Those Soyuz 1973 mics are €888 from Thomann in Europe, not going to be too far off that in the US. Nice call, been looking for a set of acoustic dedicated mics.
Appreciate the general studio "swing-by" guys! On those dayz I'm dragging ... I throw some of you guys content & get right back @ it. Like today ... THX
@@8eight104yeah I’m moving a little more towards working out of the box and I’m on the fence right now between regular 19” rack units or getting a 500 series setup. My desk has built in rack spaces where I only have a power conditioner in one space right now. I might eventually go with a hybrid setup, maybe different compressors in the desk rack and a collection of different preamps in a 500 series rack. That’s all long term goals though, just getting into 500 series stuff is crazy expensive though and I’m on a Behringer/Warm Audio type budget lol on the synth side I’ve just got some Behringer modular synths and Pocket Operators I mess around with. The dream is to have a wall of Eurorack modules setup and everything synth and guitar all patchbayed together lol
I've owned the 670 and 660 back in the 90's. I used them all the time. Because of their age, they all sounded different. Sear Sound, in mid-town Manhattan, has a pair of 660's that are gloriously great. I have a friend in NJ, who has the new "Stam Child." He loves it. There are several good reproductions on the market today.
I can’t stop laughing about the EQP1A 😂. I haven’t read comments or looked for a follow up to see what on earth he means about it being a compressor, but I’m glad I saw it so I know y’all are just humans and not gods 😂. I bet he means compression because of the attenuation knob and using it while raising level knob.
I don't mean this in a rude or mean way but I've got to ask- how do you guys afford all this equipment whilst still being like below 80 years old? Do I not charge enough for my work (£150/ $200 for a mix) or am I missing something?
Because a lot of their gear is sponsored by companies liek Warm Audio or Sweewater, and has muicians/producers all gear is tax free - so you're essentially putting tax money into gear instead of the tax man.
Colt has a video about how he affords it. For myself, I have as much gear. How do I afford it? I work on about 150 pieces of music per year. Estimate each piece nets around $1000. :) I live on about 50% of that. Which means I get to either pay a bunch of taxes on profits, or I can reinvest it into gear, or put it into other investments.
What I'd recommend besides getting more mixing work is remove every bit of frivolous spending (streaming services, excess food, Amazon prime). Also research very, very carefully and figure what type of music you generally make and figure what tools would be best suited for the job. Whatever the DAW doesn't do well, that's where hardware works for me personally. The other thing is plugins / clones are not created equally. Sometimes the plugin version is pretty great, sometimes it's not even close. So I wouldn't say it's "necessary" to always opt for the hardware model. Buying used can also be your friend. Clones like warm and audioscape are great as well. The Audioscape stuff specifically is fantastic. Also, these videos are sponsored and UA-camrs often have close relationships w/ these brands. So take that into account when watching studio tours. Best of luck.
@@AmiliaCaraMia Ok you've given some really good advice there. I have a question though, how do you build up clients? I've got one client at the moment and I don't realistically think I'll get any others because there's another guy pretty local to me who does it all way better and has the money to rent out a studio for all his work. Should I move? Give up? Try and steal his clients?
awesome, I was expecting him to say something like a dbx 560a but not a Fairchild! Oh well, at least I can save my money now. (and buy a ton of 560s_). ewwww. lol
A little ironic how he goes on about disliking Fairchild and (AMS) Neve 33609 yet is a *WARN* Audio fan. It's an upside down world brought to you by Sweetwater! WARN Audio Pultecs especially are nothing like a Pultec, even the non-tube, 500 series stuff (sans Lindell, which is terrible as well.) Happy WARN works for some but I demo'd a bunch 10 years ago and it was uninspiring to say the least.
Pulse Technique, Neve, I know you guys are sponsored by Sweetwater. But have had so many bad results testing the Warm Audio products. Sweetwater has the pulse units, Tube Tech , you have one of their pieces. CL1B is only made by one company, noticed you were at NAMM last year, talk to Steve Jackson this year if you go. Just can’t take people serious who are using the boxes that have the same knobs and paint it the same color, trying to be something they are not. Yes spent hours testing that stuff, it’s just not good.
If you could go back in time would you have bought Neumann mics in the year 1943 ??? I don't care how good they sound... I wouldn't buy Russian mics today.
Well, I guess I'm jealous. I don't know two other people on earth - "specialising" in music production, that are making WAY more videos about "music production", than ACTUALLY producing music. Oooh - that SWEET Sweetwater deal!
Thanks for coming by dude!
Honestly the best thing about this video is that one UA-camr is supporting another.
Agreed, love it!
Super fun! I have a SSL Bus Plus sitting in the box for probably two months. Lol, time to break it out. 👊🏽💜👍🏽
a good question would be , what is your monthly power bill for this room?
35$
@@zvotaisvfi8678😂😂😂😂
Probably a 1-1.5k
Those Soyuz 1973 mics are €888 from Thomann in Europe, not going to be too far off that in the US.
Nice call, been looking for a set of acoustic dedicated mics.
Appreciate the general studio "swing-by" guys! On those dayz I'm dragging ... I throw some of you guys content & get right back @ it. Like today ... THX
I don't think it's a small room, more like he's got a ton a gear
As a guitar player, I thought we were pretty bad when it came to gear lust.
Then I discovered the world of audio engineering and outboard rack gear.
@@8eight104and then on top of all that you then get into synths and eurorack modules 💸😭😂
@@travislee9662 I'm obsessed with 500 Series modules
@@8eight104yeah I’m moving a little more towards working out of the box and I’m on the fence right now between regular 19” rack units or getting a 500 series setup. My desk has built in rack spaces where I only have a power conditioner in one space right now. I might eventually go with a hybrid setup, maybe different compressors in the desk rack and a collection of different preamps in a 500 series rack. That’s all long term goals though, just getting into 500 series stuff is crazy expensive though and I’m on a Behringer/Warm Audio type budget lol on the synth side I’ve just got some Behringer modular synths and Pocket Operators I mess around with. The dream is to have a wall of Eurorack modules setup and everything synth and guitar all patchbayed together lol
The Fairchild is easily my favorite compressor, at least based on all the emulations I've tried.
I've owned the 670 and 660 back in the 90's. I used them all the time. Because of their age, they all sounded different. Sear Sound, in mid-town Manhattan, has a pair of 660's that are gloriously great. I have a friend in NJ, who has the new "Stam Child." He loves it. There are several good reproductions on the market today.
"The EQP-1A is a compressor" - I thought I was the only one!! It totally is
Buss+ defiantly my flavor of the month right now....just finished session at Clear Lake in Burbank....Stamchild compressor on drum OHs was very nice.
That Bus+ is a monster. I also have it rigged as a mix bus compressor. Glues everything beautifully
I can’t stop laughing about the EQP1A 😂. I haven’t read comments or looked for a follow up to see what on earth he means about it being a compressor, but I’m glad I saw it so I know y’all are just humans and not gods 😂.
I bet he means compression because of the attenuation knob and using it while raising level knob.
Wouldn't take the time to patch in a Fairchild but thinks the Warm Audio CL1B clone is fantastic. Interesting.
Great guys great gear👍🏾
Great video gentlemen!
Those Dolly Zooms were on POINT
good stuff!
4:39 as good as a sm and a royer on a tree? I keep hearing ppl mention the soyuz mics, but I've yet to try one.
Hey Colt!
That SSL Bus+ ............................*drool*
I just need to know how I can find that carhartt jacket
1:15 that Sweetwater life 🙏
This is dope to see you guys cross collaborating… shout out to you guys
The task chair that Andrew sits in at 6:01. Who makes that? It looks perfect.
Answer: Google “Ergolab Stealth Pro Executive Music Engineer Chair.”
Love this Youtuniverse crossovers Epic! 😁
Oh yeah! It’s dope
Colt, something tells me that you may or may not be a fan of the dolly zoom effect in your B-roll😂
Colt asking the tough questions..."If you had to sell all, but one..." lol..That is the true test....
Had to go open the Eqp 🤣🤣🤣🤣
I don't mean this in a rude or mean way but I've got to ask- how do you guys afford all this equipment whilst still being like below 80 years old? Do I not charge enough for my work (£150/ $200 for a mix) or am I missing something?
Swear I be wondering the same thangs 😂😂😂
Because a lot of their gear is sponsored by companies liek Warm Audio or Sweewater, and has muicians/producers all gear is tax free - so you're essentially putting tax money into gear instead of the tax man.
Colt has a video about how he affords it.
For myself, I have as much gear.
How do I afford it? I work on about 150 pieces of music per year. Estimate each piece nets around $1000. :)
I live on about 50% of that. Which means I get to either pay a bunch of taxes on profits, or I can reinvest it into gear, or put it into other investments.
What I'd recommend besides getting more mixing work is remove every bit of frivolous spending (streaming services, excess food, Amazon prime). Also research very, very carefully and figure what type of music you generally make and figure what tools would be best suited for the job. Whatever the DAW doesn't do well, that's where hardware works for me personally.
The other thing is plugins / clones are not created equally. Sometimes the plugin version is pretty great, sometimes it's not even close. So I wouldn't say it's "necessary" to always opt for the hardware model.
Buying used can also be your friend. Clones like warm and audioscape are great as well. The Audioscape stuff specifically is fantastic.
Also, these videos are sponsored and UA-camrs often have close relationships w/ these brands. So take that into account when watching studio tours.
Best of luck.
@@AmiliaCaraMia Ok you've given some really good advice there. I have a question though, how do you build up clients? I've got one client at the moment and I don't realistically think I'll get any others because there's another guy pretty local to me who does it all way better and has the money to rent out a studio for all his work. Should I move? Give up? Try and steal his clients?
nice dolly zoom
Andrew's got a lot of gear these days.
PSA: Pultecs are Eqs, not compressors. (I'm sure that was just a brain fart from Mr. Masters.)
There’s quite a bit of saturation/compression to be had running a signal through a pultec
Never been fond of Distressors actually. Owned one a few years ago and never found a solid use for it.
❤😂👌
His room sounds nice…
What App do I download to convert all of this to english?
Not sponsored by On-Stage means not sponsored by GC😮😅😂 hence why it’s Sweetwater🎉
Did he abandon the Focals ?!
The Fairchild? 😂
awesome, I was expecting him to say something like a dbx 560a but not a Fairchild! Oh well, at least I can save my money now. (and buy a ton of 560s_). ewwww. lol
A little ironic how he goes on about disliking Fairchild and (AMS) Neve 33609 yet is a *WARN* Audio fan. It's an upside down world brought to you by Sweetwater! WARN Audio Pultecs especially are nothing like a Pultec, even the non-tube, 500 series stuff (sans Lindell, which is terrible as well.) Happy WARN works for some but I demo'd a bunch 10 years ago and it was uninspiring to say the least.
WARMMMMMMM
@@brevrbjork WORNNNNNNN* ;)
Agreed. Garbage. What are these schills talking about?
If you know you're being advertised to then don't buy the mf gear. You're not a hero for pointing out the obvious
@@AmiliaCaraMia No, you're right. *You're* the hero, MommaMia! You are...... the champion of commerce! Keep er' goin!
Pulse Technique, Neve, I know you guys are sponsored by Sweetwater. But have had so many bad results testing the Warm Audio products. Sweetwater has the pulse units, Tube Tech , you have one of their pieces. CL1B is only made by one company, noticed you were at NAMM last year, talk to Steve Jackson this year if you go. Just can’t take people serious who are using the boxes that have the same knobs and paint it the same color, trying to be something they are not. Yes spent hours testing that stuff, it’s just not good.
And we are certain that this compressor hates Andrew even more so.
If you could go back in time would you have bought Neumann mics in the year 1943 ???
I don't care how good they sound... I wouldn't buy Russian mics today.
Dream Team right there
sorry man my 33609C Metal knob rules them all. I'll sell it when I'm dead...
Dope🫡🫡🫡
What a stupid clickbait
Well, I guess I'm jealous. I don't know two other people on earth - "specialising" in music production, that are making WAY more videos about "music production", than ACTUALLY producing music. Oooh - that SWEET Sweetwater deal!
I work on between 150 and 200 songs a year… How many do you work on that get released??
😂UA-cam comments are hilarious. How dare you guys take a break from producing/mixing. Get back to work.
It’s always a great day when Colt uploads 🫡
Liberal use of the dolly zoom, there. Always god to se hahahaha!