MSQ700 + JX3P weird behavior.

These are all good choices actually I believe. Making your own is a way too. A good one with current offerings sometimes. I really like the euro cables by Control. The "flesh" ones. They save a lot of space in critical patching points and it's less of a mess. Maybe I will introduce my CV cable design sooner or later if I get the operation and proper technician who can actually make them. I was out of luck though to make them completely in-house to this day. I am busy with other things. My design isn't the copy-pasted one but actually, one that has more features and vastly improves what's out there. I wasn't in rush to push a "product" just for the sake of sales. But I wanted to focus on quality and on giving the community the best possible tool in that regard. Busy with life and work. So maybe one day. One can hope. :).

Good point. Any recommendations? Or I should be fine with Warm and Roland?

I was thinking about Warm Audio SSL clone as well actually. They aren't making bad stuff. Cinemag is exceptional to my not-so-special ears. I have spent a lot of time figuring, learning, and trying things out. I even cracked most of the OPN sound. Like I did crack Boards of Canada sound in the past too. Not for the sake of copying them to any extent. But they have some good points in their processes that I truly adore to this day. Figured I won't be able to hear new OPN with that warmth and organic quality... I will go for my own version and push it even further. The new stuff is just way too digital for me. I will look into the PWM. I can confirm that VLA Opto is a great choice. Even using it as a mono and then running that mono into the other channel and setting a good balance between the two can give you great compression effects, solid movement on quite a lot of sources and the sound is awesome. Drawmer was used by BoC and they achieved very warm music that I am fond of. RNC/RNLA... I know. Might be better then than TransY comp. I want to make the most out of this.

I have some "low-quality" snippets and full-blown recordings live. I am still not feeling it as I was supplying for the lack of second pair units for stereo by using an outboard mixer and send/return, aux paths. Nothing exceptional just yet but the technique I am striving for is actually there. Also, the synthesizer patches are now done. I got some funny remarks on it as it's just a one stereo track and everyone thinks I have tracked pads, leads, etc... on top. The FX blend is just so complex and stacked on top of every stage that it creates these things on its own really... loads of processing and cool pieces like EQD. I have bought DM-2W yesterday too. To add to my ever-growing delay chain. It's a very solid unit. 800ms of time on that circuit is great and the repeats are quite well-defined. It doesn't get so muddy as Carbon Copy or Deluxe Memory Man.

For quarter inch balanced and unbalanced at +4 in and out of the console, patchbays and interfaces I've got procos mostly in discrete cables and db25 looms... unbalanced inserts are looms I got from a distributor in I think Georgia. No name company that services live sound install. Good neutrik jacks, super sturdy cable that's plenty hifi in and out of the desk when properly gain staged. Lots of slack if I move stuff around and low low noise even though my inserts are the unbalanced single jack type. I wish I remembered the name of the company but the looms aren't marked. They're probably made to order because there are a lot if length and configuration options available. Price really decided. I had 48 inserts to deal with and needed looms of 8 to 16 with enough length to reuse them if I move my mix room to a larger space and want to move my patchbays. I maybe went overkill on the distance as I expect the patchbays will only get closer if I make this move I'm considering... other gear will spread out but I'm really not sure why I thought I might want the patchbay further from mix position. I musta been drinking that day!

I was thinking about Warm Audio SSL clone as well actually. They aren't making bad stuff. Cinemag is exceptional to my not-so-special ears.

I'm sure your ears are fine!

I will look into the PWM. I can confirm that VLA Opto is a great choice. Even using it as a mono and then running that mono into the other channel and setting a good balance between the two can give you great compression effects, solid movement on quite a lot of sources and the sound is awesome. Drawmer was used by BoC and they achieved very warm music that I am fond of. RNC/RNLA... I know. Might be better then than TransY comp. I want to make the most out of this.

I just did a weedy pop lead vocal on a ballad in parallel with an RNC peak limiting after some spl de-essing and gentle dynamic eq in the box which then fed 2 sends 1 to the vla1 in auto attack and release 5:1 for max 6dB reduction, and plenty of makeup to get some saturation from the output tube... other send was a summit tla50 set pretty squashy and dirty medium attack slow release...

Update:

My uncle who I did the mix favor for actually posted it. Nice!

Listen to The Causal Attraction of Two by The Bearded Dwarves on #SoundCloud

https://on.soundcloud.com/yGqmm

Haha, Jim. Tell me. Got any US beers to recommend btw? I am kind of stuck between trusting BeerAdvocate and reviews. But before you taste it you never know. I get your point. I am trying to minimize travel in connection paths as much as I actually can. I think it doesn't matter if we make a couple of small mistakes on the way. It's a journey after all and a very enjoyable one to be quite honest.

It's a lovely track and the mix/processing breathes. That's my humble opinion. I actually like it and I don't listen to this genre much. Maybe I should delve! Much better than the crap they put out these days.

I have bought DM-2W yesterday too. To add to my ever-growing delay chain. It's a very solid unit. 800ms of time on that circuit is great and the repeats are quite well-defined. It doesn't get so muddy as Carbon Copy or Deluxe Memory Man.

I love the old dm2 and 3! Great to hear the waza one is up to snuff or better... I really dig the waza dimension pedal. I should use it more. Stereo to stereo is a luxury in that form factor and it really sounds lovely especially into a 1 meg load.

It's a lovely track and the mix/processing breathes. That's my humble opinion. I actually like it and I don't listen to this genre much. Maybe I should delve! Much better than the crap they put out these days.

Oh thank you! It's a hybrid mix from the artist's cubase project file. I flew in some outtake drums my friend performed years ago, replaced a labs cello with bbcso pro solo 1st cello close mic mono and then setup my typical brauerize 4 bus structure in the daw with external processing sending and returning on sabre ultra32 converters. My latency is so low it's nothing for cubase to compensate those 2 or 3 ms. I just mix into that for a little and tweak the compressors and eqs after calibration and that allows me to use a lot less insert and channel processing to sit everything in its 3d space... mostly corrective measures for recordings from difficult spaces and some dynamic and eq subtraction or coliration from vanilla DI gear that's too broadband to sit with microphones and fails to pop when it needs to... I do less and less at the channel level every mix and have gotten really holistic in approach.

I don't really worry about genre, music must be balanced to stereo fir the end listener and I like making that happen so I'll work on whatever I'm offered for a flat rate unless its seriously jacked up! I do everything from jazz and singer songwriters to industrial noise funk. Whatever.

Haha, Jim. Tell me. Got any US beers to recommend btw? I am kind of stuck between trusting BeerAdvocate and reviews. But before you taste it you never know. I get your point. I am trying to minimize travel in connection paths as much as I actually can. I think it doesn't matter if we make a couple of small mistakes on the way. It's a journey after all and a very enjoyable one to be quite honest.

Ohman! I'm from beer city, Philadelphia. Yards brews some spectacular beers here in town. My favorites are philly loyal lager and brawler pugilist ale! Their founding fathers series is great. They're brewed from original recipes created by American revolutionaries. George Washington porter, Jefferson ale etc.

Good point. Any recommendations? Or I should be fine with Warm and Roland?

My biggest recommendation is to get some passive DIs. There are a lot of rackmount 8 channel options. In pro studios I worked at we usually interfaces synths to the muc preamps this way. The 1meg load gets a brighter signal to the recorder and the transformer will add a subtle heft while providing a little natural high pass filtering in the inaudible sub frequencies versus a straight ic line input. The tamed level allows you to really gain stage a synth correctly and if you have some preamps with character and pleasant distortion you can get creative with texture. Synths are allover the map in output level and impedance. I do run some of my modern stuff into the line inputs of my interface but they're purpose built to be synth friendly. My vintage gear prefers a di box or a guitar input in th he interface. The di approach will benefit in line fx pedals too which even when in true line impedance range are really optimized to drive a high sensitivity 1meg guitar amp input. You also will get galvanic isolation and hum bucking from the transformer which block a lot if ground loops and cancels noise plus when the balanced line hits the differential mic input any cable noise us cancelled and you have a much stronger signal when than unbalanced due to the summing if the hot and cold conductors. If you're happy with your sound then it's right, but it never hurts to acquire some useful tools to try out! You'll use them. The passive di can also be run in reverse as a re-amp to turn recorded audio into instrument level signals for distortion pedals and guitar amps etc.

The art T8 or a similar isolation transformer box is a useful item too. This is a passive system like the above mentioned di but has no impedance conversion. It will provide balanced to unbalanced or vice versa as well as busting ground loops and cancelling noise... in addition the T8 allows the use of all ins and out at the same time so it's also a signal splitter much like a passive mic splitter but designed for a wider range if levels and source/load impedances. They're no name, zero mojo components but have really flat, broadband response and zero measurable distortion from what I can hear. A spectrograph confirms this though I've not compared their output on a sine wave to a straight up sine on my oscilloscope. I have 3 and plan to get 2 to 7 more... they're cheap used. If you plan to run any line level rack units after a pedal for example then the t8 is the ideal interface if you want each unit to perform as designed. Before a pedal I would use a reverse DI into my rack gear.

I think that spending on high end cables without addressing impedance and level interfacing between planet synth/stompbox and planet studio is perhaps backwards. Best to have great cabling with solid interfacing though. Of course ymmv as modern gear from both worlds is pretty tolerant now... I still tend to start by optimizing levels and impedance in the whole system using transformers that eradicate noise rather than start with fancy cables that have lower noise and higher bandwidth. If unbalanced a cable can never better its noise performance in your space unless shortened, balanced and terminated to a differential input. And superior capacitance and resistance specs are situational because cables are affected by the source and load. Those specs are nominal, the cable us part if a complex system.

Hey Jim. Combo reply. Thank you for the insights it's valued! The Waza Craft Boss line is absolutely amazing. The stereo ones are a great form factor too. I haven't had the luxury to work with the original circuit but feedback regarding the new ones and shootouts sounds very close to my ears. If not better at the new custom settings. These are also made exclusively in Japan so I can imagine the quality is high... well I like what I have seen/touched so far. They are of better build IMO than the ones that were outsourced. Props to Boss for making these again. I gather they have enough components to make it real. Shame EHX ran out of their resources and isn't able to get back the originals in a new batch but they can still be bought online and I did get some of them. I like the new DMM quite much though. I will look into these breweries and maybe order some, why not. What I have recently liked when it comes to craft brews -> Brewdog Punk IPA (a very tropical tasting, smooth, and balanced brew with good output quality to it) and my all-time favorite Nelson Sauvin-based brews. I even tried brut IPA brews (which are so nice and if done right lower in sugar content) and "double voltage" brews... 28° and up. Some even started making combo IPA brews from real grapes that are meant for wine production and that was a refreshing experience too. Or fruit-infused brews. I have tasted a lot of macro US beers as well too. The obvious mass-produced favorites and it wasn't bad either. On a warm day... even in the studio, it makes it a smoother session. It's 90% water and 10% alcohol after all. I can understand why you would buy them in quantities. Some of the light ones for sure. It's sometimes hard to get them around here so when I see there is something available I just buy out the whole stock. There is huge competition in beer markets here and the typical consumer seems to be ignorant of these beers unless they would go on a massive discount.

The passive DI thing is on my list and long overdue. What do you think would be the best bet in Europe for one rackmount with enough I/O? With quality. Perhaps https://www.long-mcquade.com/46279/Pro_Audio_Recording/Mic_Preamps_DI_Boxes/ART_Pro_Audio/ART_4-Channel_Rack_Mount_Direct_Box.htm?

The way I do it currently is that I run my synths through L/R mono unbalanced outputs (I assume JX, AX and Juno are unbalanced) into the inputs on Elektron gear which has unbalanced dual mono/stereo inputs and balanced outputs. The clarity is great. But I have the signal chain backward kinda. I might start with something like AX-60, Juno-6/60, or something else and take the 2 mono outputs and run these through two separate pedal chains. I lower the master output of the synth considerably always. That then goes into https://feedback-modules.myshopify.com/collections/modules/products/j-conv in certain scenarios. In other scenarios I can do something like 2x mono output into Elektron input, balanced output (TRS Warm Audio premier) to Vermona TAI-4 balanced inputs, then start processing with whatever in euro... I use the https://www.modulargrid.net/e/worng-electronics-lrmsmslr-black-and-gold-panel for most of the stereo processing and I will be getting the MidSide+ soon. Although I also do direct insert processing in euro too. Basically combo of both send/return and inserts works best. Although I can also just mix and match my module path and get a fully stereo path too. Vertex Stereo VCA from him is also on the way. 3320 VCAs. I do my magic in euro and that goes as an output in Mutant Hot Glue then to the 2x 3,5mm into balanced XLR out via Vermona TAI-4 into Art Pro VLA2 and then into a mixer where I do some send/return or aux further... from there it goes into my A/D unit. Now the Pro Channel 2 (I will be getting a second unit as it's amazing for the price, sound, features, and quality) has a balanced input jack optimized for line-level signals on the back. Also, send/return path before comp and EQ. You have a variable impedance knob that you can experiment with but I haven't found the best ohmage to work with on my synth sources as of late. How would you go with my chain for the absolute best possible results when recording?

I think I could do something like synth into 2x Pro Channel 2 preamp, some comp/eq, and driving on that unit... that could go into Stam Pultec stereo EQ into ART passive DI, into pedal processing, into eurorack, out to 2x 1176 and then into 2x Klark Teknik EQP then into Art Pro VLA2 before it hits A/D. Some units like extra compression or maybe an enhancer might be somewhere in between. In euro I have a lot of preamps, VCAs (of specific build that I use to add color), analog filters with huge headroom and internal gain staging, mixers, etc... etc... just not enough space to work with all of it at once... that will surely change soon. I was thinking also about using Octa mk2 purely as a mixer as that has completely balanced I/O.

I also had some GAS yesterday... so Strymon Starlab, Carbon Copy Deluxe, Zoom MS-70CDR, Strymon AA1 Level Shifter, and a second WA76 will be joining me shortly. It would be a shame to not have WA76 in a stereo pair and they even agreed to hook me up with a brand new one as a replacement for my first piece because it wasn't working as expected sadly. They sold me B-stock for a price of an A-stock. They are a funny bunch.

I got IPAed out when I lived in DC at the height of the American microbrew IPA boom but yards brews number of pale ales from mild to hoppy... I drank a lot of good ones at the time but I've lost my taste for them. Mu favorite used to be dogfish head 60 minute, but occassionally the 90 minute was good like at a session or a band rehearsal where I wasn't looking to drink more than 1.

Oh! Check out smuttynose brewery. Everything they brew is gold!

Are you a scotch or bourbon guy?

The passive DI thing is on my list and long overdue. What do you think would be the best bet in Europe for one rackmount with enough I/O? With quality. Perhaps https://www.long-mcquade.com/46279/Pro_Audio_Recording/Mic_Preamps_DI_Boxes/ART_Pro_Audio/ART_4-Channel_Rack_Mount_Direct_Box.htm?

That's a solid option. Art uses good components for a reasonable price. If you want name brand transformers (not essential) look at a secondhand radial with jensens. I've heard they stopped using jensen transformers a few years ago but they made a lot of jensen equipped units for over a decade.

How would you go with my chain for the absolute best possible results when recording?

I need to process all of that, maybe doodle up a block diagram but first I would read the spec sheet for every pedal, compressor, channel strip, synth and eurorack module etc. and get the in and out impedances logged on 1 page (notepad app file etc). Older studio designs will sometimes list the impedances on the back with the connections. Of course really old designs that go back to the era ofmatched I mlm pedance will use the bell telephone standard of 600 ohms in and out. Your art pro channel probably has a 600 ohm mic input setting too though the more common 1200 should've an option. These are very low impedances.

I think I could do something like synth into 2x Pro Channel 2 preamp, some comp/eq, and driving on that unit... that could go into Stam Pultec stereo EQ into ART passive DI, into pedal processing, into eurorack, out to 2x 1176 and then into 2x Klark Teknik EQP then into Art Pro VLA2 before it hits A/D. Some units like extra compression or maybe an enhancer might be somewhere in between. In euro I have a lot of preamps, VCAs (of specific build that I use to add color), analog filters with huge headroom and internal gain staging, mixers, etc... etc... just not enough space to work with all of it at once... that will surely change soon. I was thinking also about using Octa mk2 purely as a mixer as that has completely balanced I/O.

Balanced isn't essential but it helps with long lines or lots of tangled lines, particularly if you live near a phone tower.

I also had some GAS yesterday... so Strymon Starlab, Carbon Copy Deluxe, Zoom MS-70CDR, Strymon AA1 Level Shifter, and a second WA76 will be joining me shortly. It would be a shame to not have WA76 in a stereo pair and they even agreed to hook me up with a brand new one as a replacement for my first piece because it wasn't working as expected sadly.

My wa76 has been a bit wonky lately and I haven't been using it because I have other 1176es... I should email them!

Got links to you and your setup in action? The recent stuff like the 30 minute arp improv?

I don't know if any of my clients have posted my mixes yet or where to look... I'll have to ask. I am totally putting off bouncing stems for a rock band who can't afford me now that drums are done... I should actually do that soon. Ugh.

A little review that is long overdue done with the makeshift signal chain -> https://soundcloud.com/mnchrme/hexdevices-teko-echo-with-ax-60-demo.

The passive DI thing is on my list and long overdue. What do you think would be the best bet in Europe for one rackmount with enough I/O? With quality. Perhaps https://www.long-mcquade.com/46279/Pro_Audio_Recording/Mic_Preamps_DI_Boxes/ART_Pro_Audio/ART_4-Channel_Rack_Mount_Direct_Box.htm?

That's a solid option. Art uses good components for a reasonable price. If you want name brand transformers (not essential) look at a secondhand radial with jensens. I've heard they stopped using jensen transformers a few years ago but they made a lot of jensen equipped units for over a decade.

How would you go with my chain for the absolute best possible results when recording?

I need to process all of that, maybe doodle up a block diagram but first I would read the spec sheet for every pedal, compressor, channel strip, synth and eurorack module etc. and get the in and out impedances logged on 1 page (notepad app file etc). Older studio designs will sometimes list the impedances on the back with the connections. Of course really old designs that go back to the era ofmatched I mlm pedance will use the bell telephone standard of 600 ohms in and out. Your art pro channel probably has a 600 ohm mic input setting too though the more common 1200 should've an option. These are very low impedances.

I think I could do something like synth into 2x Pro Channel 2 preamp, some comp/eq, and driving on that unit... that could go into Stam Pultec stereo EQ into ART passive DI, into pedal processing, into eurorack, out to 2x 1176 and then into 2x Klark Teknik EQP then into Art Pro VLA2 before it hits A/D. Some units like extra compression or maybe an enhancer might be somewhere in between. In euro I have a lot of preamps, VCAs (of specific build that I use to add color), analog filters with huge headroom and internal gain staging, mixers, etc... etc... just not enough space to work with all of it at once... that will surely change soon. I was thinking also about using Octa mk2 purely as a mixer as that has completely balanced I/O.

Balanced isn't essential but it helps with long lines or lots of tangled lines, particularly if you live near a phone tower.

I also had some GAS yesterday... so Strymon Starlab, Carbon Copy Deluxe, Zoom MS-70CDR, Strymon AA1 Level Shifter, and a second WA76 will be joining me shortly. It would be a shame to not have WA76 in a stereo pair and they even agreed to hook me up with a brand new one as a replacement for my first piece because it wasn't working as expected sadly.

My wa76 has been a bit wonky lately and I haven't been using it because I have other 1176es... I should email them!

Do contact them. Bryce is one of the most useful and friendly CEO guys out there truly. I have 2 Tone Beasts on the way as well. That guy knows what he is doing.

I sent out an email describing my issue which might just be a bad meter... i can hear it at higher ratios but in GR mode the meter isn't doing much when I can clearly hear 6 or more dB reduction... it makes it hard to dial in for really specific tasks like fast attack peak limiting or shaping a snare from a nuanced (read: inconsistent) drummer. Without a gain reduction meter I have no idea if its calibrated right though. It's not reading a 1k tone at 0dB where I would expect. Maybe if I send it back it'll be less hassle than opening it up. If I have to fix it myself it'll wind up stacked with my old gates units and estate sale Valley 610. Been 'getting around to it's with those units for years lol!

How many inputs are you using? Any aux sends/returns for fx or is it all built into the sound?

Hey Jim. I have been a little bit busy so I am sorry for the late reply. I used to be both a bourbon and whisky guy. I like spirits, haha. The homemade ones like moonshine or plum 90%+ ones are quite nice. I still have a 50 yo and a couple of others in my cellar but I won't be touching them anytime soon for sure. I really liked some of the offerings from states over the years and then classic single malt, Islay, etc... whiskeys. I am eyeing the Japanese market a little bit though... Some of the more known, mass-produced brands aren't bad either... I had some of the more expensive ones too but I drank heavily so the switch to herbs and beer combo was most welcome. They busted my guy so I am on the dry end here lately which sucks. It's a funny detox. I am using just 2 inputs on my A/D. It's 1 track with multiple stages of send/return, aux on the mixer, and insert processing with pedals, euro, outboard, ITB, etc... You can hear a little bit of rumble and noise in the beginning before the gain wins over the noise ratio. It's quite dirty for sure but an overall improvement from what I had been getting out of it in the past so a good step ahead. I will be sending all my synths for a full service/recap to a good venue soon. Also, I really need the JX3P mods done to open it up. MSQ-700 will go with them. :-).

Hope you were doing well!

I can't really discuss herb as it's not a good fit for me. I've just never enjoyed it like most people do. Once in a blue indulgent but it needs to be in a really controlled way. If I get the giggles I'll likely get vertigo and feel bad in no time. No idea why it has always gone south for me but I swore it off 20 years ago and seldom look back. Before you ask I was always offered 'good shit's so it's just my body chemistry. I stay away from all elicit drugs these days. At my age the thrill is gone and it would be a bad example to my son.

Have you considered designing a patchbay? It's the single most helpful thing you can do for yourself. You don't need 100s of points like I have. My patchbay system has all the iso transformers and impedance matching hiding in the back hardwired to the gear I know to be finicky so everything I use regularly is plug n play. A lot of the stereo gear for bus work I keep calibrated specific ways with tones so I have a starting point for every mix that forces me to gain stage properly from square one so every rule I break is conscious. When I zero at the end if a mix I'll recalibrate the stereo gear with 100, 1k and 10k tones to get a clean slate...

I'm pretty good, can'tcomplain even though the workload to payment ratio has been abysmal lately! Took too many buddy projects this year... hitting up a trash godz noise music jam tonight, trying to choose a wild card synth. Lately I plsy my prophet and usually an odyssey but I might sh as ke things up and use something modern tonight... the mopho is top of the list but my argon8 is tempt9ng me. I have nm o idea what things will sound like. If its m ou re rhythmic the punch sound of the mopho cuts the mix but the argon is amazing at making soundscapes... guys like us have high class problems !