Dubstep
jambo
slip inside my schlafsack
Perhaps a nice tube pre-amp?
Otherwise these kind of tape-saturation emulators will warm things up. Not cheap though.
Empirical Labs EL7 Fatso
Cranesong HEDD
Neve Portico 5042
Anamod ATS-1
Otherwise these kind of tape-saturation emulators will warm things up. Not cheap though.
Empirical Labs EL7 Fatso
Cranesong HEDD
Neve Portico 5042
Anamod ATS-1
nomos
Administrator
I spent YEARS waiting for a used one to pop up after being too broke when it was out. Such a monster it's ridiculous.
viktorvaughn
Well-known member
Huge! On Slimzos as i recall? Love that period of music. The bit on Alias' Gladiator with the vocal sample ramping up the pressure before the drop of the dark rusty metallic beat is up there too with the Pulse X gong-noise.
Grievous Angel
Beast of Burden
Sadly I don't have the slimzee cd... 
Good to see the dubstep thread slowly morphing into the grime thread, creating new hybrids...
As I recall the issue is that Plastic People has an extremely good vinyl front end, but only a so-so CD / line in front end...
Good to see the dubstep thread slowly morphing into the grime thread, creating new hybrids...
As I recall the issue is that Plastic People has an extremely good vinyl front end, but only a so-so CD / line in front end...
Grievous Angel
Beast of Burden
benjybars
village elder.
yeah think i'm gonna go this for at least some part of the night... then u can come with me to a shit party at my mates house.
Algierstwin
Well-known member
do you podcast?!
Now then…
Member
It's geeky, but how about using convolution software such as Nebula 3?
http://en.wikipedia.org/wiki/Convolution_reverb
http://www.soundonsound.com/sos/feb08/articles/nebula3.htm
Convolution (in audio terms) is a way of simulating physical spaces (Notre-Dame Cathedral, jams jars etc.) by recording their 'response' (how things sound in them) and applying this 'blueprint' to your audio. You get the response by playing and recording an 'impulse' in the chosen space such as a sinewave sweeping from hi to low in pitch.
Soooo: In theory you could rock up to Transition (although the scheme may not be that popular with them...)with 10 seconds of sinewave, cut it to dub, and get the response from it. Then apply this to tracks before burning to cd.
It wouldn't sound as warm as a plate, as the audio would still be coming from cd, out of the cdj's output, but might be worth a pop.
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jambo
slip inside my schlafsack
Hmm, I think the mastering process is bit more involved (rather than convolved ) and interactive than that and will depend on the content of each track but it might help to capture the character of some nice EQ. Like Liquid Mix?
Just rolling off a little top end and not over driving the signal usually helps quite a bit as well though.
) and interactive than that and will depend on the content of each track but it might help to capture the character of some nice EQ. Like Liquid Mix?Just rolling off a little top end and not over driving the signal usually helps quite a bit as well though.
Now then…
Member
yeah I was referring to the quick and dirty home "mastering" most ppl do before burning a track to cdr, and wasn't suggesting that this would make a better alternative to a mastering engineer's ears and racks of outboard gear.
What it could well do though is simulate the natural bass boost / top end roll off and harmonic distortion that the sound of acetate imparts.
What it could well do though is simulate the natural bass boost / top end roll off and harmonic distortion that the sound of acetate imparts.
ramadanman
Well-known member
part of the reason why vinyl sounds 'warmer' than CD:
There are certain high frequencies and levels of high frequency that just can't be cut to vinyl without distorting. Therefore any (Decent) cut to vinyl will take out these frequencies before cutting, otherwise you'll be left with nasty hi end on the vinyl. EG horrible sounding tamborines on a fair few records i own
With a CD you burn any (audible) frequencies you want, so theoretically you could have a massive resonant hi hit at 14k in a tune, and obviously it would still burn and play. It's just that on a system it will sound shit and probably painful
It's just a question of production approach if you are playing off CD. And of course the fact that dubs and vinyl go through a mastering engineer before being cut obviously helps
There are certain high frequencies and levels of high frequency that just can't be cut to vinyl without distorting. Therefore any (Decent) cut to vinyl will take out these frequencies before cutting, otherwise you'll be left with nasty hi end on the vinyl. EG horrible sounding tamborines on a fair few records i own
With a CD you burn any (audible) frequencies you want, so theoretically you could have a massive resonant hi hit at 14k in a tune, and obviously it would still burn and play. It's just that on a system it will sound shit and probably painful
It's just a question of production approach if you are playing off CD. And of course the fact that dubs and vinyl go through a mastering engineer before being cut obviously helps
hint
party record with a siren
Ah... shame. So many great tracks from that period.
definitely. i've had to filter tunes in the 15k-20k region for vinyl cut. and these are exactly the frequencies that cause tinitus. so loud club play of CDrs = not the one.