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Thursday, May 10, 2018

Klark Teknik EQP-KT and 1176-KT: A quick look, review coming soon

Playing around with the Klark Teknik 1176-KT and the EQP-KT today... Some thoughts...

Obviously, the 1176-KT is an 1176 clone and the EQP-KT is a Pultec clone. 

I am fortunate enough to have a Great River MP-2NV microphone preamplifier to feed the Klark Teknik compressor and EQ.

More later. But, short review: They work as advertised. I have always loved the sound of an 1176 or a Pultec. I will leave it for others to talk about whether the Klark Teknik clones merit comparisons to the originals from UREI and Pultec. However, each of the Klark Teknik clones sound good (better than plugin versions, for sure).

From the top down, Klark Teknik EQP-KT, 1176-KT and Great River MP-2NV.

Saturday, December 25, 2010

The man behind the ribbon mic

Check out this profile of longtime ribbon mic technician Clarence Kane in Radio World.


Saturday, December 11, 2010

Funky and Uncommon Recording Gear: JBL 8330 Cinema Speakers

Why own a pair of these? For the fun of it. Sometimes, music is supposed to be something enjoyable. Get a pair of these as an alternate pair of speakers. Give your ears a break. Put a movie theater or club vibe in your mix room as an alternate check on a mix. These come to market used all the time due to movie theater upgrades. It is not uncommon to find these for $100 to $200 each.

--Steven Langer

Tuesday, December 7, 2010

Funky and Uncommon Recording Gear: Ashly SC-50 Compressor

Bear's Gone Fission wrote:

Ashly SC-50 compressor - The general view on this model is that the blue pannel versions are the best as they use a discrete component VCA instead of the later dbx VCA, but my black pannel has the discrete VCA. Remove the foam inside the cases, as if it hasn't started yet, it will start falling to bits and sticking all over the circuit boards. Socketed opamp construction is the norm, generally older types, so there might be some value in trying upgrades, but I think it rocks stock. Not the quietest thing, but it sounds excellently distressed on guitars.

Fletcher said:

It happens to be one of the finest compressors known to man for lead guitar/loud guitar solo shit.

Monday, December 6, 2010

Funky and Uncommon Recording Gear: Omni Dynamic Microphones

I'm going general on this, because there are many specific mics that will fall in here and fit the general description. Some omni dynamics (OD) of note--the EV 635a/PL-5, EV RE-50, Beyer M-101, Sennheiser MD-21, and the Shure-built Realistic 1070. A couple of those are still in production or reissued, and there are other offerings by Shure and Audio-Technica that I know of.

Advantages? A couple are obvious. Most will take SPL as well as any other dynamic mic. And of course they have an omni pickup pattern, although there can still be somewhat of a directional tendency at higher frequencies.

A couple of things aren't so obvious. Some of this becomes clearer when drawn into relief with a typical cardioid dynamic (CD) mic. Most CD's will have a presence boost up top as well as the proximity-boost effect--close micing a guitar speaker is pretty effective at getting a simulated Fletcher-Munson effect when doing control-room volume, keeping some of the loud-amp-in-the-room character. An OD doesn't play this game, so it's nice for contrast--lets say you don't want a mid scoop, but want a more midrangey sound for slide guitar. Most OD's have a pretty flat frequency response within their ranges, so you can often get very flat and accurate mids. Also, if the response goes deep enough, bass on an pressure-gradient omni (dynamics and most small-diaphragm condensor omnis) is generally flatter and truer than on a directional mic. Limited band-width with pure mids can be nice for sounding old-timey or intentionally lo- or mid-fi--the 635a can be great for carving out a niche for a sound in a mix.

The other element is that OD's have the omni pattern advantage with less sensitivity than an omni condensor--less reach, less truck-rumbling-by-two-blocks-away, less computer fan, and so forth. That and their SPL handling generally makes them work quite well for difficult percussion like triangles, tambourines, and so forth--if your omni condensor fails the "car-keys test" your OD might save your butt on that type of application.

Definitely a good way to diversify the tool kit--compared to another flavor of the same-old, you can use them differently and do more things when tracking.

--Bear's Gone Fission