Відео

Hi RemyRad, thanks for sharing. The TF-29 are all made in USA, it has Premium Swedish-made Lundahl output transformer New Old Stock General Electric 5654W vacuum tube. As you say it is more suited for vocals, guitar amps and overheads. The MicParts S87, is a DIY kit made in USA which I built myself here in Canada. It was about 300$ and sounds better than many more expensive mics. But then again, more suited for vocals and overheads or room mics. Glad you liked the video !

Yes. The advertising agency hired me out of Media Sound New York City. Where I got to work with Michael DeLugg and guys like Bob Clearmountain. But I didn't really engineer for them. I was part of the Maintenance Crew. But when you get to sit on some of their sessions. And help them out. Because the stupid flake, A-2, assistant engineer. Didn't show up for the section. They get somebody like me out of the Shop. To do the Audio Engineering for a client. Little did I know? I would engineer the solo instrument. For a very famous hit song. It was the Latin Percussion track. And the song had no vocals on it yet. Just the instrumental rhythm track. Which sounded great. Michael DeLugg recorded that. He was real good. He trained Bob Clearmountain. And I'm recording the Latin percussion for this song. It sounds very nice. There are 5 versions of the same song. I'm doing the 5 1/2 minute album version. When after 3 hours. The schlep assisted engineer shows up. And he's got to complete this Overdub, session. The way I had set it up. For the 4 other versions. To sound the same. As I'm the one who chose the microphone and the placement. The gain and some EQ. For the overdubbed of Latin percussion. I had no idea what the song was or who it was for? Jump down about, 8 months later. I'm sitting enjoying a beer. And the Ambience. At a nightclub in Hollywood, Florida. Halfway between Fort Lauderdale and Miami. The club was called the Copacabana. And they had a great sound system. In a huge dance floor. And a great DJ. That didn't miss a beat. From one song to the next. It was awesome. When suddenly a. I'm hearing this familiar sound. Oh my God! This is the Latin percussion track I cut! I had never heard the completed song. I didn't even know who it was far? And it goes into the vocal. It's Barry Manilow and the song is called, Copacabana! And I met the Copacabana nightclub in Hollywood, Florida. Oh my God! And the Latin percussion takes the big solo! And that's my recording! Holy Shit! Well I got one hell of a Rush out of that. How Flattering! Barry Manilow's, Copacabana. And I'm at the Copacabana in Florida. How apropos. To hear that for the first time in its completion. 8 months later. And it was on the Charts. And everybody's dancing their asses off to it. Who wouldn't? I wouldn't. I don't dance. I was just having a beer. And taking in the moment. And enjoying watching everybody dance. And listening to the disco DJ do his thing in 1979. And really enjoyed that. No I don't get any royalties for that. I wasn't the engineer assigned to do that. I was just merely standing in. And that's how some of this goes down. After that I started doing more rock 'n' roll engineering. For one of our Night Managers. She wanted to become a Producer in her own right. And she couldn't get people like Bob Clearmountain to engineer for her. So I had to be Bob Clearmountain. Kind of, sort of. I was working for a hit recording studio. A big one. 4 control rooms and studios. That cranked 24 hours per day. People like me. We would tweak up each control room. Before every session. The tape recorders get a complete realignment. For the kind of brand and formula of tape. The client wanted or would be bringing in. And when we were lucky. We would already have that tape. From other studios. And with those tapes. You would find. Each engineer at each studio. Would print, 1 kHz, 10 kHz and 50 Hz, sine waves. At the beginning of each tape. So we could make certain. Our recorders. Would be aligned to that recorder. That cut the original rhythm tracks. And so we would match to that machine. At the other studio. Using their tones like a test tape. Sometimes they were close to our Calibration Tapes. Other times they were all over the place! And you would be sitting there wondering what the hell they were doing? But not for me to query whatever they did. Just to, match it. Even if it's not right. It will be consistent.. And still flat. For them. Recorded on a machine that was either well calibrated or not well calibrated. And that's the way it was in the 1970s. I was so lucky. To be a part of that, Era. So I know all of those famous engineers also. I've either worked with them or around them. Sometimes, directly for them. As in Copacabana. I was involved with another wonderful overdubbed session with, Maynard Ferguson. Fabulous jazz trumpeter. He played these screaming high notes all the time. And he played those. Putting the bell of that trumpet. Right up to the grill of a U-87. Without turning the attenuation switch on. It was off. I thought the mic would overload. Lo and behold it did not. I asked Michael DeLugg if he wanted me to turn that switch on? He said no. That's what I learned from Michael DeLugg. You might turn that switch on for drums? But I don't know? I never did.. I had no problems. Not really sure if that's for recording jet engines? Obviously not needed with a trumpet right up to the capsule. Playing as loudly as he could. It sounded Fabulous! And was going into a, Harrison . Like Bruce Swedien used to mix Michael Jackson on. The same kind, model. Those sounded very nice. Kind of an offshoot from MCI. Dave Harrison worked for MCI earlier. And then split off. He made some great consoles. Much better than MCI. But MCI made great recorders. They were basically clones of Ampex. Identical clones. You could swap circuit boards between Ampex and MCI's. I don't know how they got away with that? I mean they were identical exact clones. To begin with. Until they came up with their own recorder electronics. Which I really loved. They were integrated circuit chip based. They sounded and worked great! If you can keep them running? They had a number of intrinsic problems. And I suggested the fix. Which they did. I did contribute to MCI.. I was trained by them. To be an authorized factory warranty repair service technician. And they offered me work doing that. But I declined. I only wanted to know how to fix them myself. But I also did work for other studios. Maintaining stuff like that. Fixing stuff like that. As a side hustle. For extra bucks. When you know how to do that kind of stuff really well. You may have heard of Michael Marra's, MCI stuff? Yeah. We were in the same MCI class together. He's made a good living doing that. I'm sure his machines are choice. Mine always were. When I built machines. Some of mine are still running today. People of contacted me. They found me. And sit here look. We still have your test data sheet you signed back in 1979! Holy crap! I turned out some great Scully's. As I worked for Scully for not quite 2 years also. And made the best ones since Larry Scully. Because that was my job. Not another compromise machine would be shipped under my watch. That was my directive from the boss/owner. And I made certain of that. Now I want you to give me a call. I have something to tell you. 703-532-7335. I think you'll find it very interesting. I think you'll enjoy what I'm going to tell you. A lot. And then you'll want to turn everybody onto this. Also. They will all think you are a genius. And it's very funny. You'll like it. An old retired Fart. RemyRAD

This Yamaha was just the worst sounding. When you looped through it more than once. Going through it once. It sounded like a Neve. Going through it twice? It sounded like a battery-operated microphone mixer from RadioShack. Everything turned to nondescript, mud. I could hardly believe how awful it was. I took out the output transformers. That helped very little. It was miserable. And I had to keep boosting the high-end. Shoving it up almost all the way. With every pass through. And in so doing? The amount of siblings shrieking high-end that was nonexistent. And splattering sibilance, on everything. Was just not listenable. So? I contacted, UREI. When they were still in business out in Los Angeles. And asked them. Have you got any modifications for the 1176's? They did. It was designed for FM Transmitters or Vinyl Disc Mastering. And it was a High Frequency Limiter/De-esser, Mod. Adding in, 75 µs of high frequency preemphasis. Like that of FM radio. With its 75 kHz deviation for 100% modulation. And they pass band from 50-15,000 Hz.. With a higher FM stereo carrier. For the multiplexed, Left minus Right channel information. On the subcarrier. As all FM is, Middle/Side, encoded. It's not encoded left and right. It's encoded Mono & Difference. If you didn't already know that? At that's the basis for doing a lot of exciting stuff in mixing. I mean they say you need 2 identical, Figure of 8, Microphones for, Bluhmlien Stereo. Or a, symmetrical Side Figure of 8 Microphone and a matching, Cardioid Microphone. Of the same type for, Middle-Side, encoding and decoding.. One of my favorite ways to go. As you get variable stereo width, that way. Whatever you want to dial in. As wide or as narrow as you want your, stereo. And so it's great to store those recordings as, Mono/Side and not in Stereo. Those stereo can be matrixed back to Mono and Side. I've done all sorts of goofy stuff, spectrally. To the Side encoding. Like taking a stereo recording. Scooping out the entire midrange. Flipping the midrange out of phase. But the high-end and low-end is in phase. You get a really wide sounding stereo that way. When you want to put a Voiceover Narrator. Over the music. So you take the middle of the mix, Under, down. While keeping the left and right sides higher. Which are now out of phase to each other. And makes the music sound really wide. Behind the Mono Narrative. While keeping the rest of the stereo music very stereo and wide. But that way the music is above and below the frequency average of the spoken word humans. And that's some crazy spectral involvement. Nobody would purposefully do in a rock 'n' roll mix. But those jingles I had to produce. Back in 1979 at 23 years of age. I really didn't know what I was doing. And millions of dollars were riding on these things. For the advertising agency. That would use them for the next 20+ years. And all I had was this garbage Yamaha PM-1000 PA board engineer everything on. It was horrible! But you can hear for yourself from this transfer I did back in 1996 from very sticky analog tape. From demo reels. All that I had left. After a major fire at the studio. All my master tapes melted. Everything was gone. Except some of these old cassettes and consumer reel to reel demos I had made. Of these terrible sounding jingles. That sound like this: soundcloud.com/remyrad/remygolnickjinglesotdemomb2 And so today. I think they are pretty funny sounding. From 1979. I produced at 23 years of age. These are no joke. There's not a single synthesizer in this. It's who I call the Miami Wrecking Crew. Largely out of Criteria/Hit Factory Studios in Miami. And the Miami Symphony Orchestra. And it's really difficult to get all those people. Into a dead little box room. Designed for only 4 announcers. And so I really didn't know what I was doing at the time? I just knew what they had to sound like in the end. And honestly? I didn't have a 24 track recording studio. I didn't have a great audio console. I didn't have good room acoustics. I didn't even have a fully functional spring reverb unit. Though I did have a brand-new Eventide Clock Works, H-910, original Harmonizer. Which came in very handy. As I think I was one of the first people in the world. To do Digital Pitch Correction. Without a computer. Without software. Do it all by finger and by ear. As we had one lead singer. I did not audition nor higher. The bosses son. Heard this guy at a lousy restaurant/piano bar. And he sang everything about 1/4 pitch flat. Most of the time. He was a terrible crooner. And what the hell am I going to do with that? So I pitch corrected him. And because of the latency. It threw him off the beat by, 36 ms. Which was fine. As he had a tendency to rush the beat. And it worked out great! He sounded much better with that 36 ms of latency. It put him on the backside of the beat.. He no longer sounded rushed. He sounded relaxed. The way I wanted the jingle singers to sound. And nobody knows. The high frequency response on that vocal track only went out to, 12 kHz. Nobody knows. But in cutting these jingles, New York union, studio style. It was going to be a lot of overdubs. I only have 8 tracks. How does this work? Well? Before we had computers. Before we had software. Before we had Virtual Tracks. There were those of us. Crazy enough. To do Virtual Tracks. All in Analog. Yup. Though it took a lot more reels of 1 inch tape. As I was also doing everything at 30 IPS. At +6 DB elevated level over 250 nano Webbers per meter. Reference operating level. And banging the VU meters. You could hear them go click right through the, faceplate class. Without the speakers on. You would hear all these little clicking sounds. It's meter bashing. Because I'm also not using any Tape Noise Reduction. And I only have 2, Allison Research, KEPEX-1, downward expander/gates. And 2 UREI, 1176's. And 1/2 FUCKED-UP, AKG, BX-20 E reverb. And it required about, 1/4 ounce of marijuana. And at least 3 days of work. But in the end. Everything had to end up on 8 tracks. So I could mix them to 2. And I had no', SMPTE, synchronizer. And that would never work anyhow. As it only did, 1 frame of accuracy. That's 30 ms! Everything could be off by that much.. Ugh! So there will be no,, synchronizer used. Then how? How am I going to synchronize, multiple reels of tape? To another realtor real machine? One track at a time that's out. I'm going to bounce and fly in by hand. One track at a time. Of all of these composite of, multiple overdubbed tracks. And on one jingle I think there were about 64 overdubs. Reduced to 8. Mixed down to 2. But that. The boss said he wanted only Mono Jingles for release. But when the, staff of 50 Sales Guys, nationwide. Heard the Mono Mixes. They asked if they could get those in stereo? Oh no? That was not the intention. The way I recorded and mixed everything. Because that's not how the boss wanted it. I told him I wanted stereo. He didn't want stereo. Now he wants stereo. It's 10 steps forward and 7 steps back! Oh my God? So some of these are the, stereo demonstration mixes. We never used on the commercials. We used the Mono mixes for the commercials. And at the end of these jingle demos. You will find some of the actual commercials with the announcers I worked with. I auditioned. They were great. There were others they were all wonderful. This advertising agency made those guys wealthy. They all lined up to audition. This was a big company. And he wanted one of the best engineers and producers in the world. So he got me. He got me from another studio I had worked for. Actually 2 other studios I worked for. As they also cut commercials there. And guess who cut them? They sort of kept on following me. They wanted me badly. And I could've stayed with them for the next 25 years. But I didn't.. I needed to move further up the ladder. I was on a fast track at that age. You can hear why.

I really appreciated transistors. Not having that kind of consistency.. I would have never accepted the job. I don't need every circuit to be a variable. I need consistency. And then once we got Digital Recording. And I started recording digitally in 1983. 41 years ago. My 24 track recorders were still analog. And we were mixing down to Digital. Via analog recordings. But when 3M Scotch, decided to shut down, magnetic tape manufacturing. That was the straw that broke this camel's back. Because I had evaluated and tested thoroughly. All the manufacturers of Studio Mastering Tape. Of the Big 3. 3M, Ampex and Agfa. And while they Ampex recording tape at Agfa recording tape was very good. And I did use it. Not my choice. The client's choice. Sure. No problem. It just never had the kind of sound. The open rich fat clarity. Of the 3M Scotch, product. And to me. It was all over. That was it. That is to say. For the next 10 or so years. I was using the Ampex and Agfa product. Some of that spilled over to BASF in the wider available tape formats. 1/2 inch, 1 inch and 2 inch. Strangely enough. 3M Scotch made a short run of, 3 inch wide, Scotch 250 formulation tape. Back around 1979. When MCI introduced their, 3 inch wide, 32 Track, Analog Recorder. And they showed it off at the AES Convention in New York City. It looks very impressive. Wow 32 tracks 3 inch tape. Holy moly! But it was all a bunch of hot air. I discovered. As, the MCI Factory. Was in the backyard of my apartment building in, Fort Lauderdale, Florida. Where I lived back in 1979. And I became good friends with everybody over there. Because they were in my backyard. About 600 feet away. It was very funny. They were closer to me. Then the job I worked, daily. Which was 2 miles away. I could walk to MCI factory in about 5 minutes. From my apartment door. And so the stupid, 3 inch 32 check machine. They told me they could not officially release. I asked them why? They said it was due to Physics. I asked them if they didn't have a bathroom? They assured me they did. And told me not those physics.. Then what? They told me. That due to physics. The weight of the tape. Would not stay stable against the heads. It would ride up and down. They could not stabilize it. They told me it was due to physics. Well? I don't know any fucking Physics? So I could let that stop me. So I told them. I had the fix for it. I had the fix? Yes I did. But they said it was not possible due to physics. These guys were dweebs. They were OCD Audio. They had no knowledge. Of another type of tape recorder called a Video Tape Recorder. As even the 2 inch ones of those. Frequently use Vacuum Tape Guides. That negates physics. They looked dumbfounded. They told me they had never thought about that? Of course not. They only knew one thing. They never investigated anything else. God forbid? Why would they look at video recorders if they wanted to make an audio recorder? DUH. That's why! I did a few other things for MCI also. They wanted to offer me work. I declined their offer. I was working for a big National Advertising Agency. In charge of all the audio video production. Why would I want to fix tape recorders for a living? I like using them. And so at, 23 years of age. Maybe I was 24 by then? I told the owner of the multimillion dollar advertising agency. I could bring in the very costly musical shingles. We were getting out of New York City and Chicago. For about 1/10 th, the cost. With the utmost in quality. The owner of the company really liked me and wanted me badly. Offering me the position a year earlier which I had declined. But I was getting bored. Just recording voice over commercials with the best, Voiceover Guys and Gals, in the country.. They were well-paid. SAG/AFTRA folks. They were great. I love them all. I got to audition all of them. But instead of purchasing those jingles. I wanted to cut our own. In our little voiceover studio. Designed for,, 4 announcers. And I want to cut Jingles in, there. Yeah. And my stupid boss/owner of the firm. He's going to let me do it! Now I really didn't have many microphones. I think I had 8 or so. A couple of 87's. A couple of KM-86's. A pair of SM-81''s. A pair of Sennheiser 421's. And not much else. But the worst. Was yet to come. I had a brand-new 8 track 1 inch, MCI, JH-110 A's. And a 2 track quarter-inch. I had 1/2 broken AKG, BX-20 E. A support spring had busted. And I had an out of tempo knocking in one channel. Ugh! A pair of UREI,, Rev.-D's. And absolutely the Worst audio console, ever. A lot of people call them a, Baby Neve. It was a Yamaha, PM-1000. A lousy PA board. The boss gave me to use. But I said Leon. I need an API 1604. He said no use that. I said that's a total piece of crap. It's fine to record some announcers through. But I'm going to try and compete with those New York City produced jingles. From the best 24 track recorders in New York City. He said no. Use the Yamaha. You say you're good. PROVE IT. Oh God? He's going to be like that. This fucking millionaire! And I couldn't get the API 1604.

@@MarcoPrimeau ​ @MarcoPrimeau ​ @MarcoPrimeau ​ @MarcoPrimeau That's very interesting Marco. I've known quite a few people to, build up those microphone kits. And others who have charged a premium price. For instance. A buddy of mine. Got a brand-new, U-87. Customized by a gentleman. Well known for his microphone repairs and customizations. No longer with us due to cancer. But back then. My buddy Bruce paid a premium amount of money. For this, Tube enhanced and powered U-87. It was not cheap. More costly than a brand-new, U-87. Bruce was very pleased about this acquisition. He thought it sounded great. And he asked me to bring over, one of my Original, U-67's. So I brought both. For us both to have a fun afternoon comparing. With some musicians.. Bruce was taken aback. Because he couldn't take his, back. He nearly fell down onto the floor. When he heard the difference. Between my U-67's and his brand-new modified tube U-87. And he told me he was about ready to vomit. I must admit. I didn't think there would be this sizable difference? In the audio tonality. But it was radical. Hands down. The original U-67 sounded magnificent. And his brand-new U-87 with vacuum tube modification. Didn't sound as good as my other pair of U-87's. Which I also brought with me. Bruce was highly disappointed. And sold that microphone right off. It was not worthy. Even though it was a brand-new U-87. Converted over to vacuum tube.. It might also be interesting to note. My, 67's have the original, TELEFUNKEN, EF-86 Pentode's in them. But they had been getting kind of noisy and taking very long to, warm-up, quiet down and stabilize. So? Back in the early 1990s. Many of these companies were still in business. Making vacuum tubes a.k.a. valves. GE, Sylvania, RCA, Raytheon. But TELEFUNKEN, had already shut down. So? I decided to purchase, 4 brand-new pairs of, EF-86's. From, Sylvania, GE, Raytheon, RCA. As they were still in production.. And we would try out all of them. And pick out the best sounding pair for my, 67's. They were all EF-86's. And brand-new. I stuck in the RCA's. Always knowing those are a sure bet. And my 67's now sound, god-awful, unusable, what the hell? This was terrible sounded! Worse than the worn out TELEFUNKEN's. Something must be wrong with those RCA Pentode's. So? I stick in the pair of GE's. Oh my God? They sound even worse. What the hell? So I stick in the Raytheon's. They sound like total mud and awful. This is not working. So I figure the Sylvania's will sound good. As I even like the sound of the name. And Nope! They were miserable sounding. All of these brand-new tubes. All sounded so horrible. I put in the worn out, old, TELEFUNKEN, letter EF-86's again. And while they were definitely noisy. My God the sound was still glorious! Not like those other tube manufacturers at all. And then. I had a precious, SHURE, Vacuum Tube, Preamp. From the early 1960s. And it used a pair of, letter 12 AX 7's. Very common. Very plentiful. Very much still made today. Nice little dual triode's. And I took out the old TELEFUNKEN's. And popped in a brand-new pair of Chinese tubes. And while they worked. And could be considered, adequate. They were merely that. Barely, adequate. They did not exhibit the lush sound quality. Those damned TELEFUNKEN's had. Again. Now I also had, three, 4 x 1, tube, Microphone Mixers. 12 inputs worth. For left-center-right, stereophonic recording. They all sounded great. They all had TELEFUNKEN 12 AX 7's in them. And I realized. Whatever there was about those German-made TELEFUNKEN vacuum tubes? They made the most musical sounding vacuum tubes ever produced. Nothing else sounded like those TELEFUNKEN's, nothing.. It was soon after that. That I decided to basically give up on vacuum tube gear.. As if they are not going to make TELEFUNKEN tubes anymore. And they don't. I don't care what kind of military spec blah blah blah might be out there. It's bullshit. It's garbage. And there is no consistency with these vacuum tubes. None. Perhaps that was part of the attraction and aura? There was no consistency. Some sounded incredibly marvelous. While others sounded like Dog Shit. And they are the same vacuum tube part number. And Zero Consistency across different, vacuum tube manufacturers. Now one of the most famous microphones ever produced was the Neumann, U-47 & 48's. At those use this really bizarre looking little mushroom like, metal, vacuum tube. I think it was called the VF-14. And in the early 1970s, 50 years ago. They ceased manufacturing it. For one of the most popular microphones ever produced. Now I'm not sure why they discontinued making that vacuum tube? I can only imagine. The Germans were using materials. Of the highest quality standards. And not necessarily safe for humans to be exposed to. Such as, asbestos in the Micah of the internal workings and plates? And they didn't want to poison to death any more of their employees. As may be their oldest and best ones had all died off? Only in their 50s? And thought they better stop making those. And stick in some other Nuvistor or, Pentode? And we got the U-67's. Though with a different capsule. And when they came out with that U-47 FET.. Another huge disappointment. It sure did not sound like a U-47. But it had that U-47 capsule. The original. Now with a wonderful vacuum tube sounding, F ET, transistor output. And nope! It sure the hell no longer sounds like a tube microphone. Because it's not. It's got that nice crunchy,, silicon, FET transistor flavor. Just like everything else.. But at least with these transistors. Came a great deal of, consistency. A sound you could expect to get. A sound you can count on. From studio. To, studio. We had a great degree of consistency. In fact. In the early 1970s. I got exposed to… Now wait. Scully, studio tape recorders. I Artie knew about the Ampex ones. Scully was the competitor to Ampex. They made, disc cutting, Lathes. Well before Ampex ever existed. And after Bob Mullins came back from Europe with a Magnet-O- Phone. And Bing Crosby wanted a few. Ampex was the first out of the gate. And little did I know? I would later be trained by them. And then I would go to work for Scully. As Management. In 1979. As QC Manager on the floor.

If more than an object is selected, normalise will be done to the hotest signal, not independantly.

Hello, can you make a video on how to produce a techno track with it

This was done with Pro X8 not the suite. The same features are available in both since X1 ;)

I'm not a techno guy. I prefer real instruments. but check this video, it gives a few pointers for using VSTi and the midi editor : ua-cam.com/video/xNBe6jwgDQ8/v-deo.htmlsi=IjcDv3HzLzlc88ef

@@MarcoPrimeau many thanks for your answers Marco. 😊

Yes, the output of the preamp going to the input of the converter, that way you car drive the preamp hotter without peaking the converte ;)

It is well explained in the video. Once the silence parts are selected, you just hit delete and it will remove the selection without moving the audio

I'm a big advocate of doing it right while recording. I often record Di and then reamp with a physical amp. It gives the possibility of playing around with amp settings and mic choice and placement. Ampsims are getting great but they aren't always convincing compared to a true tube amp. But I understand if you mix song produced by someone else ;)

Oh my, I don't remember, it was royalty free music from the youtube creator music library... sorry

it is said about the Groove Tubes GT 55, that it has some harsh HF around 11khz. Many would change the capsule for a RK-47 equivalent. Even circuit replacements can be found. The TF-29 is a lot smoother in the high frequencies. Althought you would need to EQ it a bit more if you want to add presence, it takes EQs gracefully without being harsh..

Oh I see. Have you compared tf29 with tlm 103 or tlm 49? What's your thought? Should I buy this mic or tlm?​@MarcoPrimeau @@MarcoPrimeau

@@AnwaarAliOfficial Saddly, I do not own either the TLM 103 or 49. But as there built and reviews suggest, they will both have a bit more foward HF without being harsh. Where the TF29 shines is having a bit more low end and "air". If you aim for a first high-end mic, I suggest you go for any U-87 inspired design and sound. Their frequency response are more versatile for many voices. You could even build one yourself from a numerous kits available. I built the S-87 from micparts.com it is very impressive for the price !

I'm also looking at the Warm Audio WA 87 R2 mic. What's your advise? Thank you for the support, brother ❤️🙏​@MarcoPrimeau @MarcoPrimeau

@@AnwaarAliOfficial Yes the WA 87R2 is a good iteration of the classic U87 at a resonable price. I have the wa-47jr and find it usefull and very well built so warm audio seems like a good option !

No I don't personnaly do Karaoke. And if I did, there is far better built software to power karaoke than Samplitude. Samplitude is a recording, mixing and mastering software. It isn't built for live perromances unlees for recording them. No playlist/set list, poor lyrics display and management...

@@MarcoPrimeau Thanks for your replay.

You can't reverse the sound of a midi note. midi is a computer like language which sends only instructions to the instrument (keyb or VSTi) you should convert the midi note to audio then apply reverse audio

Hit Y go in View Options, Waveform colors, chose default color settings

D’un ordinateur sur Windows

Bonjour, tout dépend du type d'activité. Si vous faites que de l'enregistrement d'instrument réel, un ordinateur de moyenne performance fera l'affaire. Mais si vous travailler avec beaucoup d'instrument virtuelles et effets de simulation d'équipement, alors le processeur et la mémoire vive seront très sollicité. J'irais vers un ordinateur de table plutôt qu'un portable. Plus facile à améliorer et ajouter des périphériques. J'ai présentement un I9 9900, 32gb avec plusieurs SSD (OS, Projets, échantillons pour instrument virtuels) En séparant sur différent disques on s'assure une meilleur performance.

not being an expert on converters but it is as good if not better than those in my RME UFX. I do run my Manley force preamps through the 4-710 and it sounds great !

Thanks for the good words ! ;)

Is it a question or an affirmation ?

Great insights Donny !

it's like that by default if you load the power user workspace. other than this you can drag things around and place them where ever you want ;)

Just found it thank you

Althought Magix gave me some licences in exchange for doing some videos, I never was in their confidences. So other than knowing it's coming I don't have any details yet. Nor any clue if they will give me a licence again... I will post updates on the channel for any developpement ;)

Thank you Marco. I appreciate your efforts and all your talents you've brought to UA-cam. ☺️☺️☺️☺️

In part 1 ;)

Hi, usually when importing files to samplitude, it asks if you want to copy the files to the project's location. If it was on an external device and you didn't copy the files and you don't have the device anymore, there's nothing to be done. Other than that, if you still have the files somewhere, just give the path to samp when it asks.

If your interface has a realtime mixer, check the signals coming from Samplitude it might not redirected properly

@@MarcoPrimeau I had to select Stereo Master as the output in the monitoring section.

@@Jellybeantiger Stereo master is a software output redirected to the drivers of your interface. assuming you selected the correct drivers and selected the right inputs and outputs to be active. If you don't hear what is playing on the master, it should be because of how your interface is setup. What interface are you using ?

Things with distorted sound is it kills the dynamics and sometime the amp narrow the frequency response of the guitar/pickup. That's why listening with a clean sound is important. BTW what you hear was recorded with the Orange amp you see in the corner of the image ;)

@@MarcoPrimeauyh nobody cares about clean sounds though when looking into those pickups so get your head out of your ass

Thanks for the suggestion !

Select first track, old ctrl click on last one. Once selected, set the auxiliary sends at once.. ;)

@@MarcoPrimeau thanks for the tip god bless you 😊

It might work, but 16bit/48khz is a deal breaker for me... Headroom on 16bit is very poor, like in this video, with loud sources it might be ok.. but the noise floor would be bad if you record a faint instrument like finger style clasical guitar. Last time I recorded at 16bit was in 2002...