The father of parametric EQ! I was just saying today how ITI EQ’s are one of the best ever made next to GML. The ME-230 is one of the only parametric EQ’s I’d take over a GML 8200. It’s crazy we live in the same era that this stuff was invented. Fascinating!!

@@JMLRecording ... I was there working R&D with Bugs for about eighteen years...Unfortunately we both lost our minds by September 2009. His eyesight was failing and he started singing weird songs about drunken sailors to himself all the time...then he went and hid in the Piano room. He kept threatening to shoot us both and so I just ran off into the woods. I didnt want to end up like Paul Jensen when he was there. Carol is the only one, last I checked, who managed to keep any sanity. Im still sitting on ten tons of Equalizer parts ...lol But to be accurate, Bugs got his eyesight fixed via an experimental procedure by some dude at Johns Hopkins back in 2015 and also seemed to regain his sanity...somewhat. Bugs got me for about 2.5 mil but he's still a good fellow. I like your channel... All that stuff you have makes me swoon. Alvin

Hahahaha this is officially the best comment on my channel. Glad you and Carol made it out in one piece :) would love to see all the parts you’ve got. You should make some EQ’s outta those!! Keep us posted my friend ❤️

Great question! Id have to say no only because I have a D25 and a D12 I adore for the more classic vibey rock tone and for a modern kick tone I do sometimes like the D112. The VR series has consistently let me down. I’ve owned multiple C12 VR’s which were one of the worst mics (dollar for dollar) I’ve ever heard, hands down. I’ll admit it’s been a while since I heard a D12VR but I do recall not being a fan. If you’re gonna spring for a D12VR, do yourself a favor and save a couple extra bucks and pick up an old D12 instead. Just make sure it still retains its low end as they notoriously loose it over time. As always though, you can make great records with any gear and you can usually manipulate any kick transient to sound like anything these days ITB

@@JMLRecording good advice thanks!

Yes, you are correct. The rule of thumb is to use a passive DI on active instruments and active DI on passive stuff. I believe that’s what I did here. Since the all these delay devices are powered, it should be a passive DI. Though there’s always an exception and the ear should have the final say 👍

Heck yea man they’re KILLER amps for sure. I’m picking up an ODS this sleek myself and on a perpetual hunt for the one in the YT thumbnail :)

Very sweet of you my friend - welcome to the JML fam :)

Well, well, well. If it isn't fellow Samurai and Galactic Warrior of Sound, Jumping Man. Good morning to you!! 👋 How ya doing? Where is Sammurai Volt? That is the question!

@@jumpstar9000 well well well. Is that you Multiversal Space Lord Jumpstar? Good morning to you too. How are your sonic plans for domination going? Good question. Is this a trap.?

@jumpingman8160 Going well my friend!! I'm working on some old skool 70s funk. I'm going to place it under the White House and see what happens 😂😂 What are you up to? Having fun? And yes, you could well be right about the trap. We best keep a lookout in case any funny business happens!

@@jumpstar9000 having lots of fun with the Hydra. Deep synth. Very capable.

@jumpingman8160 yea that thing is really underrated. A great little synth. I have the desktop here and love it. It’s also very intuitively designed and easy to navigate which is always a huge plus. The price point is the cherry on top

Glad to help! Feel free to post any questions you got here and I’ll do my best to answer. Welcome to the JML fam!

Oh wow I didn’t know that! I think after Swedien used it all engineers took notice. Everyone from John Lennon to Queen employed it. There was a point when the world called this the “Lennon Trick” too!

Good question. The only difference is that the 360 has remote control option and monitor control. Niether of which you need to achieve the Dolby Trick. The difference between the 362 and 365 is that the 362 is 1U and the 365 is 2U. For studio use of the vocalstressor application any will do the exact same thing as long as you utilize a modified cat22. Cheers - JML

Hahahahahahaha best comment ever. Love this

Really all they need is to not have been kicked around or dropped in their lifetime. Once they take a few bumps, the diaphragms notoriously come loose. I may not be 100% correct about this but in my experience, I’ve seen six or seven of them that have the same issue: The issue is that there’s a small little metal black ring that’s glued to the center of the diaphragm underneath the plastic mylar that comes loose. it looks like a contact lens. I spoke to a gentleman on a DIY forum who repairs these microphones that instructed me to use a specific “Pattax” glue from Europe (similar to locktite gel). You ever so slightly and gingerly lift the cardboard glued down ring that holds the Mylar down, careful not to tear the coil wire, which is thinner than a strand of your hair. Lift it with a blunt toothpick juuuuuust enough to get the smallest dab of glue on the disc. I have also fixed a D 19 in this manner. The other issue is that the Mylar stretches, or the diaphragm simply becomes worn out. Since I am not specifically a mic tech, I don’t know much more about it than that but many people say once they go they are very difficult to repair.

Happy to help my friend! Welcome to the JML Recording fam :)

I don’t typically repair the modules, no. I can do the modification on the card if you’d like. Www.JMLrecording.com

Look out world! :)

Love it!

Sick !! Post the video here! I’d LOVE to see that

I would agree entirely. I would almost never use the Dolby trick on any condenser microphone at all. I primarily use it on dynamics and occasionally ribbons. I don’t know anyone who would think a Brass capsule 414 EB is not a good microphone; it is mostly regarded as one of the greatest mics ever made, next to its big brother the C12 (or C24). Most of he EB mics are phenomenal, especially the old 451’s. So good…

@@JMLRecording I was referring to people not liking the nylon capsule EBs. Towards the end of the 70s, when people would send their original EBs (or Combs) to AKG for service, and the capsule needed replacing, AKG would replace the brass capsule with their new nylon capsule. When people got their mics back from AKG, they sounded completely different. While a brass capsule EB sounds noticeably more beautiful than the nylon version, it doesn't mean the nylon version is bad. I get great results using nylon capsule EBs and Combs on vocals and piano. But I will say the original brass capsule 414s are the best sounding large diaphragm solid state mics ever made, as far as I'm concerned. Big fan of the channel BTW!

@JeroBagg oh haha sorry brother, I misread. but yes, I would emphatically agree with you once again. I have some newer 414s here here that I adore and that sound great on all kinds of sources. I also have a C24 with the CK12 Brass capsules and it obviously sounds great. I’m pretty much anything. But they’re all great mics for sure. Tha ks for the support!

Wow, thanks!

Yea brother :) the deals are out there! Keep an eye on local pawn shops, thrift stores and the used gear dept at local music shops. There’s insane deals happening all the time. I am constantly going to flea markets and stuff like that, finding music gear on the cheap. Good luck!

You’re right! Absolutely, the tubes affect the tone (and volume output!), and the circuit topology obviously dictates what the amp is gonna do and sound like. My point here is that “vintage” components like caps and resistors shouldn’t matter to collectors because the tone comes from from elsewhere. Transformers have a key role in the harmonics of the amp, just like tubes do! Many people don’t know this but Transformers actually add 3rd and 5th harmonics to the low end and lower mid-range, which can make instruments sound punchier and even add clarity (especially to smaller speakers that lack full frequency response). ❤

@@JMLRecording that's a cool thought Thanks

Thanks Tony! Welcome to the fam. Happy to make them if others want them too! In the meantime, lemme know if you have any questions, happy to help

@@JMLRecording Thank you … maybe when I cut them down below 1,000! Lol

You came to the right place brother, welcome to the family ❤️

Thank you my friend! 🥂

Hi that’s i’ve been doing moving forward with all my new videos, it’s kind of a new channel and I didn’t do that with this video, I apologize. You’ll see on my newer videos you can grab all the WAV files from my blog on my website. Thanks for your comment though and I hope you subscribe and come back to check out future videos! Thank you.

I aim to please ;)

I’ll take note of that and add it to the 201 video I’m making next. Thanks!

Right?? The Pulasr plugin is nice for hyper modern stuff like EDM, pop etc but nothing beats the real deal for fat analog glory 🤘

@@JMLRecording I’ve tried a few guitar pedals, but none of them sound like this either.

Im selling 2 es of my old Re 201 tape echos if your interested .

You can make great Ed odds in anything. There have been big artists who tracked in garage band. The only reason you “need” protools is because that’s where the industry is. If you plan on collaborating or working other top tier studios they’re not going to have Live Audio. Again, you don’t “need” anything but it behooves any professional audio engineers to know protools. Good luck!

Of course my friend, sm7b was invented in 2003 so I am pretty sure I mentioned the sm7. My bad if that wasn’t clear - cheers

Heck yea man those are SICK. A lot of people don’t know but the 438 is actually superior to the 436 and far more useful in the modern studio because it has an additional tube and dedicated microphone preamp section! This is very slick and opens the door to the ultimate preamp/comp mod that you cannot do on the 436: phantom power!! I tried on a 436 and it’s noisy and didn’t work right due to topology limitations whereas the 438 is PRIME! Congrats on that unit, never sell it ;)