.
However, if you do not have access to an analog summing mixer (though they aren't hard to build, google "How to Build a DIY Passive Summing Box"), routing your stereo mix through a high-quality preamp (like the Vintech Colt mentioned) can still be beneficial in its own ways:
1. Good preamps impart warmth and presence to your mix because of the transformer-coupled circuitry and amplification stages.
2. Pushing the levels into the preamp can introduce harmonic saturation, which can make the mix sound fuller and more "analog". (Note: If you overdo it, you'll end up with unwanted distortion.)
3. The electrical interaction between your interface’s outputs and the preamp’s input through impedance imbalances can sometimes yield subtle desirable changes to your mix's sound. These changes can stem from the way different impedances interact, affecting the frequency response and dynamics of the audio signal. This can lead to a perceived improvement in the 'depth' or 'warmth' of the sound, depending on the characteristics of the preamp and its interaction with the rest of your equipment.
The approach Colt mentioned here is quite different from actual summing and will affect the entire mix rather than the interaction between individual tracks. The result from a preamp will be more subtle than what you can achieve with a multi-channel analog summing. That said, it does sound great and is an easy way to bolster the richness of your mix!
Both techniques have their place in your production and mixing workflows. We are after all making art here and everything just depends on the specific character you wish to impart.
Love your work, Colt, and thanks for taking the time to make these videos.
-Alex
Colt, are you running line level into those pre-amps for your mix bus. Can you discuss exactly what the chain is out of your interface and back in, wires and settings? Please.
for what you get from the auratone monitors I recommend the avantone mixcubes, you'll get a similar response for 300-400 dollars less
As a teen I used to love getting my mix to resonate the table, items on shelf etc… then mic them & record back in!
But yes been meaning to get some isoacoustic stands for ages it’s about time 😂
I do this transformation right now for my mixing service. And i discovered, that plugins kinda struggleing with compression and saturation, and my harware sound sooo much better.
I love my Moog Sub37 and your review helped me decide to get it! And it is great you mentioned acoustics and acoustic decouplers in your essentials list. I would also add to your microphone nook a movable Acoustic diffuser to put in front of the door - it will diffuse any harsh reflections from the door back to your broadband absorbers.
Colt, thanks for all you do for us here on the Tube. I don't think I've missed a single video of yours since discovering you. I really appreciate your knowledge and authenticity. Just wanted to let you know that I just dropped over three grand at SW using your link.. almost forgot but made sure to do it as a way of saying thanks! Hope you're doing well brother!
I agree with the acoustics. I'm still stuck with the 2-inch thickness but I'm moving up to 4-inch in the near future
@ColtCapperrune a couple of recommendations for you try which I believe will yield you better results than a few of the devices mentioned. First is the Whitestone P331 EVL and Vertigo VSM-2 either of these two will astound you for mix bus duties, I have both, they are astonishing. I used to run pre's on the 2 bus as well for reasons mentioned, VT-2 comes to mind, but try the loading amplifier and the VSM-2. The finest dynamic and transparent VCA comp I am aware of is the VSC-3 also from Vertigo. Gives these a look. You can thank me later :)
Big +1 on the full bandwidth panels but studio acoustics and speakers are just too expensive and complicated. Slate VSX it is for me!
Dude, that is awesome. You’re talking about the Auratones & the Atlantis 😏 which I USE EVERY DAY- and I’m telling my wife as she’s sitting here…SEE!!!!!
I could not Dream of putting my music on the Grid.Quantizing music has to be the one of the greatest causes of music sucking today. It is what it is.
The Atlantis Mic - not always the best mic for the source, but it's never the wrong mic. Love mine, like you said, it's the workhorse LD mic in my studio.
Guys, you don’t need a UAD 1176 to get great vocals. Get a purple audio or one from audio scape. You can’t go wrong.
I should have clarified, I didn’t necessarily mean a UA, but just hardware in general
OK - but do these, or others have absolute parity with the real deal? Lots of claims out there but I am genuinely curious. I like the Warm guys and might consider for instance ...
I recently added a Elysia Karacter 500 and the SSL G-Comp 500 to my rack, man it sounds so nice! The best master bus chain I have ever had
Awesome!! Those are both great!
@@ColtCapperrune Did you say in this video you use preamps on your masterbus? That's one thing I have never tried
@@BlackenedNLhe did one a while back about signature blacked out Capi preamps and they do this “big-erizer “ thing - think harmonic saturation and a bit of low level boosting. Pretty great sounding if I recall. I’d love to have a pair!
touching upon auratones midrange mixing - I utilize a hardware equalizar that imitates the NS10 frequency response. Yes the monitors dont change how it sounds in consideration of the materials used, but it makes me focus on the midrange without getting my perception off by the amounts of lows or highs. Given my KRK6000 are passive, it kinda works for me in that regard
totally agree on the 1176 - greatest compressor of all times. cant record vocals without one!! MUST have! Now, it isnt only about the UA, but about some of the clones as well
bro just saved us thousands of $$$, omg never thought of it but so simple!!! THANK YOU!!! ❤❤❤❤❤
I think there is going to be major competition in the mic industry. The big names are either going to have to lower their price or start sinking. The dawning of the clones is here.
Is that a bottle of bourbon on that panel behind you? If so I do the same thing! Lol. Great video! Here's one thing I think you need to buy and that is Paint Pens. Why you ask. Well I use them to mark my cable that I use hooking up all my outboard gear. It makes it super easy when you need to unhook and re-hook your equipment back up for whatever reason. Paint is way better than markers!
Colt, you need some more Rack Rail!😆 Thanks for the videos, Always!
Your Flock Patch praises completely overlook the software dependent hardware you’ve been so critical about, especially with Slate stuff.
I’ve already addressed this in another video, and will likely do a video on software controlled hardware in general. But for me personally, the time the flock saves me, and the convenience is enough to make me overlook it. Now in earlier years of my career, before I was as established, as I am now, it was too hard to justify, for all the reasons that I generally don’t like software controlled hardware. But at this point, it lets me do better work significantly faster so I’ll take it.
The interns at the studio I work at broke 2/3 of the ultimate support stands within a few weeks, our DR stands are still going strong though
I got affordable compressors for the 500 system from IGS audio. The Blue Stripe (1176 style) and the S Type (SGI bus compressor style) doing the job for me without breaking the bank.
@ 4:04
I've used MIDI clock to (tempo) sync devices since the eighties.
An initial problem was that the synced device would always start from bar one,
no matter where you were in the song.
Song Position Pointer (implemented later) allowed you to start the song at any point.
Also added to the MIDI 1.0 protocol was MIDI Time Code, MTC.
The MIDI version of SMPTE, allowing you to sync to video.
It also allowed me to sync my Atari based MIDI rig to my 4 track reel to reel,
using a converter box made by Midiman (later renamed M Audio).
And I am talking about old fashioned 5 pin DIN MIDI.
Nothing new under the sun 𝄢
the mic preamp on the mix bus is such a great idea
I'm new to all this. Can you explain what kind of mic pre would do what he's talking about and does it have to have 2 inputs or be 2 channel? How are the actual connections made? I went to his link but it looked like mono channel 500 series pre amps and I'm not sure if it has to be that or not and uncertain of the number of channels needed in how it would be done in logic pro and all that.
Thanks for sharing all this Colt, very helpful!
Such a nice informative video, very well presented. A joy to watch. Like being on a treasure hunt.
Hi Colt, Thaks a lot for your words and for your channel. It´s been a real guide for me in several ways. Have you ever experienced working on McDSP APB? I would love to know what you think about it.
Thanks again.
Quick question: the Barefoot series of speakers come with a MEME controller, and this allows you to switch the studio monitors between "Hi Fi", "Flat", "Old Scl" and "Cube". The Old Scl setting is voiced to mimic Yamaha NS10's, and the Cube setting is voiced to mimic the Auratone 5C speakers. This is a very nice feature because you essentially get 4 sets of speakers in one pair of studio monitors, which saves a lot of space & money. Do you think this is a good enough approach to mix on from what you're talking about above?
Very interesting video. It's funny how some people swear by mixing through preamps and some people warn against it... I gues try it out and see if it works for you.
New to recording, can you make a video about what makes the 1176 great? What is the sound I’m looking to hear when using it?
There is a video linked in the description going over the different 1176 models and my thoughts on them. Hope it helps!
Drink every time Colt says "Game-changer". :)
I did and now I’m hammered
@@ColtCapperrune it was a good video and I liked the information, just had to poke. There is an old Star Wars drinking game that is guaranteed to cause liver failure before they leave Mos Eisley. One of the first things listed is “Luke whines” heh
Loved this! And yes it gets my gears turning! I at least have the Moog and a nice Hollowbody. I am steering toward the high end side for tracking for a number of reasons. It seems expensive, but hey you can get most of this for the down-payment on a new truck. That’s how I pitch it to my wife anyway! And I would get a lifetime of awesome mileage out of it! What did you start with for power conditioning?
Sorry if I'm late to the party but what's going on with the old studio room? Did you switch or is it under construction or something? Cheers!
Curiosity has been tickled hard!
Colt...
You seem to have a promiscuity problem. You've been "sleeping on" a lot of things!
I would love to see your reviews on more affordable gear for those of us who haven't the wherewithal for some of the excellent gear you have, that most of us never will.
Great review! Learned a lot. You da Man!
perhaps I'm wrong here, but it seems your speakers are facing down the wider side of the room, not the more narrow side of the room. I thought all room advice is to have the speakers pointing down the long side of the room, centrally, to ensure that the sound is balanced on both sides of the room
I’m sort of a hobbyist who’s looking to transition my hobby into a side hustle. Knowing what you know now, what piece of hardware processing would you recommend getting first? I’ve treated my room, and have nice speakers, headphones, and a Neve 88M interface.
Compressor for sure
if you are recording and want to insert hardware, compressors are great. If you are mixing, build a good quality mixbuschain (EQ + bus Compr)
It really depends on what you do. If you are tracking at your place, a great microphone and microphone preamp are a must. If you have both of those, a great compressor would be next. If you’re just mixing, then a mixed bus compressor, or a pair of microphone preamps to run your mixed bus through would be my top pick.
@@ColtCapperruneAwesome! Thanks Colt👍
@@ColtCapperrune I am so glad you clarified that here for me too and indeed as I plan to focus on tracking I am already looking at the mic, pre, and compressor. I have a few good mics - AKG 414/B ULS and Sennheiser 441, but want a premium vocal mic and improved cab and instrument mic’. I am horribly deficient in the preamp and compressor dept.
We all need to see that LCA2B demonstration video. 🙏
I really should do a dedicated video on it!
@@ColtCapperruneplease!
Maybe you can convince me selling my Cl1b for it… 😉
@@abzee733 They are totally different things, I’m not sure I would do that. It would be like selling an LA2A for an SSL G comp; unless that’s what floats your boat.
Yeah, I know. Just kidding, cause he was comparing their level of fame somehow.
Enjoyed it a lot. Great info. Absolute game changer! Appreciate it!
i run my stems through an spl crescendo, found similar results. thanks for making me feel a lil less crazy hah
interesting to see a hollowbody... any particular type of styles you use it with? except the obvious jazz or rockabilly
Do you have a studio tour of the room in you're in?
It was a "Game changer" to hear you say "Game changer" in this video. This video are real "Game changer" when it comes to be a "Game changer"!
With love ❤ bro! 😁😉 Couldn't resist it! All recommendations are valid though! 👍🏻 Thanks! / Freddie
I even have a "Game Changer Audio" ad on top of the recommended videos, haha!
Do you have an A/B Type video of the 1176 hardware vs software?
I do, if you search “ Colt Capperrune 1176 “ you will find it. Hope that helps!
When is capi going to do another round of your preamp?
I have a semi hollow Epiphone c35. I love that guitar
Do you listen to the aura tone 5c at the same time with your focals for mixing or separately to monitor as reference ?
Thinking of getting the aura tone 5c
Currently have the Yamaha hs8 , should I upgrade to another studio monitor or is it fine for mixing ? Small room 3m x 3m
I don't have experience with a CL2B, but I have the same sentiments with the Dangerous Compressor. The most transparent compressor I've ever heard. Have you tried that one?
I wish I owned the rights to these phrases:
slept on it
game changer
pulled the trigger
I love my Lca2b....it shines on everything but people dont like it as the cla1b......the only time that I hate it was when one of its transformer got faulty and fucked up my cranesong AD..... TWICE....Another thing is the calibration......😊
Hey Colt, I’ve been following your channel a long time. Loved this. Question: are you still rocking the Neve Newton Channel? Didn’t see it in the vid.
I am! The pair of them are still in the rack, and I use them all the time!
Colt, thanks again for another amazing video. I would love to see a video on how you run vocals through the 1176 when mixing. Do you run one vocal track one by one through the 1176? Do you send all leads to one single lead bus and send them all through the 1176 at the same setting. I am curious because I,m in the process of moving to a hybrid setup. I've watched your video of you mixing a song from start to finish, and it was only one vocalist on that particular song. What if there is more than one vocalist. How do you incorporate the 1176 into a mix? Also, is it correct to assume you have an input for your mix bus and an input for the leads that run through the 1176, and that's where the ITB summing comes into play?
I typically saved the hardware vocal chains for the lead vocal, and use plug-ins for all background Vocals/harmonies. So the 1176 in this case would get used as a hardware insert on the vocal channel. I have videos covering all of these things that you can search for. Hope that helps!
Thank you!
do you think the 1176 warm audio version is decent bro? or should i just stick to universal audio
Silly question. When you run the main LR through the pres, you have to use an XLR connector or it’ll bypass the pre and just run line in correct?
Colt, do you go mic in or line in on the 2 bus pre amps? Do you add any gain with the pres?
I love when someone discover MIDI beat clock in 2010! Wait... What? We can synchronise synths with MIDI? 🤣
great video! thank you!!
what do you recommend as a "must have" piece every quality studio needs in it's conversion/output chain (convertors, clocks, meters/analyzers, etc.)?
Thanks for this list! So, I’m getting an Atlantis soon, and I’m trying to decide if I want to get a pre as well. I have an Apollo x8p currently. Any suggestions for a pre that would pair nicely with the Atlantis for a max of $1k?
Nice work 👍🏾. BTW what happened to your Neve MBT?
It’s in that rack, about halfway down. It’s on my mix bus all the time.
Game changer or not That is the question 🙋🏻♂️ 😊
Is the LA 610 just not enough for a vocal chain?
do monitors need to be at head level? yours are like chest level
Part of it is the camera angle, but when I lower my chair all the way the monitors are in the correct position. That said, I wouldn’t mind lifting them a bit, so I didn’t have to lower my chair all the way.
Great tips!
Also, it's "foray" not "forte"
Sandwich-- love your content!
Hey Colt nice video, maybe a stupid question but if your Mic preamp is mono how to get it running in stereo?
2 mic preamps
Yup, 2 mic pre’s
Just bought Fender Deluxe Reverb..>Gimme some tips :) like what would be great broad range overdrive pedal to match the amp :)>?Thanks Colt
Hey Colt, are you still using the Neve Newtons
I splurged on Shelfords but only have 4
So far that’s been enough
But they still blow my mind
Didn’t see them in this vid, please forgive me if I’m commenting to the wrong engineer I rap with so many and your all great, cheers
1176 vs distressor as first hardware comp?
Have you tried Gainlab Audio Dictator👌🏾
why in the list of chapter "gear in this vidéo" there is no title link to focal Solo6 ST6 + ( it seem it is a Solo6 ST6 +) .
no need of subwoofer for listen music ?
regard's
Not me skipping to the rack gear 😅
Guys… it’s a game changer….. every single piece of gear.
Haven't popped in on you in a while...what happened to that Amazing room in your house?? Is this a new room?
I started working in studios in 2009, that's 15 years ago, and everyone was already running their busses and master through pre-amps. Is this guy actually claiming he was early to the game? lol
Which 1176 version is that one?
Revision D/E blackface reissue from universal audio.
So many game changers, so where to start? 😂😅
mooooog not moge. thanks for the vid!
Hollow body guitars . 100%%%%
Have to agree with Meat Church.
When you talk about running your mix through the pre-amps how would that compare to something like the Neve MBT? Would it give you a similar result or does it specifically need to be pre-amps?
Sorry but those mic stands are no good I have them and the tightening mechs goes bad. My most expensive mic stands and they break faster than any other.
Really?? I’m sorry to hear that, I have a couple of these, and my oldest one is probably three years old without any issues at all.
@@ColtCapperrune I been using them for over 10 years now. Bought back a couple of them thinking it was me putting too much weight like a reflection shield but even with out it still happens. The mechs goes back from my experimenting them. My first I bought at sweetwater for mic month a telefunken cu-29 and I didn’t really use it until like a year after but by then I bought a couple more stands because I had a big project coming up. I have eight and use none of them but I bought cheaper ones that for me works better.
@@ColtCapperrune by the way great vid as always and I do appreciate your advice and value a lot of your opinions and hope you continue for a long time. Oh thanks for reply also
I don't think 8 large IsoAcoustic Pucks for 196 € (or 8 small ones for 85 €) are "very much affordable" ... that's a lotta money for a tiny amount of rubber.
When you are putting them under speakers that cost $3000, that’s pretty affordable in my opinion.
Those are just the pucks, yes? You need the l/m/s stands to go with them as well, don't you?
Im the second viewer 🎉
You use the clichés: "game change" and "mind blown" so often it is getting annoying.
I just decimated my bank account and splurged on a beautiful pair of API 312 preamps. Tell me I made a good decision Colt, please!! lol