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Werner Althaus

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Everything posted by Werner Althaus

  1. I second that, using the 40 and 50's lo-cut ( -3dB point around 150 Hz if I read the graph correctly) in addition to the 80 Hz HPF on the mixer really hurts the 40 and 50 in this comparison, otherwise I believe the 40 would have fared better than all the other ones. The 416 sounds decent, the 435 sounds thin but useable. A Schoeps MK 4 or MK 41 would have slain them all as far as off-axis response is concerned.
  2. Location sound, A1, A2, post, etc. https://employment.unl.edu/postings/66882
  3. I liked the tiny desk series when they'd only use one single 418.
  4. sarcasm? I have to ask being from Germany too.
  5. IIRC NPR tiny desk uses MKH 418 stereo MS shotgun mics ( 416 mid with some evolution series figure 8 for the side in one housing) but you'll see all kinds of mics in there , like the Coles ribbon 4038 on the horns.
  6. In the words of my friends at our HR department:" You can call yourself whatever you want" Are we still talking about microphones?
  7. Please let us know if this does what you'd like it to do. Good luck.
  8. I am listening to one as I type, seems to have those qualities you seek, edgy and big low end. I have 2 of them, one sounds like it needs help, kinda wonky, hollow mids, the other one seems better. These are T powered mics though so you'd need a mixer that can provide T-power or get a P2T converter. These are not made anymore and not readily available on the used market. Back in the day they were held in high regards for their low self noise and ruggedness, good choice for what you're trying to do although most location sound pros have moved on to MKH 40s and Schoeps.
  9. Doesn't that already exists? It's called a MKH 435 , same RF circuitry and capsule, just different plumbing, yes?
  10. The MKH 60 with the Hi-boost engaged can come pretty close IMO and you can disable that rear bass lobe with the low cut but truth be told, nothing sounds like a 416, that's why it's still in use, mostly for VO work and sports broadcasting. Big, meaty ball impact for basketball, Volleyball, etc. = 416, nothing else will do.
  11. When I think of "fixing it in post" I think of a lot of things that are done to overcome problems created in the field however, EQ'ing a properly recorded track to suit your tonal preferences is not one of them, that's called "mixing". The response issues that the 416 has in your application can't be overcome by modifying the "plumbing" of the mic whereas the character differences of the 416 vs a Schoeps MK 41, as they relate to dialog, can be overcome with EQ .
  12. Thanks for the info. I managed to arrange a demo prior to the purchase.
  13. I need to buy a set of dpa headworn mics for upcoming projects and time is of the essence. One of our vendors tells me that the 4188 is sold out and unlikely to become available until next year but the 4288 is available now. I'm told that the 4288 is identical to the 4188 except in form factor. The specs look identical but in the past I've auditioned dpa lavs with very similar specs to find that they do not sound identical, not even close. Does anyone here have knowledge as to how the two models compare in real life? I have used the 4188s before and like them.
  14. I have to ask: Is this in the style of surf music? Note: Nothing Fender on that stage.
  15. That's indeed a beautiful rig. White tolex always gets my attention going back to seeing some guy rockin' a MusicMan combo in white. I wish I had pictures of all the cool rigs I've seen with all kinds of color variations that don't show up in any books. A good friend of mine used to have a white Tolex 5F6A Bassman four 10" combo and a brown Tolex Bassman head with a matching brown single 12" cab with tone-ring. Both were definitely stock. never seen another one like it. But I do have to ask: Where do you perform and how loud can you play your amps? I used to gig with my old Bassman on 6 ( halfway up) and my Concert around 5 and it was loud, very loud but very pleasant sounding. These days I play that 18 watter barely on 0.5 and my bandmates in their 20s and 30s are already complaining, leave alone the FOH sound guys., different times I guess. It's that stupid idea that the PA guy needs control, blahblah, I much prefer a proper backline with bigger amps that don't need to be miced. The result sounds much better if the band knows how to balance themselves. leave the PA for Vocals. That is a great question, care to elaborate on how mics play a role in achieving the "Surf sound"? Live? Studio?
  16. Hihihi What would they have used? a setup similar to this one from the PBS show "American Epic"? https://www.latimes.com/entertainment/music/la-et-ms-american-epic-recording-machine-nicholas-bergh-20170721-story.html
  17. The cleans are Tele through a Fender Concert and 6G15 Reverb, dirty is Les Paul jr through a RealTube dirt pedal and the WEM Dominator. This was recorded a long time ago and I didn't own a bass then so I tuned the strings of my ES-5 Hollowbody down a full octave and played the bass lines. The strings were hanging off the fretboard like overcooked spaghetti and intonating the notes was very difficult but I like the results. Everything sounds trashy, definitely not a pro recording, haha.
  18. Interesting. In that video those sound really close but in my experience that doesn't tell the whole story. Reminds me of the Strymon Flint reverb/ trem pedal, in videos it really seems to nail that tone but in real life when compared directly with the real thing it sounds small and cheap.
  19. Colin Cripps? That's a whole different category of tone, definitely not clean but very chimey with beautiful overtone bloom, typical EL-84 tone, just better than the rest IMHO. I brought up Colin in the context of the relatively recent surge of popularity of the Filmosound projector/ amp conversions. There's a whole bunch of builders doing designs inspired by those conversions, there's even a pedal that supposedly sounds like a Filmosound 385. For Colin's sound samples there's the Tex amp webpage, I'll link to my favorites. The SG and tele samples are wonderful while the Les Paul clips are muddy and boring to my ears. In a way that's a good thing in that the amp doesn't alter the true sound of the guitar too much, great guitars sound great through it, mediocre guitars sound mediocre through it. https://soundcloud.com/tex-amps/sets/texamps I like all kinds of tones, for cleans the bigger brown-face Fenders are definitely it but they do make great platform amps for pedals or other type of preamps as well, they can get very brutal sounding with the right preamp.
  20. via the internet of course. I wish I knew guys like that personally, so much to learn from guys who really have their own sound. I knew of him through his work with Kathleen Edwards. I was fortunate enough to learn about guitar amps, tone, etc from a deceased german guitar player who played his "Peter Gunn" style Blackguard Tele ( Bigsby and PAF style PU in neck position) and his '58 Flying Vee through a Dynacord S62 tape echo into a white Fender Bandmaster head with two 2x12" cabs. Once you hear that kinda sound in person at close range during practice there's no way that you'll ever go the modeler route. But for pro players who travel a lot, sure, absolutely a viable option. But hobbyists like myself don't have to worry about such things.
  21. I'm digging the Sansamp a lot, just not for guitar. I use it in post mixing, anytime I need a recent recording to sound old I use Sansamp and/ or AudioEase Speakerphone. For guitar amplification I wouldn't touch modelers or plug ins with a 10-foot pole. main reason is that they feel sterile to me and latency, even small amounts of it are a deal breaker. I've tried a few and didn't get anything useable out of them despite or because of the convenience and ease of use. then there's the fact that if I'm not driving a guitar speaker cabinet and a monitor instead it all feels and acts wrong. I could use guitar cabs with modelers but why bother, I already have a box that has all that built in, it's called a tube guitar combo amplifier, lol. Even the current loadboxes with IR seem ill-conceived to me because they tend to make every recorded track sound the same. I demoed the UA Oxbox ( I think that's what it's called) and it sounded so formulaic and boring. The Filmosound thing is cool, I blame Blake Mills for making them popular but I first learned about them from Colin Cripps, a Canadian player who worked with Brian Adams, Blue Rodeo and Kathleen Edwards. He has fantastic tones.
  22. I like the Sansamp plug in for ProTools, I use it everyday in audio post production. So there, this thread should now be relevant to this forum, check!😃😃😃 When I moved to the states with nothing but 2 suitcases in 1990 I really wanted a white piggyback bassman with presence control so I went to this great store in Dekalb, IL (called "Ax in hand") and they had six !!! sets of them. I proceeded to try them and they all either sounded terrible or broke down with smoke coming out of them. After the 3rd of 4th amp I was beginning to feel a bit uneasy but the guy in the store (not the owner, I'm sure) just told me to keep going, that way he can identify the amps that need fixing. After being somewhat disappointed with those particular specimen I turned my attention to my 2nd option, a brown Fender Concert with four 10" speakers. they had five !!! of those. I picked the best one, an early '60 model 5G12 (making it a late 50's circuit) with Alnico Jensen P10Qs. To me that is THE clean tone, all midrange, thick and beefy, especially when running 7591As for tubes. For Dirt I love my '59 tweed bassman , those are usually not too dirty until pushed hard but mine is equipped with a solid state rectifier and a 12AX7 in V1 instead of the lower gain 12 AY7. Those amps don't need reverb or anything for that matter, a guitar, a cable and that amp, that's it. For EL-84 tones I love my 18 watt '74 WEM Dominator MK III, that was my first "real" amp when I was a kid, before that I used my dads UHER Report Reel-to-reel field recorder. It's a poor mans' AC-15 of sorts, not very widely known in the US although anybody over 50 has probably seen that ugly red logo in old concert footage from Europe. As far as new amps go my favorite is the Teixeira Bernie amp, a modern take on the old Filmosound 385 filmprojector I've never seen one in person but the sound samples on their website are out of this world.
  23. Hi, Izen Yes, I am familiar with the rerouting trick, I have no use for it since I don't own BF/ SF Fenders. I had a '65 deluxe reverb once, wasn't all it's cracked up to be, at least not for me, I traded it for a washing machine and I believe I came out of that ok as long as I ignore the fact that the washer is long gone and old BFDRs sell for stupid money now. I haven't tried the mid 70s tanks, sounds like a very different animal. And yes, that Spotnicks stuff is great, the sound of my misspent youth.
  24. I don't think Twin Reverbs are more surfy at all. They have that scooped midrange that all Blackface/ Silverface Fenders have and the Reverb can't "drip" nearly as good as the three-knob 6G15 Reverb Unit. It needs to be a brownface style higher powered Fender to get "that" sound. That '62 Twin amp the OP is mentioning would be very surfy if paired with the 6G15. Our school also had two 70's Fender twin Reverbs ( the 135 watt model) with JBL speakers, those amps sounded good with midrangey Humbuckers but painfully piercing with single coils and nobody is playing surf music on a 335 or les paul AFAIK. the "old" bassman was a tweed then? Awesome amps, I'm lucky enough to own one, but not the sound of surf music IMO. EL 84 amps were used by those Euro surf bands I was mentioning earlier, Shadows, etc. BTW, does anyone know what amps the ventures used on their Japan Tour? This pic shows some odd contraptions for amps.
  25. Yeah, I linked to that video myself in my earlier post. The footage appears to be staged ( one microphone downstage) but the audio might be live with enhancements. I think drums are overdubbed, they sound too good to be true, especially when compared to the very limited bandwidth of the audience cheering at the beginning which then crossfades very quickly to full fidelity ( canned????) Cheers. At 3:07 one guy's lone shadow crosses from right to left .Weird stuff.
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