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Justin Weiss, a technician over at the Vintage King Tech Shop, has been hard at work restoring and modding 16 vintage Neve 31102 modules. These input modules were designed and intended for use in Neve's large-format recording and mixing consoles, including the 8058 and 8068. These were the first "in-line monitor" desks on the market and gave the engineer tracking and monitoring options at each channel. We'll let Justin take it from here:

"Think of a quad summing mixer with small fader and extended mixdown capabilities and a global Mic/Line input switching option. This is the main reason a 31102 is different from all other 10-series (1066, 1073, 1084, etc) modules. The module, on its own, was built with a 10468 Mic input transformer inside and sensitivity switch (gain) setup for only mic levels. The line input signals comes from a companion 32430 Mixdown Switching Module (Line or Tape Returns) located directly below the 31102 in the 8058/68 desk. The switching module gives the user a Line trim missing from the sensitivity of the 31102 gain switch. So, again, the 31102 module was designed around the 8058/68 signal flow. It is worth realizing the purpose of the BA106 board being a buffer between the output of the line input switching module and the EQ built within the 31102 circuits. The post Around The Shop: Neve 31102 Mic Pre/EQ appeared first on Vintage King Blog.

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Compressors and limiters are some of the most important and versatile tools that any audio engineer can use. Virtually every modern recording uses compression somewhere in the chain of tracking, mixing, and mastering. This ubiquity makes them valuable but also creates confusion when considering the many choices in the marketplace. To help straighten that out, we’ll discuss the main types of compressors and the terminology that explains their usage.

The purpose of a compressor is to even out the audio signal in order to tame loud transients and bring up lower amplitude material. Compressors were born out of necessity to fill that very straightforward role, to protect radio transmitters from overly hot signals, and to keep recordings in a narrower dynamic range that was easier to reproduce on tape or record. The post Buyer's Guide: Compressors/Limiters appeared first on Vintage King Blog.

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The contents of your microphone locker can say a lot about your studio. Ask any engineer who walks into a place with a wide-ranging collection of large diaphragm condensers, ribbons, and dynamics, how they feel about working there. More than likely, they'll say, "Inspired." Ask the same to an engineer who has to deal with a bunch of broken microphones that were used at your last house show. I'm sure they'll feel differently.

So if you're looking to slowly build up your collection and have some options along the way, a modeling microphone can be a really attractive tool. With the power to emulate some of the most iconic mics of all time (all within the few clicks of a mouse), modeling microphones are one easy way to pull together an arsenal of legendary sounds at a great price. The post Finding The Sound: Modeling Microphones And What They Can Do For Your Studio appeared first on Vintage King Blog.

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In the early years of the recording studio, engineers had to rely on microphone placement and echo chambers to get the reverb that they desired for certain tracks. This all would change when the German company EMT built the first artificial reverb unit in 1957.  Dubbed the EMT 140, this plate reverb would go onto become one of the most revered and often copied sounds in audio history.

What exactly is the EMT 140 Plate Reverb? While the unit itself is pretty massive, the concept of how it works is pretty simple. A steel frame holds a large thin piece of sheet metal via springs attached to each corner of the outer structure. At the center of the piece of sheet metal,  there is a transducer, which gets a signal from the studio's control room. The transducer vibrates the sheet metal and two pickups mounted to the plate pick up the resulting vibrations. The EMT 140 also features a dampener that allows you to dial in decay time. The post VK Shootout: Vintage EMT 140 Plate Reverb vs. Reverb Plug-Ins appeared first on Vintage King Blog.

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Germany has been important to the history of pro audio, as it has given us many of the tools we use daily in the studio. In 1999, ADAM Audio was founded in the capital of Berlin and nearly a decade later the company is continuing the country’s legacy of innovation by creating incredible monitors.

The history of ADAM Audio starts way before 1999 though. It begins with Oskar Heil’s design for the Air Motion Transformer in the 1960s, which would serve as the basis for ADAM Audio’s X-ART (eXtended Accelerating Ribbon Technology) tweeter. The design, which uses a pleated diaphragm as opposed to the traditional piston-like diaphragm, was truly the starting point of all forthcoming ADAM Audio designs. The post Buyer's Guide: ADAM Audio Monitors appeared first on Vintage King Blog.

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When it comes to Meris, pedal enthusiasts can always expect the unexpected. Earlier today, the innovative brand announced the release of the Hedra and they are once again living up to that reputation. This 3-voice rhythmic pitch shifter is unlike anything to come before it.

Simply put, the Hedra is a behemoth. Blistering guitar harmony leads that track unbelievably well? Check! Getting polyphonic sounds from your monosynth? Got it! Individual delays on each voice? Oh yeah, big time. The post Meris Introduces Hedra 3-Voice Rhythmic Pitch Shifter appeared first on Vintage King Blog.

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When it comes to large diaphragm condenser microphones, there is no more beloved mic than the Neumann U47. The U47 is stylish, sounds incredible, and has the distinct honor of being used on sessions by everyone from Frank Sinatra and Ella Fitzgerald to The Beatles and Bob Dylan.

As far as modern reproductions of the U47 go, Flea Microphones has created a masterful take on the classic tube mic. The Flea 47 gets the details right by accurately replicating the most important components of the U47; the M7 capsule, the BV8 transformer and Telefunken's EF12 Tube. How close does it sound to the real thing? Continue on to find out.

Watch our new video below featuring a shootout with the Flea 47 (F7 capsule version) and a vintage Neumann U47. Throughout the session, both microphones are used to capture Madelyn Grant's vocals, Dustin McLaughlin on electric guitar, and Bryan Reilly on acoustic guitar and drums.

Flea 47 vs. Vintage Neumann U47 Microphone Shootout | Vintage King - YouTube

If you're interested in purchasing a Flea 47 or a vintage Neumann U47, reach out to a Vintage King Audio Consultant or by phone at 866.644.0160.

The post VK Shootout: Flea 47 vs. Vintage Neumann U47 appeared first on Vintage King Blog.

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Earlier today, Avid announced the latest update to their industry-standard Pro Tools and Pro ToolsUltimate software. The Pro Tools 2019.5 update boasts a plethora of new features, including an increase in voice limit for Pro ToolsUltimate users, added support for macOS Mojave and new options for a more streamlined workflow.

In this blog, we’re breaking down what's new for Pro Tools 2019.5 so you know exactly what to expect when updating your software. If you have any questions about what Pro Tools is right for you, check out our handy guide by clicking here. If you already have Pro Tools with the Support Plan, you will automatically be able to download the upgrade for free. The post Avid Announces New Updates And Features For Pro Tools 2019.5 appeared first on Vintage King Blog.

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Pete Lyman is a world-renowned mastering engineer who has worked on records for Jason Isbell, Chris Stapleton, Weezer, and Fall Out Boy, just to name a few. More recently, Lyman mastered Brandi Carlile's 2018 album, By The Way, I Forgive You, which received Grammy nominations for Record of the Year and Album of the Year.

The importance of converters to the workflow of a mastering engineer like Lyman cannot be emphasized enough. So when his friends at Rupert Neve Designs sent over the RMP-D8, Lyman immediately began working the eight-channel Dante mic preamp and mastering-grade 24-bit 192 kHz converters into his chain. The post Pete Lyman Talks Using Rupert Neve Designs RMP-D8 In His Workflow appeared first on Vintage King Blog.

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Have you purchased an Apollo X audio interface and want to expand your rig? Are you considering picking up two Apollo interfaces to build out your studio space? If you answered "Yes" to either question than Universal Audio has a deal just for you.

When you buy any two Apollos (or a second qualifying Apollo interface if you already own one), Universal Audio will also throw in a UAD Custom Plug-In Bundle with your purchase. Depending on which interface you buy, you'll be able to select up to 10 UAD plug-ins of your choice* (up to a $3290 value) for free! The post Score Free Plug-Ins With The Universal Audio Apollo X Double Down Promo appeared first on Vintage King Blog.

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