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-- Need help on recording..kinda skeptical on my renders.
Need help on recording..kinda skeptical on my renders.
First thing is first.. I would like to know why my timecode digital vinyl mixes sound better than my analog vinyl promo mixes. Get more feed back, likes, listens, downloads, love, you name on my time code mixes rather analog vinyl.
Am I doing some thing wrong, I'm really curious..
My Gr calibration is spot on, tone arm height, pressure gauge, anti skate, etc.. I even tried to fool the nyquist theorem with capturing at higher sample rates. My gain staging is also good, peaks no more than 12 and nothing lower than 18 while recording.
now lastly, but really, do I. need an archive needle or something?
Hmm yeah that's a weird one. You got any examples for us to listen to, it'd be far easier to say if there was a noticeable difference between the two. Also, I'm wondering whether there might be a way you're naming your mixes that would let people know it's vinyl only, as that could explain why there's a difference in positive feedback (likes/shares/views/whatevers), although it does not explain why people would not like vinylonly-sets.
Or I guess I added views onto the bunch on my own, how are views/plays vs regular mixes? if it's the same and it's just the love that's lacking, i dunno...
Do you record through your DVS software when you mix vinyl only, or do you do it "proper" and record in a separate software? I know at least Traktor has a pretty noticeable limiter, and alot of people who r blasted out on molly and don't know sh!t about music really really like the sound of someone just pumping that limiter with the reddest signals you can manage to produce, that might be a reason why less people like it, theyre missing the crappy overlimited then compressed sound.
Also, is your record collection up-to-date? That also might be a reason. Errybody and their grandma has an old chool vinyl only mix æ- congrats! you ain't special! 
But yeah, examples would help.
Of course proper, no way am I going to Traktor with real vinyl LOL 
Also, yeah, limiter (In Traktor), that's for the newbs.
What I want is color like old school ASOT recordings 01-100
ok this one is pure vinyl recording is very transparent imo, no color emphasis or live sounding at all, strictly neutral.
I used the elektro's on this one. 24 bit AIFF 192 kHz capturing on the apogee symphony and Volume automation Mastering with light limiting at the exported rendering.
Now this is recent time code mix, all digital from NI A6 into the DN78 Valve, somewhat dynamic with some warm color, not stale but lively feel. 16 bit 44. Khz
There is an electrical hum throughout your vinyl mix, have you grounded your turntables properly? What is your pathway from mixer into your soundcard? Are your cables on your stylus wired correctly and fit tightly?
The Hum is present at 0:00 and can be heard at quiet parts in the mix for example 21:21, 32:05, 44:12, 51:02, 55:33
| quote: |
| Originally posted by the-sixth There is an electrical hum throughout your vinyl mix, have you grounded your turntables properly? What is your pathway from mixer into your soundcard? Are your cables on your stylus wired correctly and fit tightly? The Hum is present at 0:00 and can be heard at quiet parts in the mix for example 21:21, 32:05, 44:12, 51:02, 55:33 |
Yoo Sixth, you were spot on about the noise issue check out these pics..
Mixer Both Channels Down..
Elektro Concorde Channel 1 Up..
Orotofon OM S-120 With Headshell and Leeds, Channel 1 Up..
Hopefully the tonearm itself isn't faulty and you can just replace the cart I would try your Elktro on both tonearms to be sure.
The other thing I would say is yesterdays music sounds flat anyway it's very hard to do anything with that it almost sounds too dubby and no clarity but the mix has some good tracks on there
I'm afraid that you're possibly correct..now that I'm using elektro Concorde's the noise floor has decreased but one turntable has more noise than the other both grounded or not grounded.
Now to check if it isn't the mixer's problem, I'm going to have to plugin the noise source (Turntable) to channel 1 and channel 2 all the way up, not at the same time tho and come back with pics.
Again thanks..
Good News, I'm happy with my mixes now, hear for your self. This was done on a. Gemini Vintage UMX - 9 Mixer. I used the Soft Limiter built into Apogee Symphony 2/6 Live so I record all bits. Captured at 192 Khz using Fab filter Pro Q and SPL Twin Tube Live with lowest latency possible on my iMac Pro 8 Core, then I limited again with more more of -2 Gain Reduction and -0.5 Threshold.
My Version of applying sauce.
Suck And see..
Now I wonder how it would sound on the Super Stereo DN78 Valve Analog.
I thought you had problems with the super stereo?
Like they fucked you on the deal and it's not working?
And what's a UMX 10? I don't think gemini every made a UMX 10. I think you mean UMX 9 or a PMX 10?
| quote: |
| Originally posted by DJ RANN I thought you had problems with the super stereo? Like they fucked you on the deal and it's not working? And what's a UMX 10? I don't think gemini every made a UMX 10. I think you mean UMX 9 or a PMX 10? |
I don't get it.
The Super Stereo is made by Formula Sound and I used to work with those guys.
Unless the company got taken over by someone else they were always straight up dependable guys. It's a family business. Have you reached out to them and explained it's never worked? Yes, it'll be a ballache to send it back to my homeland but that's a premium mixer and it should work.
Otherwise they should at least tell you how to fix it.
The company was originally owned by Duncan Morrison (Super Stereo Limited) who cheated out a lot customers on shady transactions. I paid for mods that I never got for example SPDIF inputs and never refunded. Now, Formula Sound bought the schematics for the SuperStereo DN78 and the newer versions are made by them.
Ah, I remembered something about the Super Stereo guy being scheister. He sipped a bunch of broken units and when people sent them in for repair, he just disappeared on them. I think a couple of people never got their money back.
I'd call FS in the UK and ask if they can help troubleshoot. The fader might be something as simple as a dry solder joint or wired incorrectly.
Yeah, one of my friends on facebook was badass enough to show up at Duncan's house and get his right channel fixed cuz its was noisey. I emailed formula sound got help on how to fix the cue button because before I wasn't able to hear the incoming channel when pressing it but now that I fixed it myself it works and after I never got an email back on the crossfader or cue buttons l.e.d light to fix.
& here's the recording I did last night with the Super Stereo DN78. Be kind on my transitions I didn't get to practice with the vinyl and my dogs started barking really loud on my first transition and I somewhat lost some confidence. I recorded as soon they came in the mail, so no really long ones like before.
| quote: |
| Originally posted by Zak McKracken not good enough usb cables for the timecode needles you need to isolate it from vibration putting your turntables in vacuum chambers |
| quote: |
| Originally posted by Zak McKracken not good enough usb cables for the timecode needles you need to isolate it from vibration putting your turntables in vacuum chambers |
Yoo Rann..May I have a moment of your expertise on this rendering.
Mastered
Unmastered
The plugins and tools used are listed below.
Slate Digital: Virtual Tape Machine, Revival, Trimmer, FG-S BRIT 4K EQ, FG-73 BRIT Pre Amp, FabFilter Pro-Q 2, A.O.M Invisible Limiter
I think I killed it with all those plugins, just got bored yesterday, wanted to try something new.
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