How do you balance the control you have over this method with the ease of use/quick workflow of running an auto-align plugin?
@rlibby40412 сағат бұрын
I understand the theory and I certainly appreciate you taking time to demo it out for us, but the fact is a drum kit is a spaced out instrument and is generally listened to at a distance, so it seems to me that phase mismatch is just part of the experience. Obviously, we don't want to make it worse, like adding a top and bottom mic together without flipping the polarity of one mic, but flipping a hh mic just because the low end increases on a snare... I don't think this is the right way to approach mixing. Much like peaks and nulls in an untreated mixing room, moving your listening position to a spot that "increases the low end" doesn't mean that what you're hearing is "better" or "correct". Like you say later, it's more about avoiding these issues- if it's an issue, then please adjust the mic position(s), at least this way all frequencies will shift in phase and still be within the literal proximity of a real drum kit. Not trying to be a jerk, maybe I'm being a little bit of a purist, but you're one of only a handful of KZreadrs that doesn't jump straight to sample replacement. Ugh... On a semi-related note, I have a somewhat unique way of recording overheads and I'm loving the results. When I get some videos posted, I'd like to point you to them because I think I could see you trying it out and improving upon the method. It's super simple, intuitive, and very budget/experience/bedroom friendly. Honestly, I don't know why I can't find a single person on KZread doing it.
@Rocknrolldaddy81-xy8ur12 сағат бұрын
Tip for phase, it works: Put some good test whacks in there, zoom in and line up phase by eye in the DAW by sliding the audio until you line up the waves to zero-crossings. You can check with your ears with the undo. The in-phase (drum or cymbal) element should sound thicker.
@WhatJeanWants15 сағат бұрын
Love this stuff!! Looking forward to putting this tips into action on my next drum recording session! Thanks!
@urbannpa15 сағат бұрын
Name makes gear expensive.....NEVE.....Manley.....Universal Audio......H2 Audio.
@compucorder6416 сағат бұрын
The hidden barrier to a great drum sound is that a good 808, these days, is hard to find :) (or TR-909, CR-78). That way of thinking of a drum like snare as having three zones is interesting. It's one thing that's tripped me up, while learning to record drums. I didn't think of the close mics as reinforcement, and was struggling with the fact that say SM57 bottom & SM57/Audix i5 top sounded so artificial. But trying to make the close mic pair sound 'natural' is wrong-headed, that's what the farther mics are for. Knowing that the close mics are for reinforcement lets you get a bit more utilitarian and surgical with the EQ on them and not be afraid of it sounding not like a natural snare.
@MattGarwood77717 сағат бұрын
I love the crotch mic fullness… I always miss what the crotch mic adds when I remove it… with only 8 inputs (home studio) I have non-negotiable snare top, bottom, OH L and R, Kick and then 3 more. I most often use those 3 extra channels for hi tom, low tom, crotch mic/ mono front of kit room-ish mic. I need to critically listen to the potential phase issues from that crotch mic, bc for me it helps SO much for the overall sound. Thanks for nerding out so deep on this stuff we love, my dude!!!
@steveelstermann311017 сағат бұрын
I really wish the guy would not talk and let us listen to the mix. But maybe that what they want. Keep us guessing and then wanting one to try for ourselves. Damn it I’m gonna buy one. And their 2 channel 1073 pre and EQ clone.
@androwood9217 сағат бұрын
I definitely agree about mics placed in between zones. I always base polarity flips of the close mics off the overheads and it's very difficult to get a crotch mic to work with all of that. The only way I've been able to get a crotch mic in phase is by messing with high pass filters on it. Even then, the overall drum sound was better without the extra mic haha
@daltonidaho18 сағат бұрын
Your drum sounds consistently impress me! Great sound, and great groove too!
@7171jay18 сағат бұрын
The biggest "hidden barrier" to a great drum sound is usually the lack of a great drummer.
@djentlover17 сағат бұрын
One of the most important choices is to guide the drummer to a better technique
@7171jay15 сағат бұрын
@djentlover Tough to do and especially so with someone really lacking in technique. In the studio is a bit late to be attempting to learn proper drumming skills but better late than never. Great musicians on the other hand can make recording easy and make you seem like a good engineer as long as you don't really screw things up.
@N8oRMusicКүн бұрын
came for the info, stayed for the doof doof
@compucorder642 күн бұрын
Killer video. And killer bass amp just chillin in the background too, would love to see a video on bass recording using that a nice character amp like that. That Audix D4 sounds really nice, and it is hypercardiod, so easier to position and better rejection of the ride than maybe an MD241. Makes me wonder if the MD421 sounds good on toms, and bass cab. I wonder if the Audix D4 sounds good on floor toms, maybe it could sound good on bass too. Also wonder if the RE20 sounds good on floor tom, since it's also quite a nice bass cab mic, and useful on kick sometimes too.
@compucorder642 күн бұрын
This was really useful. Thanks so much. Those Soyuz 013s are really nice sounding mics. I liked the image best at head height, higher was too compact, and closer seemed overdone. I think I can get what I want using this type of setup. I would just add a kick drum mic, that captures the deeper bass of the kick, and would help to give more of a centered feeling to the kick too. It's nice because I only have four preamp channels. But I do have a cheap but nice sounding pair of SDCs (Line Audio CM4. And I'm just about to buy a Shure Beta 52A after listening to some comparisons of different kick drum mics. But if I add a kick drum mic, I wonder how to best manage the phase relationship between the kick drum mic and overhead pair. Could do it by aligning the peaks in the DAW, I suppose. But engineers must have ways of adjusting mic placement, when mics can't be equidistant. Adjusting position by ear, while mix monitoring on headphones?
@armsby2 күн бұрын
They sound so different. Becomes pointless, if they can't keep the sound they shouldn't keep the name either imo.
@SeemoreDunkan3 күн бұрын
Hey Ryan, just wondering if the Audient is still fully functional since I keep reading online about how it stops working after 2-3 years.. Love the channel, please give us more of your classic videos! :)
@emersonvella5 күн бұрын
When you ask how it's so cheap compared to others, it has to do with economies of scale and mass production. Behringer have gotten really good at that. Building small numbers daily is a more expensive operation than building 100 or 500 units a day. Plus they buy components in larger quantities, which means they get them at a cheaper price, and shipping is less expensive than if they bought small quantities. This all adds up very quickly. They also cut corners where they can, like every other manufacturer, especially in pots and switches, which feel cheaper but don't really change the sound. Also, having your own factory helps, rather than having to outsource production.
@jamesokeeffe32167 күн бұрын
What kind of drums are they?
@nestorgarcia64117 күн бұрын
What I can’t see is if the XY mics are placed right over the snare or over the kick drum or somewhere in the middle of both, let’s say above the kick pedal. It would be nice to know if this position affects and how much. Example Position XY over drummers head Position XY over kick drum Or somewhere in the middle Regards from Mexico Nesthor
@compucorder647 күн бұрын
The R-88 was killer. I suppose would be interested to hear how the R-84 sounds. And the Beyerdynamic M160 and Royer R-10. I was surprised at liking the Rode NTR quite a lot, might have been in my top 3, definitely not as nice as the R-88, but still but smooth, pleasant but articulate enough on the cymbal transients. When I went to check the price, was hoping the Rode NTR would be $300-400 each, but while they are still affordable, they're in the ballpark of the Royer R-10, or Beyerdynamic M160. GAP R1-A is another intersting pretty cheap option, at about 500 a pair
@sandodo77687 күн бұрын
Thanks for all the info! What about the 208 on voices and other instruments?
@normanwaller29249 күн бұрын
Yeah, but it’s 600 bucks and it look like it’s well-built
@ThePaulwarner9 күн бұрын
I hope you actually PLAYED these cans also.. upside down like djembes .. tap the side for your snare !!
@simonbarth318110 күн бұрын
Its so cool that you take your time for this, your always so invested, it makes for great content!!!
@RemyRAD11 күн бұрын
Recorder Man is a very cute technique. Not original at all. Many of us. Have been doing similar things. Since, the beginning of, Analog Recording. I know I have. It's almost a, Rudy Van Gelder like, technique. Instead of moving the musicians around. You move the microphones around. What a concept! Maybe, it'll catch on? Really all depends on the kind of, drum sound and tracks, you want. And it's a relevant, technique four, Recorder Man, set up. And so I highly approve your technique. It certainly isn't original. But you can claim fame for it. I guess somebody had to? It may have well been, you.. This was posted 7 years ago. I wonder if he survived, COVID? You just never know? RemyRAD
@steveg21913 күн бұрын
This is cool- thanks
@diegomacias767713 күн бұрын
You talk to much. And don't teach nothing
@iankelly69413 күн бұрын
Good thoughts, I think to your point about cost and price, we all know, really that just because something is expensive, that doesn't mean it cost that to make. The old adage is, it's not what it cost to make, it's what the market will bear. So, if manufacturers get a good name because one of their pieces of kit got used on a well known track/studio/artist, then everyone talks about it, and the price goes up, because everyone wants it. Markets are driven by consumer desire, not cost to make. Technology has moved on in terms of manufacturing parts, and therefore are easier to make cheaper. There's a lot of nonsense talked about kit, and names, you should be able to get good results from relatively cheap stuff. I don't think having racks of expensive gear should make the engineer, a good engineer can make things work for them. and there's something creative in the process of working with limitations for me. You know, kinda, "yeah so it hums a bit, get over it, at least he/she isn't singing through an auto tuner." I like the imperfections.
@RainerSteffenHain14 күн бұрын
The Need For Gating? Sorry, but that's bullshit. There's no need for gating!
@vinegar814 күн бұрын
Great that you emphasise process over technology.
@withRUfUS14 күн бұрын
Beringer can’t build these fast enough. 🧐
@hellofx15 күн бұрын
You are a Warm audio lapdog ...admit it .Your opinion is as lame as how Biden walking on ladders.
@ryanshook828415 күн бұрын
Ryan, r88 or a pair of Coles?
@SimonPianta16 күн бұрын
Sold out worldwide
@livingthedream13716 күн бұрын
Love it.
@askkwok541117 күн бұрын
just amazing！
@DonnTarris18 күн бұрын
In a live venue where the band changes every gig, drummers' setups are varied to an extent that placement of closer mics will differ with every setup. For this reason, I've settled on using a stereo overhead (a Rode) and a "front" kick mic (drum sometimes has a full front head, sometimes not) as the main pickup, and then place a "floor tom side" and "snare side" mic (Advanced Audio 1084) that are placed to give me more control for those areas of the kit. I usually do a true compression of the overheads at 2:1, keying it from the lower volume playing and then adjusting the ratio depending on the dynamic range of the drummer. The drums tend to carry in the room acoustically, so sometimes I'm just trying to add presence and clarity to the attacks. Nothing is gated. As for large diaphragm mics vs small, the pattern itself is more important. A Sennheiser e965 is a large diaphragm vocal mic for live performance, only slightly larger than an SM58, but much better sounding than the 58. Onboard HPF, pad and dual pattern are switchable. In a studio setting, where one isn't having to be concerned with feedback, I would suggest trying closely placed omni mics as an alternative, on the drums and not cymbals, and then see what a single or couple of overhead mics would add. Why omni - because the bleed wouldn't be coloured, no proximity effect. If the mics are close to the sound sources, then bleed would be minimal to begin with. Try it, you might like it...
@BrandonCousino18 күн бұрын
I usually see people placing the X/Y overheads directly above the snare to keep the snare as the center of the image. Maybe it's the camera angle, but those look like they're favoring the floor tom. What's the logic in their positioning versus being directly over the snare?
@creativesoundlab18 күн бұрын
It’s more about centering the snare by twisting the boom arm left or right. It *is* closer to the floor tom because that often is the quietest drum in the overheads. Also turns down the hihat as well by being so far away.
@matthewomorere824118 күн бұрын
Please send it to me. I need it
@Crysco.mp319 күн бұрын
I've got a lot of outboard gear, like a lot. And everyone wonders what is the combination I'm using to make my MPC drums sound so amazing. What I use is a USB class compliant audio interface with eight outputs coming from my MPC going into an eight channel Rupert neve DI, then into my preamps, then four channels go into four 500 series SSL six channel modules, and the other four channels go into 4 500 series 73 jr modules. From there all eight channels go into 163X units. Occasionally, I may use a little bit of EQ, or even compression on the SSL modules, that usually makes work easier for the 163X's. Then from there into my RME interface to be tracked into my daw. I know it sounds like a lot, but if you hear the difference, you will completely understand.
@ben.daniel20 күн бұрын
I've used my 163x in front of my pedal board to great effect. It's like overdrive that's totally dependant on the volume knob on the guitar. Then you get some flattened signal going in to things like fuzz and stacked overdrives which adds some interesting character. I use it for mixing bass pretty much by default.
@adamwasthefirstman20 күн бұрын
I got a pair of them about 10 years ago for just over $100. I track just about everything through them. Just crazy value!
@artysanmobile20 күн бұрын
The UREI was hitting too hard, by about 4-5 dB, for a direct comparo. Other than that, the similarity is pretty amazing. I remember these 160-series dbx compressors, using them sorta carelessly in live broadcast mixes in the late 70s. The 2a has a knee you can hear while the dbx don’t have a knee. Rather than onset of compression, they’re 5-10dB down with a very graceful release. A lot of work went into designing those transfer curves. The vca itself is the 202 module with admirably low distortion. A fantastic piece of design from Dave Blackmer.
@bonzology32220 күн бұрын
bro, get that grade dirt OFF of the steel, i don't know why people do that, but you will rust that metal, i don't care how powder coated it is, expose and always make sure you can see 6" of the footing from the outside, i am a licensed building contratcor
@-______-______-21 күн бұрын
Do you have a link to all of your music?
@pascalmerschaudio21 күн бұрын
thanks for this, what a great voice for the test
@Heavy_Distortion21 күн бұрын
Great review. The 163 sounds neutral and smooth with no discernible coloration. Whispers and hushed vocals sound rich.
@samchoate171921 күн бұрын
Sounds really similar to the art pro VLA II as well- another great price to performance comp
Пікірлер
Thanks ❤
How do you balance the control you have over this method with the ease of use/quick workflow of running an auto-align plugin?
I understand the theory and I certainly appreciate you taking time to demo it out for us, but the fact is a drum kit is a spaced out instrument and is generally listened to at a distance, so it seems to me that phase mismatch is just part of the experience. Obviously, we don't want to make it worse, like adding a top and bottom mic together without flipping the polarity of one mic, but flipping a hh mic just because the low end increases on a snare... I don't think this is the right way to approach mixing. Much like peaks and nulls in an untreated mixing room, moving your listening position to a spot that "increases the low end" doesn't mean that what you're hearing is "better" or "correct". Like you say later, it's more about avoiding these issues- if it's an issue, then please adjust the mic position(s), at least this way all frequencies will shift in phase and still be within the literal proximity of a real drum kit. Not trying to be a jerk, maybe I'm being a little bit of a purist, but you're one of only a handful of KZreadrs that doesn't jump straight to sample replacement. Ugh... On a semi-related note, I have a somewhat unique way of recording overheads and I'm loving the results. When I get some videos posted, I'd like to point you to them because I think I could see you trying it out and improving upon the method. It's super simple, intuitive, and very budget/experience/bedroom friendly. Honestly, I don't know why I can't find a single person on KZread doing it.
Tip for phase, it works: Put some good test whacks in there, zoom in and line up phase by eye in the DAW by sliding the audio until you line up the waves to zero-crossings. You can check with your ears with the undo. The in-phase (drum or cymbal) element should sound thicker.
Love this stuff!! Looking forward to putting this tips into action on my next drum recording session! Thanks!
Name makes gear expensive.....NEVE.....Manley.....Universal Audio......H2 Audio.
The hidden barrier to a great drum sound is that a good 808, these days, is hard to find :) (or TR-909, CR-78). That way of thinking of a drum like snare as having three zones is interesting. It's one thing that's tripped me up, while learning to record drums. I didn't think of the close mics as reinforcement, and was struggling with the fact that say SM57 bottom & SM57/Audix i5 top sounded so artificial. But trying to make the close mic pair sound 'natural' is wrong-headed, that's what the farther mics are for. Knowing that the close mics are for reinforcement lets you get a bit more utilitarian and surgical with the EQ on them and not be afraid of it sounding not like a natural snare.
I love the crotch mic fullness… I always miss what the crotch mic adds when I remove it… with only 8 inputs (home studio) I have non-negotiable snare top, bottom, OH L and R, Kick and then 3 more. I most often use those 3 extra channels for hi tom, low tom, crotch mic/ mono front of kit room-ish mic. I need to critically listen to the potential phase issues from that crotch mic, bc for me it helps SO much for the overall sound. Thanks for nerding out so deep on this stuff we love, my dude!!!
I really wish the guy would not talk and let us listen to the mix. But maybe that what they want. Keep us guessing and then wanting one to try for ourselves. Damn it I’m gonna buy one. And their 2 channel 1073 pre and EQ clone.
I definitely agree about mics placed in between zones. I always base polarity flips of the close mics off the overheads and it's very difficult to get a crotch mic to work with all of that. The only way I've been able to get a crotch mic in phase is by messing with high pass filters on it. Even then, the overall drum sound was better without the extra mic haha
Your drum sounds consistently impress me! Great sound, and great groove too!
The biggest "hidden barrier" to a great drum sound is usually the lack of a great drummer.
One of the most important choices is to guide the drummer to a better technique
@djentlover Tough to do and especially so with someone really lacking in technique. In the studio is a bit late to be attempting to learn proper drumming skills but better late than never. Great musicians on the other hand can make recording easy and make you seem like a good engineer as long as you don't really screw things up.
came for the info, stayed for the doof doof
Killer video. And killer bass amp just chillin in the background too, would love to see a video on bass recording using that a nice character amp like that. That Audix D4 sounds really nice, and it is hypercardiod, so easier to position and better rejection of the ride than maybe an MD241. Makes me wonder if the MD421 sounds good on toms, and bass cab. I wonder if the Audix D4 sounds good on floor toms, maybe it could sound good on bass too. Also wonder if the RE20 sounds good on floor tom, since it's also quite a nice bass cab mic, and useful on kick sometimes too.
This was really useful. Thanks so much. Those Soyuz 013s are really nice sounding mics. I liked the image best at head height, higher was too compact, and closer seemed overdone. I think I can get what I want using this type of setup. I would just add a kick drum mic, that captures the deeper bass of the kick, and would help to give more of a centered feeling to the kick too. It's nice because I only have four preamp channels. But I do have a cheap but nice sounding pair of SDCs (Line Audio CM4. And I'm just about to buy a Shure Beta 52A after listening to some comparisons of different kick drum mics. But if I add a kick drum mic, I wonder how to best manage the phase relationship between the kick drum mic and overhead pair. Could do it by aligning the peaks in the DAW, I suppose. But engineers must have ways of adjusting mic placement, when mics can't be equidistant. Adjusting position by ear, while mix monitoring on headphones?
They sound so different. Becomes pointless, if they can't keep the sound they shouldn't keep the name either imo.
Hey Ryan, just wondering if the Audient is still fully functional since I keep reading online about how it stops working after 2-3 years.. Love the channel, please give us more of your classic videos! :)
When you ask how it's so cheap compared to others, it has to do with economies of scale and mass production. Behringer have gotten really good at that. Building small numbers daily is a more expensive operation than building 100 or 500 units a day. Plus they buy components in larger quantities, which means they get them at a cheaper price, and shipping is less expensive than if they bought small quantities. This all adds up very quickly. They also cut corners where they can, like every other manufacturer, especially in pots and switches, which feel cheaper but don't really change the sound. Also, having your own factory helps, rather than having to outsource production.
What kind of drums are they?
What I can’t see is if the XY mics are placed right over the snare or over the kick drum or somewhere in the middle of both, let’s say above the kick pedal. It would be nice to know if this position affects and how much. Example Position XY over drummers head Position XY over kick drum Or somewhere in the middle Regards from Mexico Nesthor
The R-88 was killer. I suppose would be interested to hear how the R-84 sounds. And the Beyerdynamic M160 and Royer R-10. I was surprised at liking the Rode NTR quite a lot, might have been in my top 3, definitely not as nice as the R-88, but still but smooth, pleasant but articulate enough on the cymbal transients. When I went to check the price, was hoping the Rode NTR would be $300-400 each, but while they are still affordable, they're in the ballpark of the Royer R-10, or Beyerdynamic M160. GAP R1-A is another intersting pretty cheap option, at about 500 a pair
Thanks for all the info! What about the 208 on voices and other instruments?
Yeah, but it’s 600 bucks and it look like it’s well-built
I hope you actually PLAYED these cans also.. upside down like djembes .. tap the side for your snare !!
Its so cool that you take your time for this, your always so invested, it makes for great content!!!
Recorder Man is a very cute technique. Not original at all. Many of us. Have been doing similar things. Since, the beginning of, Analog Recording. I know I have. It's almost a, Rudy Van Gelder like, technique. Instead of moving the musicians around. You move the microphones around. What a concept! Maybe, it'll catch on? Really all depends on the kind of, drum sound and tracks, you want. And it's a relevant, technique four, Recorder Man, set up. And so I highly approve your technique. It certainly isn't original. But you can claim fame for it. I guess somebody had to? It may have well been, you.. This was posted 7 years ago. I wonder if he survived, COVID? You just never know? RemyRAD
This is cool- thanks
You talk to much. And don't teach nothing
Good thoughts, I think to your point about cost and price, we all know, really that just because something is expensive, that doesn't mean it cost that to make. The old adage is, it's not what it cost to make, it's what the market will bear. So, if manufacturers get a good name because one of their pieces of kit got used on a well known track/studio/artist, then everyone talks about it, and the price goes up, because everyone wants it. Markets are driven by consumer desire, not cost to make. Technology has moved on in terms of manufacturing parts, and therefore are easier to make cheaper. There's a lot of nonsense talked about kit, and names, you should be able to get good results from relatively cheap stuff. I don't think having racks of expensive gear should make the engineer, a good engineer can make things work for them. and there's something creative in the process of working with limitations for me. You know, kinda, "yeah so it hums a bit, get over it, at least he/she isn't singing through an auto tuner." I like the imperfections.
The Need For Gating? Sorry, but that's bullshit. There's no need for gating!
Great that you emphasise process over technology.
Beringer can’t build these fast enough. 🧐
You are a Warm audio lapdog ...admit it .Your opinion is as lame as how Biden walking on ladders.
Ryan, r88 or a pair of Coles?
Sold out worldwide
Love it.
just amazing！
In a live venue where the band changes every gig, drummers' setups are varied to an extent that placement of closer mics will differ with every setup. For this reason, I've settled on using a stereo overhead (a Rode) and a "front" kick mic (drum sometimes has a full front head, sometimes not) as the main pickup, and then place a "floor tom side" and "snare side" mic (Advanced Audio 1084) that are placed to give me more control for those areas of the kit. I usually do a true compression of the overheads at 2:1, keying it from the lower volume playing and then adjusting the ratio depending on the dynamic range of the drummer. The drums tend to carry in the room acoustically, so sometimes I'm just trying to add presence and clarity to the attacks. Nothing is gated. As for large diaphragm mics vs small, the pattern itself is more important. A Sennheiser e965 is a large diaphragm vocal mic for live performance, only slightly larger than an SM58, but much better sounding than the 58. Onboard HPF, pad and dual pattern are switchable. In a studio setting, where one isn't having to be concerned with feedback, I would suggest trying closely placed omni mics as an alternative, on the drums and not cymbals, and then see what a single or couple of overhead mics would add. Why omni - because the bleed wouldn't be coloured, no proximity effect. If the mics are close to the sound sources, then bleed would be minimal to begin with. Try it, you might like it...
I usually see people placing the X/Y overheads directly above the snare to keep the snare as the center of the image. Maybe it's the camera angle, but those look like they're favoring the floor tom. What's the logic in their positioning versus being directly over the snare?
It’s more about centering the snare by twisting the boom arm left or right. It *is* closer to the floor tom because that often is the quietest drum in the overheads. Also turns down the hihat as well by being so far away.
Please send it to me. I need it
I've got a lot of outboard gear, like a lot. And everyone wonders what is the combination I'm using to make my MPC drums sound so amazing. What I use is a USB class compliant audio interface with eight outputs coming from my MPC going into an eight channel Rupert neve DI, then into my preamps, then four channels go into four 500 series SSL six channel modules, and the other four channels go into 4 500 series 73 jr modules. From there all eight channels go into 163X units. Occasionally, I may use a little bit of EQ, or even compression on the SSL modules, that usually makes work easier for the 163X's. Then from there into my RME interface to be tracked into my daw. I know it sounds like a lot, but if you hear the difference, you will completely understand.
I've used my 163x in front of my pedal board to great effect. It's like overdrive that's totally dependant on the volume knob on the guitar. Then you get some flattened signal going in to things like fuzz and stacked overdrives which adds some interesting character. I use it for mixing bass pretty much by default.
I got a pair of them about 10 years ago for just over $100. I track just about everything through them. Just crazy value!
The UREI was hitting too hard, by about 4-5 dB, for a direct comparo. Other than that, the similarity is pretty amazing. I remember these 160-series dbx compressors, using them sorta carelessly in live broadcast mixes in the late 70s. The 2a has a knee you can hear while the dbx don’t have a knee. Rather than onset of compression, they’re 5-10dB down with a very graceful release. A lot of work went into designing those transfer curves. The vca itself is the 202 module with admirably low distortion. A fantastic piece of design from Dave Blackmer.
bro, get that grade dirt OFF of the steel, i don't know why people do that, but you will rust that metal, i don't care how powder coated it is, expose and always make sure you can see 6" of the footing from the outside, i am a licensed building contratcor
Do you have a link to all of your music?
thanks for this, what a great voice for the test
Great review. The 163 sounds neutral and smooth with no discernible coloration. Whispers and hushed vocals sound rich.
Sounds really similar to the art pro VLA II as well- another great price to performance comp