![]() Truck needs 60 amp single phase, 208-250 volts/ Two hots and a neutralĦ0’ for trailer and tractor, 12 feet wide for stair extension on passenger side, Height 13’ 4”, Gross vehicle weight 52,000 lbs. Six – SM58’s, Four – SM57’s, Four – Beta SM-58’s, Two – Beta SM-57’s, Shure SM-87, Two – Neumann U-47fets, Two – Neumann KM-84i’s, Eight – AGK 451E’s, AKG CK9 ShortShotgun, Two-Sanken CU-41’s, One-Sanken CMS-2 stereo MS, Two-Beyer M-88’s, Two-Beyer M-201’s, Three -Beyer M-260 Ribbons, Five – Beyer M-500 Ribbons, Two – Beyer M-160 Ribbons, Four – Sennheiser 421’s, Two – Sennheiser 441’s, EV RE-20, RCA BK-5a Ribbon, RCA 77DX Ribbon, Neumann U-67 tube, AKG C-12 clone The Tube, Five – Countryman DI’s, Radial Pro DI, Urie DI w/Jensen transformer, Two – B&K 4006’s, Five – AKG 414’s, Two – Octavia 201’s and a Tube Stereo DI box.Ĩ0 input Jensen microphone splitter system, 320’ of Mogami feeder snake with break out boxes.ġ6 input BS active splitter w/transformer iso splits. M&K CR-2401 speakers with M&K sub and bass management for 5.1 surround mixing Meyer HD-1 monitor speakers, Yamaha NS-10 speakers, Tannoy 6.5 speakers For bus compression, you would put the RNC between the mixer and the PC or whatever youre using to record the final stereo mix. during recording, or you can apply bus compression to the entire mix. Samsung LCD – HD TV monitor, Two Sony B&W monitors, two CCD cameras You can apply compression to a single instrument, e.g. WTS FMR RNC Stereo Compressor Price : Rp 2.300.000 Condition : Second Location : DKI Jakarta Penjelasan Produk Fmr Rnc Stereo Compresor Harga Rp2.300. RTS intercom three belt packs & two wireless packs Night Technologies PreQ3/ four channel mic pre-amps w/AIR EQ Three – RNC 1773, Really Nice Compressors ![]() Rupert Neve Design: Portico II Master Buss Processor, P2MB Two – Amek Rupert Neve Pure Path mic-pre, EQ and compressor channels Panasonic SV 3700, 3800 DAT recorders, Tascam CDR-50 CD recordersĭBX 900 rack with six 903 limiters, two DS units. Time-Line Lynx sync-unit for machine lock and resolve to videoĦ – Sony PCM-800 DTRS digital recorders (48 tracks with time code cards) compatible with Pro Tools or other DAW mixing systems.ģ – IZ RADAR 24 hard disk recorders for backup (72 tracks) keeps dynamics a bit more "in-check" before piling on the inevitable brickwall limiting.Amek Media 51 audio console, 60 inputs, Rupert Neve mic pre’s and EQ, Superture Re-Call snapshot automation with virtual dynamics and mono to 7.1 surround mixing and monitoring.ģ – IZ RADAR 24 hard disk recorders (72 tracks) 24 bit/96KHz Nyquist converters with duel disk recording to eSATA and SCSI drives recording in broadcast wave files. The main squeeze helps things survive the often brutal mastering anyway. ![]() Usually I'm just riding things, pull back maybe 3dB on peaks, but more often then not just tickling the meter and letting the vocal (or kick & snare) push the master. Not my favorite piece or setting but the theory is the same. SSL master comp at 4:1 can really alter the transients and has been the "sound of rock" for the last couple decades. Its not a level thing, I'm going for the tone of it. drums and vocals in place and then slap it on, usually before much if any individual channel compression is in place. Somewhere along the way I picked up the idea of putting it on early in the mix and more or less mixing with it instead of against it. get a mix together and pop it on towards the end and it always sucked, would blow everything apart and radically change the shape of the song I used to struggle with the 2-mix compressor. Since your a mastering guy how do you then deal with the mix balances changing when compression is applied? Or is not much of an issue? That buss is then routed to the stereo mix. That gets sent to a master buss, which typically has the Airwindows Classic Channel plug-in, along with a compression (again, set to add just a bit) and EQ plug. In general, I try to keep all the levels in the signal chain around -6 db, just to avoid clipping the signal. The effect of this is very subtle, but it does seem to add a bit of 'airiness', and helps glue the mix together. From there, I send that buss out to an RNC-1773, set to a very light compression using the 'super nice' button engaged. Haro 78 3-piece 175mm crank with chromoly spindle & sealed Mid BB. Full Chromoly Haro Freestyler Handlebars and Fork. In DP 7, I buss all the tracks to an aux buss (1 and 2). LIMITED PRODUCTION 6061 Alloy Frame HARO Freestyler Master DMC 24' or 26' with twin top tube. ![]() Still, I'm self-taught, and there's always room for improvement, right? With that in mind, I'll describe how I do it, and if you have any tips or constructive criticism, I'd love to hear them. I think, quite humbly, that I've gotten okay with the process, and that the results I get sound decent, at least. Just the other day, I finished something new, and mixed it down to a stereo master as I always do.
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