J
jski59
Active member
I used an Aiken Gold Brick for years, same concept and sounded great.
pipelineaudio
Well-known member
I couldn't believe this thing. First of all its passive, so every bit of tone shaping it does is using tech that's technically been available to us or decades, but is in a completely different class than any of the previous similar units like the Palmer or the Red Box. When someone brought this to the stage, I put my IR loader in taking its source from a line output on the head, having ZERO confidence in this passive box, but when flipping through them I ended up just using the mic no mo for the show.
It certainly wasn't "better" than my IRs and couldn't just switch speakers at will, but if you couldn't get a world class sound out of this thing, you have no business in pro audio whatsoever.
This wasn't the sound of a "hang a 57 and run" situation beloved by overpaid amateurs worldwide, this was the complex phase response of multiple microphones at just the right place.
I looked into it and there were several industrial applications involving building noise mitigation where a passive solution needed to be devised using RLC circuits. These were reverse engineered from impulses and got to their target reduction or whatever NIOSH or OSHA wanted them at. I don't know i this is how the mic no mo was made, but this was suggested to me when I expressed my bewilderment in pro audio forums.
You COULD argue, maybe, especially if you don't know how to use an EQ, that the typical amateur go to move of sticking a single mic up, hoping and praying that it doesn't move, and dealing with the myriad of minuses involving what happens when anyone's body moves in proximity to the mic or amp (that lame phasey, flangy sound where the bottom gets munched by the bass and the top gets wiped out by the cymbals OR you leave it up loud so there is phasey mud wrecking the whole mix) was better than the speaker sims and red boxes and electric an motor RC circuits of the 90's, but you are never beating the mic no mo with a single mic, not even close to the same zipcode
I'll still keep my IR loaders, but I wouldn't mind one of these for shitty dinosaur amps with no line out or FX loop
It certainly wasn't "better" than my IRs and couldn't just switch speakers at will, but if you couldn't get a world class sound out of this thing, you have no business in pro audio whatsoever.
This wasn't the sound of a "hang a 57 and run" situation beloved by overpaid amateurs worldwide, this was the complex phase response of multiple microphones at just the right place.
I looked into it and there were several industrial applications involving building noise mitigation where a passive solution needed to be devised using RLC circuits. These were reverse engineered from impulses and got to their target reduction or whatever NIOSH or OSHA wanted them at. I don't know i this is how the mic no mo was made, but this was suggested to me when I expressed my bewilderment in pro audio forums.
You COULD argue, maybe, especially if you don't know how to use an EQ, that the typical amateur go to move of sticking a single mic up, hoping and praying that it doesn't move, and dealing with the myriad of minuses involving what happens when anyone's body moves in proximity to the mic or amp (that lame phasey, flangy sound where the bottom gets munched by the bass and the top gets wiped out by the cymbals OR you leave it up loud so there is phasey mud wrecking the whole mix) was better than the speaker sims and red boxes and electric an motor RC circuits of the 90's, but you are never beating the mic no mo with a single mic, not even close to the same zipcode
I'll still keep my IR loaders, but I wouldn't mind one of these for shitty dinosaur amps with no line out or FX loop
pipelineaudio
Well-known member
On my regular livestream, I mix one song rom a live show's multitracks. I'll put a heads up when I do the mix so we can at least A/B between some o my IRs and the mic no mo.
During the actual live show, I had no qualms about using it once I heard it. I'd still rather have the flexibility of switching IRs, but the mic no mo was very much giving you EXACTLY the sound you expect from doing the standard two 57's phase matched with white noise up close to a cabinet which was pretty much every distorted guitar sound in the 90's before Mix Mag and the Conservatory realized you could make way more by convincing people that some ribbon needed to be involved (bro 121 bro!)
B
beej
Active member
I'll take a good IR loader over an analog solution (or a Mic) any day of the week. There are a few IR loaders on the market that'll take a speaker level output and have an XLR out with ground lift. For example, the Two Notes Cab M+ (I gig with one of these). Super handy.
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