10 ways 500 Series Gear is Better!

[@cranborneaudio]

Thanks so much for the kind words Glenn!! Not bad for a company founded by a bass player! 🤣

[@SpectreSoundStudios]

Noooooooo!

[@dirtyharry1881]

You know that we HAVE to boycott now...

[@jongreenhalgh]

hahahahaha

[@quazrmusic]

Thanks for the hilariously Great Video! Agree with all f your points 100% and just ordered my Cranborne 500 R! Subscribed to your channel as well. HNY 2021 Cheers!

[@skatterpro]

THANK YOU for the $15,000 preamp remarks, people need to get their shit checked. I love you even more now.

[@alidan]

I would love to know the arguments for or against that, I mean beyond being stupidly overpriced, at least we perceive it as such (they could have made such a small run that volume discounts didnt kick in at all and I have no idea how much crap on board costs, and I know some things line a relatively large fpga will always be expensive, because if you were selling it in a volume that could get the cost down an asci would be as cheap and cheaper down the line and better) My main question would come to is there a point of severely diminishing returns that happened way down the price line? I know with headphones you get about 80% of the potential quality by the 150$ price point, around 95 by the 500, and 99 by the 1000, but things like the orpheus exist which as I understand, as good as headphones can ever be my point is, im wondering if this is severely diminishing returns or is this the equivalent of putting crystals on an audio cable to to "stabilize sound" (god I hate the audiophile snakeoil but dammit it is funny).

[@skatterpro]

@Fortnum Sound it does indeed exist. Reputable online retailers sell it, like sweetwater and thomann.

[@skatterpro]

@@alidan well, people have opinions about what 'the best' preamp out there is. This one isn't mentioned, and most of 'the best' aren't even close to as expensive. Sure, it's subjective, but even if the diminishing returns thing applies, placebo has taken over waaay before this pricepoint, and arguing it makes a difference is just justifying being a self-rightous asshole. Feed some kids. Save some animals. Help some homeless people. Your mix is not worth it.

[@russellzauner]

if you think you want to price one, just rent it for a day and I will build you one if one does not already exist at this site. Here's an example...the P.melter :-) www.pedalpcb.com/product/facemelter/ I guess do an episode where you beat down all the ultra-boutique bitches by letting them know that even if they try to kill a pedal that pedals can now achieve internet martyrdom and LO THE PERSISTENCE OF DIGITAL EPHEMERA WAS BEHELD BY GENERATIONS OF TERRANS

[@russellzauner]

It would actually be much cheaper to replicate a human ear to listen to a high quality set of transducers. :-) Brüel & Kjær charge a base $250k for the entire head (there are tool subscriptions involved and that's a LOT of recurring charges, usually at least once a quarter) but just making a thing that emulates an ear along with the cochlear response modeling in physical life (that's the difference between emulating and simulating, kids) but I did craptons of device testing and qualification over the years, including stuff that goes in people ears so I've literally modeled an ear and it had to not only hear but be moving, etc, so we could tell if a design was going to fall straight out of the standard ear bucket per size fitted or fitting feature validated. Make several to a dozen depending on what type of fixturing was required and what features we were testing under what conditions. :-)

[@clintonmaher6930]

I bought the Midas L6 rack last week as I had a suspicion those noise issues were hugely overblown or maybe just on the initial launch units a few years back. Surprise surprise... It's dead silent. Extremely well built, good linking and buss features on the back and no noise at all. I'm very picky with this stuff and I've tried numerous modules in different positions in the rack and it's still quiet. So despite what anyone is saying about that I wouldn't hesitate to buy one if you want to get into 500 series cheaply and don't need the extra features of something like the Cranbourne.

[@yarnf]

Same here. Haven't tried it with all 10 slots drawing current yet, but considering I could buy a second one and still not have paid what I'd pay for most other chassis I'm feeling fine.

[@RealHomeRecording]

@@yarnf I'm looking into buying one of these. How is it working for you all these months later?

[@TheWeazel01]

@@RealHomeRecording I have one two and it's perfect. Dead silent and good power. If you don't need all the bells and whistles then this is a no brainer.

[@EdThorne]

LOVE this video! Informative, entertaining, bagging on bass players AND drum samples! Thanks, Glenn!

[@RetroDrew]

As someone who has 2 of the midas L10s they sound fantastic and I've never had a problem with noise.

[@regularkc]

Same. No noise with my Midas either.

[@jloiben12]

I am so glad that someone with a major following is talking about Cranborne because that company is absolutely killing it

[@Jose-oq6kj]

so I've just found out about the 500 series after looking for pre-amps and it seems like a really cool rabbit hole, no surprise you've already covered it :D

[@RobCabreraCh]

I have been eyeing that Cranborne rack for a while now. That, and a load of 500 series modules is going to be my next big studio upgrade. Hopefully this winter!

[@threepe0]

Agree whole-heartedly, with the exception of analog summing. There's absolutely nothing special about analog summing other than the noise floor, and who wants that? Get a midi knob and call it a day. I'm aware that this opinion may get some panties in a knot, but it's the sort of panties I'm ok with knotting. Dan Worrall has a good video regarding analog summing, and generally I like his approach. There is no magic in audio. Everything is quantifiable. Magic is an easy out for the intellectually uncurious, and for the ones selling gear. That being said, I do love my 500 series gear for other reasons.

[@montychristo86]

I’m glad you made a video on this. Been thinking about 500 stuff to take the load off a Mac laptop - and I’m just a guitar player.

[@raymondmagdallon9033]

I think this was my favorite video you've ever done. Had a great vibe to it. Very enjoyable. Cheers.

[@gamma_noize]

Damn... I just love your sarcasm! xD Just only realized at the end, that i basically was watching a Cranborne ad. Nicely done, Glenn!

[@santulipsyco]

I really enjoy each one of your videos Glenn. Always awesome information reflecting your passion for the audio. Best wishes from Uruguay!

[@rolanddecembre]

I have a cranbourne audio 500 it’s an awesome piece of gear. Also amazing sounding interface ! Surpasses a lot of very high end converters in my opinion

[@RemyRAD]

AdSense Glenn is trying to teach you passionate folk, how to make great recordings. Here's another example. Only this one is more unique. So unique. It was never supposed to happen. So I worked out a deal with this night club to have my large recording truck parked in his backyard for nearly one year, 11 months. And I was just experimenting. So I installed a bunch of microphone splitters in the club. And patch them into my 40 input snake. Then led them into the backyard and almost as far away as the length of a football field. To my truck. Which, of course has central HVAC air conditioning. It's like a big rock 'n' roll tour bus inside. Just packed with a lot of audio equipment. It was Monday evening. I had gotten in my car yet to go home from the previous Saturday and Sunday night shows. They go to nearly daylight. This is not a nightclub. This is a BYOB. They didn't have to close at 2 AM. We would have baths until nearly sunrise. In the good old days. A couple of months ago. I have left to go home. I had sacked out that night in my truck. On my blowup mattress. When I took the captain chairs out of the control room. And I was watching a TV show through my monitoring system. When my finger accidentally pushed up a fader. And there was music. How's that? It's Monday night. The club is closed. It's a dark night. So I go wander into the club. Here is this band set up playing. There are no other people. They went in the club to use to rehearse in. I asked him if they would mind if I rolled some tracks? They said what are you talking about? I should come out in the backyard for a minute. Of course they said yes. But this is just a rehearsal. There's only 3 microphones on the drum set. Because they had 2 drummers. They were breaking in a new drummer. I think they were also breaking in a new keyboard guy or guitarist? And so one set of drums is in the left channel the other set is in the right channel. Sometimes I would put both bass drums into the center image. Sometimes I would put them left and right to be with the sets themselves as a single entity. But I really wasn't mixing anything. I wanted to watch my TV show. So what you're hearing here. His me mixing and recording from bed. Sitting under my Neve console. And I had the band turned up in the background. So I could hear my TV show. And occasionally I would hear an instrument soloing. And I might push up a fader. But I would then get re-engrossed with the TV show. And not pay direct attention to my mixing. I hadn't cleaned up for the night before recording. And my microphones were still on stage and plugged in. Which also went to the PA system. They were using the PA system. And so I also get a separate feed of all the microphones into my Neve. And this is a less than haphazard recording. The way I do them. And just a little technical info here. It's only SM-57 & 58 microphones. Maybe my Radio Shaft PZM in the bass drum? I forget. Or just a 57. I'm getting a little senile. A lot of people like my natural sounding vocals. He stays right where you want to hear him. Yeah that's because there is nothing natural going on here at all. His microphone is highly and extremely processed. Oh, how? 58 microphone into decent preamp without overloading it. So you can go conservative on the gain. If you want to. Or, not. It depends on what you're using for a microphone preamp. I personally preferred the discrete transistor types with transformers but, I don't care. A Beringer, would do me just fine also. I'm not picky. Then you take the equalizer. And you turn your low-frequency control, all the way down. Yes all the way down. I know that doesn't make any sense. But that's what you do. Then you take the Presence equalizer. And you shove that up, 4-6 DB. Then you take your high-frequency equalizer. And turn that up, + 6-12 or more DB. Then listen to that. Right. It's not really listenable. It's really horrible sounding. That's right it is. Then you plug that into a limiter. I like peak limiters on vocals best. Where my colleague and lightweight friend George Massenburg. Prefers the RMS type. But this is the way I do it. The 1176 has some cool adjustments and settings. Like 4:1, for compression. 20:1, for limiting. SCREW THAT! I push all the buttons in. I want my money's worth. That's 50:1. And you read about those famous engineers. And they tell you. They only use 1/2 or 1 or 2 DB of limiting. FUCK that! On the vocals. My gain reduction meter. Looks like the windshield wipers on your car. When you're driving 70 mph. To a hurricane. They have no dynamics. There are no dynamics on these vocals. They are crushed to living death. And I have my limiter attack speed set relatively slowly. So to allow peaks through. That everybody else out there seems to be worried about. I'm not. And then a medium quick release time but not too fast. Too fast and they get too much in-your-face. Adjust where you want them placed in your mix by adjusting the release time. Then your vocals sit remarkably in the mix. Wherever you decide to put them. And when they sing soft passages. You can hear every word. When they go from a soft passage to the scream. They sound like they are screaming. It's definitely louder. It's not exactly really louder. By adjusting your release time. You can adjust the APPARENT LOUDNESS level. You can't do that with a DBX type. Unless they have a release time adjustment feature which some do. Of course doing that also sucks up everything on the little 8' x 10' stage. So you get a lot of drums in the vocal microphone. Which can really FUCK up your life radio broadcast next radio broadcast mix. Such as this. See you can't always push the vocals up as high as I might want. Without corrupting my mix terribly. With too many drums in the vocal microphone. The whole recording is one lousy 100% technical compromise. Nothing is right. 5-10 seconds were spent positioning microphones. There are no readjusting the microphones. It is what it is. You get a feed. Do with it what you can. And so the blade between the instruments and the PA speakers coming through all the microphones. You don't just deal with bleed. You deal with unusable massive hemorrhaging. How are you supposed to get a good recording that way? I don't know? I've never figured that out? Because my sound just fine. And billions of people have heard my work. As an a lot more than 999, 999 million. With these sort of recordings. I don't know the bands. I've never heard them. I just push up faders for a live broadcast. Of whatever I'm getting. And so there is no kind of precision anything going on here, really. It doesn't matter where the microphones are positioned. It really doesn't. As long as they are pointing in the general direction you want them to point. Yes there is a difference of sound. Every time you move a microphone 1/2 inch. What do you want me to do about it? How many cubic inches do you need to listen to? Just stick it and forget it. Sometimes everything will come out exactly right. And it will sound amazing! Sometimes none of the microphones are actually positioned where you really want them. And you can't get the sound you want. Oh well. That's why God designed beer and other combustible things that grow in the ground. And you just move the faders around as best you can. Because you're not in the pocket on this one.: soundcloud.com/user-135130368/sets/live-at-electric-church-fm-sessions-vol-1 But your job as an audio engineer for live FM broadcast. It is to still and try to make it, as exciting and as listenable. With everything being wrong. And that's a fun challenge. It still listenable. It's still exciting. It sure ain't the FUCK the way I wanted it to sound. And oh well. It still kicks ass. Just not quite sounding the way I wanted to make it sound. I would've swapped around some microphones and repositioned them. But you can't do that for a live recording. Oh well. It's not my fault. I just waved my hands over the knobs and dials. Take another puff. Take another slurp. And enjoy the band. Because I think this recording and mix of this band, I wouldn't call my best. It's my more garbage like. But as I listen to the playback of this again and again.. I did do some fun experimenting. And maybe that's why it's not coming off the way I think I would have normally had it. Because I was fucking around. Possibly only using my, Taiwanese made,, 34-year-old, months old AA battery powered, $30 each,, Radio Shaft, PZM microphones on the floor. And then your standard SM-58's on the vocals. And I just did that for shits and giggles. And that's why it lacks the punch I normally go for in my mixes. With those on everything. Except the vocals.. To be showing younger engineers. The multitude of ways. You can make recording with total stupid junk 34+-year-old battery-operated piece of crap microphones. And still come away with a decent recording. You don't always have to use good microphones. Just microphones that work. And you put them where you can. And that's not anyplace where you have to put a PZM. So it's never really on the instrument. It's on the floor. Right in front of the instrument. Or underneath it. Like for the drum set. 2 on either side of the bass drum outside the bass drum. And one inside the base trim. The overheads are a couple of other PZM's. And me kind of things. This was one of the bands I did this on. Because it does not have the same consistency as some of my other tracks. It would done more conventionally with 57's on most everything.

[@nathanielbrice8725]

Why can’t I like this video more than once!!! Cranborne Audio killing it! Great video!

[@MockManor]

I love Cranborne Audio. My 500R8 is beast! 🔥

[@RonnieLeBlancMusic]

lmao, you rock man! Love the humour and the logic! Thank you for the video and all the work! I am very interested in the 500 series. I miss tactile relationships with the gear. Peace!

[@tortillaman2491]

It's neat to be able to mix-match brands and customize your own channel strip.

[@outdatedgear5036]

Glen! This is the video I needed. Thank you

[@thegreenguy8837]

I love it. Plain and simple. One more factor should be the endless amount of diy equipment for these types of racks.

[@LeighWesleyMusic]

I've been following the cranborne stuff for a while now and glad to see them getting some more attention. Not sure I can justify it once i convert to australian dollars but they are definintely on my wishllist.

[@NM-ib7ql]

Hi Glenn. Speaking of 500 series, would you ever consider buying DIY kit 500 series module? Some manufacturer like Sound Skulptor seem to have a killer stuff for not that much money.

[@factoriadelruido]

I have Soundskulptor and CAPI diy gear. I love it!!!

[@TheUnwritersOfficialChannel]

Applause!! This is what we were talking about between us (You don't care but it's funny).. True and sincere video.. Thanks a ton for that, many musicians around the globe need to hear that. "An easy fix >> Drums samples" ha ha ha ha ha!!

[@junkawakami3193]

2:00 drooling for that snappy snare, loving dem tutorials

[@jonsnow2865]

The studio where I work have two of the Midas 10 slot racks full with gear. Sounds awesome never had any problems with noise or anything else for that matter. Although I was really surprised to see something in that price range next to the set of barefoot speakers they run. Guess it goes to show that cheap stuff isn't bad, just cheap, sometimes

[@rickfeith6372]

I legitimately thought your were gonna say..."Hell, I'm not even a real person." Ohh Glenn, sometimes you make me chuckle quite hard

[@bronsontew4506]

Bravo Glenn!!! One of the best episodes ever! I know you’ve hit a few speed bumps lately doing the hard work separating the REAL DEALS from the trash… And while I also have read the high-minded spending justifications of many-a-“Slut,” you make an excellent point that EVERY TIME one of these snotty dependents is ripping ass on some well-meaning budget conscious recordist, if I can find ANYTHING that the assailant has actually WORKED on, it’s at least obscure… But in the RARE occasion that music has been shared, I dare ANYONE to hear where the extra $2K went… It’s not hard to get good tone out of $3,800 preamps… But I agree that we have a duty to pull the reigns on overpriced items… And, folks are strapped these… Buy something that works and pass some of your old stuff down to the new gen!

[@samsancheziii]

Glen, show us how you use your 500 series modules as plugins. How does the routing work? How do you set it up with your DAW? Thanks for the great videos bro.

[@daveman8343]

Can you do a comparison on the ClairborneR8 and the Wesaudio Titan? I'm trying to figure out the best expandability, either with adat, or through ethernet, or if my thinking is off all together. Thanks!

[@kpnutz52]

The midas rack is fine. There is a ground lift that eliminates any noise...

[@Martin-kn6vc]

I bought into 500 series about five years ago due to cheaper units compared to rack-mounted counterparts like you mentioned. I have a Lindell Audio 506 which I read (pretty sure on Gearslutz) that it doesn't sound as good as an API Lunchbox, and adds noise. I've not done a direct shootout between 500 series racks, because I don't care. I'm not losing sleep having the 506 over the Lunchbox. My Hairball Audio pres sound great, as do my Maag EQ4s and Lindell 7X-500.

[@gkaranikolos]

I saw that Midas mic pre on Thomann the other day and thought there was some kind of typo! 😱 🤣

[@austinmillerae]

See I'm sure this question has been answered before, and maybe this video isn't necessarily the place to ask again, but what is the video editing program used in this show, and also whats the computer screen recording program used throughout the show when plugins are demonstrated?

[@TerryMaplePoco]

great vid thanks, I was already leaning towards the ADAT500 and now I’m totally sold. 500 here I come

[@Ibantar]

I'm sold on the FIRST VIDEO that I've seen about 500-series rack units and chasis!!!!!

[@suriyadunya9994]

newbie question, in 500 series rack, if you go from one mic pre (hypothetically clean pre) into the next adjacent pre (color) engaging its line input. would that add coloration from the transformers in the circuit it may have or its not supposed to work that way?

[@4brotroydavis]

Peace. How did u like the black lion chassis compared to the cranborne....well not really compared to the cranborne but just in general

[@georgewilson2865]

This video brought to you by Cranborne audio!!! 😂😂😂😂😂

[@RemyRAD]

And since Glenn is trying to teach you passionate folk, how to make great recordings. Here's another example. Only this one is more unique. So unique. It was never supposed to happen. So I worked out a deal with this night club to have my large recording truck parked in his backyard for nearly one year, 11 months. And I was just experimenting. So I installed a bunch of microphone splitters in the club. And patch them into my 40 input snake. Then led them into the backyard and almost as far away as the length of a football field. To my truck. Which, of course has central HVAC air conditioning. It's like a big rock 'n' roll tour bus inside. Just packed with a lot of audio equipment. It was Monday evening. I had gotten in my car yet to go home from the previous Saturday and Sunday night shows. They go to nearly daylight. This is not a nightclub. This is a BYOB. They didn't have to close at 2 AM. We would have baths until nearly sunrise. In the good old days. A couple of months ago. I have left to go home. I had sacked out that night in my truck. On my blowup mattress. When I took the captain chairs out of the control room. And I was watching a TV show through my monitoring system. When my finger accidentally pushed up a fader. And there was music. How's that? It's Monday night. The club is closed. It's a dark night. So I go wander into the club. Here is this band set up playing. There are no other people. They went in the club to use to rehearse in. I asked him if they would mind if I rolled some tracks? They said what are you talking about? I should come out in the backyard for a minute. Of course they said yes. But this is just a rehearsal. There's only 3 microphones on the drum set. Because they had 2 drummers. They were breaking in a new drummer. I think they were also breaking in a new keyboard guy or guitarist? And so one set of drums is in the left channel the other set is in the right channel. Sometimes I would put both bass drums into the center image. Sometimes I would put them left and right to be with the sets themselves as a single entity. But I really wasn't mixing anything. I wanted to watch my TV show. So what you're hearing here. His me mixing and recording from bed. Sitting under my Neve console. And I had the band turned up in the background. So I could hear my TV show. And occasionally I would hear an instrument soloing. And I might push up a fader. But I would then get re-engrossed with the TV show. And not pay direct attention to my mixing. I hadn't cleaned up for the night before recording. And my microphones were still on stage and plugged in. Which also went to the PA system. They were using the PA system. And so I also get a separate feed of all the microphones into my Neve. And this is a less than haphazard recording. The way I do them. And just a little technical info here. It's only SM-57 & 58 microphones. Maybe my Radio Shaft PZM in the bass drum? I forget. Or just a 57. I'm getting a little senile. A lot of people like my natural sounding vocals. He stays right where you want to hear him. Yeah that's because there is nothing natural going on here at all. His microphone is highly and extremely processed. Oh, how? 58 microphone into decent preamp without overloading it. So you can go conservative on the gain. If you want to. Or, not. It depends on what you're using for a microphone preamp. I personally preferred the discrete transistor types with transformers but, I don't care. A Beringer, would do me just fine also. I'm not picky. Then you take the equalizer. And you turn your low-frequency control, all the way down. Yes all the way down. I know that doesn't make any sense. But that's what you do. Then you take the Presence equalizer. And you shove that up, 4-6 DB. Then you take your high-frequency equalizer. And turn that up, + 6-12 or more DB. Then listen to that. Right. It's not really listenable. It's really horrible sounding. That's right it is. Then you plug that into a limiter. I like peak limiters on vocals best. Where my colleague and lightweight friend George Massenburg. Prefers the RMS type. But this is the way I do it. The 1176 has some cool adjustments and settings. Like 4:1, for compression. 20:1, for limiting. SCREW THAT! I push all the buttons in. I want my money's worth. That's 50:1. And you read about those famous engineers. And they tell you. They only use 1/2 or 1 or 2 DB of limiting. FUCK that! On the vocals. My gain reduction meter. Looks like the windshield wipers on your car. When you're driving 70 mph. To a hurricane. They have no dynamics. There are no dynamics on these vocals. They are crushed to living death. And I have my limiter attack speed set relatively slowly. So to allow peaks through. That everybody else out there seems to be worried about. I'm not. And then a medium quick release time but not too fast. Too fast and they get too much in-your-face. Adjust where you want them placed in your mix by adjusting the release time. Then your vocals sit remarkably in the mix. Wherever you decide to put them. And when they sing soft passages. You can hear every word. When they go from a soft passage to the scream. They sound like they are screaming. It's definitely louder. It's not exactly really louder. By adjusting your release time. You can adjust the APPARENT LOUDNESS level. You can't do that with a DBX type. Unless they have a release time adjustment feature which some do. Of course doing that also sucks up everything on the little 8' x 10' stage. So you get a lot of drums in the vocal microphone. Which can really FUCK up your life radio broadcast next radio broadcast mix. Such as this. See you can't always push the vocals up as high as I might want. Without corrupting my mix terribly. With too many drums in the vocal microphone. The whole recording is one lousy 100% technical compromise. Nothing is right. 5-10 seconds were spent positioning microphones. There are no readjusting the microphones. It is what it is. You get a feed. Do with it what you can. And so the blade between the instruments and the PA speakers coming through all the microphones. You don't just deal with bleed. You deal with unusable massive hemorrhaging. How are you supposed to get a good recording that way? I don't know? I've never figured that out? Because my sound just fine. And billions of people have heard my work. As an a lot more than 999, 999 million. With these sort of recordings. I don't know the bands. I've never heard them. I just push up faders for a live broadcast. Of whatever I'm getting. And so there is no kind of precision anything going on here, really. It doesn't matter where the microphones are positioned. It really doesn't. As long as they are pointing in the general direction you want them to point. Yes there is a difference of sound. Every time you move a microphone 1/2 inch. What do you want me to do about it? How many cubic inches do you need to listen to? Just stick it and forget it. Sometimes everything will come out exactly right. And it will sound amazing! Sometimes none of the microphones are actually positioned where you really want them. And you can't get the sound you want. Oh well. That's why God designed beer and other combustible things that grow in the ground. And you just move the faders around as best you can. Because you're not in the pocket on this one.: soundcloud.com/user-135130368/sets/live-at-electric-church-fm-sessions-vol-1 But your job as an audio engineer for live FM broadcast. It is to still and try to make it, as exciting and as listenable. With everything being wrong. And that's a fun challenge. It still listenable. It's still exciting. It sure ain't the FUCK the way I wanted it to sound. And oh well. It still kicks ass. Just not quite sounding the way I wanted to make it sound. I would've swapped around some microphones and repositioned them. But you can't do that for a live recording. Oh well. It's not my fault. I just waved my hands over the knobs and dials. Take another puff. Take another slurp. And enjoy the band. Because I think this recording and mix of this band, I wouldn't call my best. It's my more garbage like. But as I listen to the playback of this again and again.. I did do some fun experimenting. And maybe that's why it's not coming off the way I think I would have normally had it. Because I was fucking around. Possibly only using my, Taiwanese made,, 34-year-old, months old AA battery powered, $30 each,, Radio Shaft, PZM microphones on the floor. And then your standard SM-58's on the vocals. And I just did that for shits and giggles. And that's why it lacks the punch I normally go for in my mixes. With those on everything. Except the vocals.. To be showing younger engineers. The multitude of ways. You can make recording with total stupid junk 34+-year-old battery-operated piece of crap microphones. And still come away with a decent recording. You don't always have to use good microphones. Just microphones that work. And you put them where you can. And that's not anyplace where you have to put a PZM. So it's never really on the instrument. It's on the floor. Right in front of the instrument. Or underneath it. Like for the drum set. 2 on either side of the bass drum outside the bass drum. And one inside the base trim. The overheads are a couple of other PZM's. And me kind of things. This was one of the bands I did this on. Because it does not have the same consistency as some of my other tracks. It would done more conventionally with 57's on most everything.

[@IAmTheCraftsman]

Glenn I've been on your team since I was working sound many moons ago at the world famous Apache Cafe here in Atlanta, GA. I used your "How To Hold A F*cking Microphone!" video many many many times to educate wood-be rappers... especially during open mics!! 😂😂😂😂😂😂😂

[@tonye9045]

Love my R8, sounds amazing and the workflow is super convenient. 👌👌

[@out1726]

DUDE what’s up with dissing our friends from the low ends? Bass guys are the offensive linemen of any band. The only time they get noticed is if they screw up. Anyway- Dude you were born for this gig! Totally appreciate the way you do your thing! Always enjoy your vids!

[@matt_nyc_audioengineer]

Ya buddy! I have a Cranborne R8 and it's a MONSTER!

[@MStaynor]

"Maybe not the bass players, but you're certainly smart enough to figure it out." But Glenn, I am a bass player, so can I do it or not? Please email me in crayon to tell me

[@gilbertspader7974]

As a fellow bassists the answer is . Trapt Blows Dog .

[@nmbnmb7256]

If you have to ask, you're not smart enough 🤣🤣🤣

[@theweakobey]

They called the bass easy so i decided to learn the knobs.

[@janvirtanen6199]

Betcha, that guy who told last week "you're a sellout" really implodes after this one. xD

[@SpectreSoundStudios]

Yes, he commented further up

[@russellzauner]

In all fairness, I couldn't even bear to pull up the video after seeing the thumbnail. Here's a +2F for your misery and blood pressure. I think that episode would have been the one to cause me to generate such a massive eyeroll that my eyes would get stuck backwards and I wouldn't be blind but all I would be able to see was literally the inside of my own head. Also, people are stupid. Thank you for your time and content and not charging me anything but time i was probably going to waste anyhow...be safe, be well.

[@dab7963]

Oh my god I am buying one. I have 2 Apollo x8p units. So I plug it in to my Apollo ADAT connections and I don't even have to give up my Allison inputs on my Apollo? Since I don't think I will be taking it on the road the USB which is $1,700 is less interesting and the ADOT only version is 1400 which is the one I think I'm going to purchase did you buy the USB or ADAT version ? Love your videos

[@terrydoyle]

I was looking forward to the "in-use" on the Cranborne 500 rack. I didn't expect it to be wrapped up in a "10 reasons" clip though :-) Anyway, good to see you are liking it and yes, the ability to insert analog gear using the ADAT I/O is very handy indeed. Would love to hear how that works out, which DAWs calculate the delay properly, etc. I am about to step into the 500 series world myself.

[@SpectreSoundStudios]

I use it on every single video!

[@zackmorris3664]

I'm having trouble setting up my VSTs in reaper on my macbook. How do you go about moving the 3rd party plug-ins into a folder that can be used by my laptop?

[@GarethFlatlands]

Not 100% sure this is what you mean but try 'Options' > 'Preferences' then the 'VST ' tab. You can add folders for Reaper to scan for VSTs in there. I assume it works with network and enternal drives and any folders you've copied over. Re-scan, restart Reaper if necessary and they should show up.

[@king-kore-studio]

I have the Fredestien Bento 8 pure analog 500 series rack. It's very powerful and quiet. For only $349.00 it's a steal!! Definitely recommend it for anyone.. 🤘😎🤘

[@MattDavid]

I'm using a Camden 500 with a Midas L10 (that I bought recently) for voiceover work, it's as clean as a whistle. So, either I got lucky, or they just aint noisy (anymore).

[@Molt408]

Are you still using this unit? Im about to pull the trigger on one. Thanks

[@CitizenofMelee]

Yeah, I watched a few videos about the Cranborne stuff at NAMM and it did seem awesome.

[@ckjjclan]

Glen, did Cranbourne give you that unit? If yes, would you buy another if/when they ask for that one back (or heck, even if u just need more slots)? Seriously considering this to add to my Apollo x8setup, this and the other video were very helpful. Thanks! .

[@clipz1]

hey great channel is the craneborne the only lunch box that allow you to use the 500 modules as plugins ?

[@kingtroy196]

Thanks for the midas mic pre recommendation bro

[@Studio42dotCom-Real]

I don't have any 500-series gear but I always liked the idea of "just getting what you need and keeping it in a compact carrier". Plus, fewer power cables and fewer power supplies, which all should mean "less power drain and power cable mess". Then a company like Cranborn comes in and says "Hey, let's go make wiring and configuration easier and more functional". Fantastic. More time getting stuff done, less time trying to significantly add to the cable jungle.

[@SpectreSoundStudios]

It’s awesome!

[@kevinhernandez2594]

Some chassis come with a handle on top, so you can take your entire set-up to the studio. Also there are some diy 500 series kits, tube and solid-state, that can bring costs down further and have something actually unique

[@deadmoonscriptures1556]

What about 500 series modules that are also guitar pedals? HOW DOES ONE CHOOSE?! I MAY NEED BOTH..!

[@lifeasadreamrecords4479]

can you connect 3 of tehm together via adat to get 24 mic inputs into your daw via usb?

[@JamesTLangford]

think maybe the midas noise is its a miss labeled beringer?

[@MrMuppetbaby]

Thank you that was informative and funny as hell. You are a talent! Best Tod

[@the-matrix-has-you]

Glenn what is going on with these Camden Preamps. I see lot of people buying them. It is a natural fat sounding preamp I guess right?

[@Hostile_Design]

I just looked up a breakdown of that Cranborne 500 interface, and holy absolute shit, have they crammed functions into that thing. I'm looking at 500 series stuff here to potentially build an outboard vocal setup I can use both in my home studio and on stage (possibly for recording some acoustic on-location stuff too) and that looks like it could be used in any scenario for anything. And that you can send audio out at any processing stage in addition to the whole rack? Ah man. I'll admit the barrier of entry price-wise is quite high here, even if I totally see the value. One day :D.

[@csabaszatvari250]

So, the Midas L6 rackframe has noise problems...?

[@NoCoverCharge]

500 series is The Bomb ...I remember when ADAT was a vhs digital tape ... DA 38 s were my favs

[@kidlzr]

Could you do a review of mic mods? Like the U87 clone from microphone-parts.com . It presents an insane value proposition compared to pro level stuff, is it too good to be true?

[@stringsnare]

Oh shit, my mind just got blown by that Cranborn power supply with adat. Damn. I need to get that. I have an RME babyface pro.

[@a1guitarmaker]

That was funny, but true. Now I have to rewrite my wishlist!

[@LightWthoutTheStatic]

Would love to see you hook up with Hairball Audio to try out their Elements, Lola, and 1176 style compressors! All in 500 series.

[@SpectreSoundStudios]

Would love to check those out!

[@the-matrix-has-you]

Yes please do this Glenn🙏 Thank you very much. I decided I should go with 500 series instead of getting a 19'' rackmount unit looks much more flexible for workflow

[@draztiqmeshaz6226]

Question for you.. was that slow pan of the preamp true to the gain and mojo setting you were using? And if so, what kind of mic at what distance were you running through there? Phantom powered shotgun just out of frame? Just curious, because the only other vocal demo I saw they were using a 57 and had both gain and mojo maxed. Sounded real good though, and considering you weren't eating the mic, that is a good sign. Also, you're hilarious and truthful. Thanks

[@RedHeadGuitar]

Uhhh I know that "Gotta catch 'em all" thing too damn well from DIY pedal kits. Building and especially modding them is great fun and there are some truly amazing PCBs out there. Spending hundreds of bucks on a legendary but long discontinued pedal like a Boss DC-2 or HM-2 on the used market? No way, I just get the PCB and the parts for much, much cheaper and build it! My collection is growing and growing...

[@rBennich]

Hi Glenn! What's your opinion on the Fredenstein Bento series?

[@jamesmeeker6933]

Your Bad News shirt is so awesome! Futuristic metal!!

[@SpectreSoundStudios]

Nah, we’re more modern than that!

[@jamesmeeker6933]

@@SpectreSoundStudios HAHAHHA! Perfect!

[@Mmoody2112]

Just wanted to say I have 2 of the Midas 6 slots - not one bit of noise. . . Couldn't be happier with them (from what I understand it may be the 10 spot unit that has the noise issue).

[@decaystar]

Hi Glenn, Beyond Cranborne Audio [as choice] and end-less Gearheads opinions/feedback/review on Midas. ;) Do you have experience with the other brands who are making these series-500 cases? [I have seen that you also made a video in the past with an API Lunchbox]

[@justiceforcier3853]

Idk about the Midas lunchbox it’s probably fine for the beginner engineer or someone looking to get into 500 series! Remember if it’s cheap, on gearslutz it sucks!

[@buerger3]

Maybe you could go more into detail how you chain the different signals. For example with recording drums, do you have for each signal chain a different physical compressor?

[@UPadvies]

Super fun and valuable video. Thanks!

[@fumedrummer]

Cramming all those items into a chassis looks like there might be a susceptibility to over heating. Is this a concern?

[@tonye9045]

fumedrummer it does run pretty hot but as long as you leave good ventilation space around it I’ve not had any issues.

[@AJMichaud1]

new to the channel. Love the opening rant! new fan

[@erick1913]

Is that Cranborne 500 series chassis stock footage, or do you actually have one/access to one? They look really good on paper, and I've been thinking about buying one the last couple of days. I just don't know anything about the brand, so I haven't been able to come to a decision. Thoughts on their quality? *Edit* Should have watched 30 more seconds of the video :fades:

[@SpectreSoundStudios]

It's all good! I'm probably going to feature it in a third video as well.... it's a really fantastic way to work...

[@BradleyGagne]

I love this channel.

[@electricwhiterabbit]

That Cranborne stuff looks pretty awesome.

[@zb-music4278]

Oh, when did you buy the new camera Glen? Plus new lights! Razor-sharp. :)

[@charlie_sin_mag]

What's the summing like on the 500R8 and ADAT? No one seems to talk about it!

[@MockManor]

I used to have a D-Box, which is absolutely fantastic for summing. My 500R8 is equal to it....if not slightly better. The 500R8 really shocked me, how great and convenient it is.

[@dire4048]

Just started getting into external hardware.. Your videos are great!! Thanks!

[@heleomopi]

F!!! Awesome Video! U said it first! Jumping on 500 soon. Cheers

[@m.o.n.d.e.g.r.e.e.n]

100% agree with you about 15k preamps this should be a law. crandbourne rack is a great ideaaaaa.

[@gkaranikolos]

Aphex released a similar device to the Cranborne lunchbox a few years ago but it only had 4 slots. Not really sure why they discontinued it though...

[@blormpf1740]

RND 500 series R6/R10 and 5xx modules are some of the very best out there - 542 has a nearly undetectable noise floor

[@Chad-xp4to]

I love the api and Rupert neve 500 series!

[@jacobsmith1877]

Man I would absolutely love to a 500 series desk like Steve Vai, Kurt Ballou, or Kevin Antreassian but I seriously don't have that kind of money to spend on gear. Unfortunately I'm stuck with plugins. Thanks for doing this video! Love geeking out to awesome gear and all the possibilities.

[@NewVine]

I agree about the midas. I was thinking the other day however, can you test one and show us why this is so much better? :)

[@clintonmaher6930]

Read my above comment about the Midas - it's not noisy at all, it's dead quiet.

[@shawnlutz7008]

You killed me with the "They're not plugins that sound like the real things...they ARE the real things" was a literal LOL for me. I have a Purple Audio Sweet 10 from Sweetwater on the FedEx truck today. No modules just yet I want to put some thought into it, maybe 2-3 chains with Neve, SSL and API. I really liked the Cranborne Chassis, nice having the summing mixer and ADAT integrated like that. Are you using 2-4 modules chains or are you just patching in out individual modules?

[@swimasfastasyoucan]

I dont know what you're talking about..but i watch you anyway

[@marcoabyss]

i use a Roland TD17 with real cymbals in the studio. does that count as using drum samples?

[@matturner6890]

Yes, but who cares. Do what you gotta do to make what you wanna make.

[@xnetpc]

Does anyone know if these modules are the same size Eurorack modules?

[@rootgrevil]

I believe there was a company called Apex who made a usb 500 rack. But I dont think they make it anymore

[@GeertSamuel]

This is maybe a bit more a Cranborne ad than a 500 series video....nonetheless I agree with the statement that 500 series gear is better. It was a way for me to get the preamps I wanted on a smaller budget, and expand it unit by unit everytime I got the cash for a new unit.