Just finished wiring up the new 4×12 for the current album in the works. I’m going for a more “Live” heavy performance record this time around. Analog Synths, Bass, & whatever else I feel necessary via amps/speaker cabs in real-time; Something to push my drum performance hard. I’m wanting the transition from studio to stage to be one and the same. Next on the list is the Moog through a 4×10.
I received a RK-47 capsule from microphone-parts.com & decided to upgrade a beat-up ole NT2 that has collected dust. Great sounding capsule. I ran a quick comparison vs my Red R8. I set them up on equal sides of fender deluxe cone & noodled down some keys.
The Mandala drum trigger is the most advanced on the market. The current lineup is a USB/software based sample brain combination. As a standalone tool it’s great, but from day one I’ve wanted it to interact with the hardware world. Continue reading →
Finished this guy up tonight (TB550A). Not the easiest of builds, as mentioned patience is key. I made a couple careless mistakes along the way, but all are resolved. TIP – Triple check alignment/orientations at all stages. For the time being I’ve loaded it up with a pair of 990’s & a CMOQ-2S. I might swap out the 990’s at some point, but I have to say it’s performing very well as is. Great EQ kit.
I recently scored this wonderful, but horribly pink toy piano. I found this to be a perfect opportunity to experiment with a few mic techniques. That, and I can never turn down the opportunity for over-the-top ridiculousness.
Got my hands on a pair of JCF LEVRs. I wanted to see how they compare to my usual “go to” API 312 for makeup gain after the folcrom. After a week of pulling my hair out trying to get the LEVRs to play nice with my setup, (more on that later) they do have a nice presence that sets them apart.
For many when confronted with the terms dBFS, dBu, +4/-10, VU, etc their eyes gloss over. Without understanding a few simple concepts, integrating your DAW with external hardware can be a game of trial & frustration.
To properly drive & take full advantage of hardware in the analog realm, you need to 1st understand what signal level the device is designed to receive. This is when dBu comes into play.
dBu – (dB in reference to 1 mW at 600 ohms, equal to 0.775 V) All you really need to know is this is a measurement standard for audio signals.
Most professional audio gear is made/calibrated to function in a +4 dBu = 0VU environment. This means when a +4 dBu signal hits the hardware input, it will read 0 VU on the hardware’s VU meter.
VU – Unit of measurement originally developed in 1939 by the combined effort of Bell Labs and broadcasters CBS and NBC for measuring and standardizing the levels of telephone lines.
The question that often comes up is “How do my DAW levels relate to my hardware?”