Separate names with a comma.
Wanting to join the rest of our members? Feel free to sign up today.
Discussion in 'Backline' started by Studdy, Jan 20, 2014.
That's some pretty amazing technology. I can only imagine the price point of this setup is in the $4-5k region, though.
He nailed it again. I don't even record and this is making me excited...
Much like converter shootouts, I'm not putting much stock in what one or two unaccompanied tracks sound like. Also, notice that there was no A/B consideration of the kick drum or guitar sound between the real mics and the models.
I'd love to hear an A/B of what this sounds like stacked up on a drum kit where all mics are being emulated vs. the real thing.
Cool concept, though.
One thing I wonder is if they are somehow fitting pickup patterns into this design too. Or are there base settings for this on the microphone itself?
from steven's post over on gearslutz:"The initial package will be the dual preamp/converter, ML-1 large mic, and ML-2 small mic. Price is somewhere in 2k range."
Price..and more A/B's please before I can put in my real judgement.
Lots of flat mics out there, and most midrange preamps and converters are decently transparent. Then you have lots of color EQ's and distortion/harmonics exciters out there.
I fail to see the need... Is it really necessary to get an EQ curve exactly like another mic rather than just starting off flat and molding to taste?
The thing that made me especially skeptical was the modelling of the NS10 sub kick. I don't see how modelling like this could possibly recreate a mechanical principle such as a huge driver's ability to capture low Hz wave lengths.
I'm still skeptical. In the 47 comparison, the one labelled as his mic is noticeably louder and more sibilant. Hardly an exact reproduction, but close enough for less than 10% of the cost of the real thing I suppose.
Yeah I noticed this too, it definitely had a more hard edged presence (still open to the option that this could be Fletcher Munson pulling tricks) and was not an identical replication - which defeats the point. Would need to hear more level comparisons to verify really - if they pulled this off it could be the Kemper of microphones but based on that comparison I'd say they're off the mark.
It's a nice idea, but I am totally not interested in getting this.
Also am I the only one that thought the video is way over the top? All this music as if a new hollywood blockbuster will start
Flat mic>flat pre>match eq>saturation ?
I wonder how it handles transient response?
I can match EQ my ISA to my API but it won't be an API.
just my personal opinion, if this ends up being what he says it is:
all in good fun
i laughed the whole way though this, amazing
They never mention anything about transient response!
This is really interesting. But I'm obviously quite sceptical, and the zero latency part also seems a bit too good to be true when most modern saturation plugins have noticeable latency. I'm just waiting for Slate to release a DSP card to handle all the processing.
This. And the polar pattern thing. There's a lot of unanswered questions here.
Seriously, Slate?...you are able to do this and you wont do a distressor emu?