Hmm. Not really sure about that. It may or may not be "true" that the conversations down there are as you describe them, though I think we're somewhat in personal taste territory there. But it's still basically just turning up at a bar full of regulars and saying "this bar sucks and you all suck". Which is never going to be cool, no matter how "true" it may or may not be.

I've only tried it on one bass recording so far, and I didn't find it as good for that, though I'm keeping an open mind.

Hmm. Not really sure about that. It may or may not be "true" that the conversations down there are as you describe them, though I think we're somewhat in personal taste territory there. But it's still basically just turning up at a bar full of regulars and saying "this bar sucks and you all suck". Which is never going to be cool, no matter how "true" it may or may not be.

John T you have a point.

Sylvan


I am not privy to all of what is going on here but, I was hoping to keep on topic as this is a good question. I would like to read what people think of the PC2A and how they are using it. I know I am happy with what I have been getting with vocals. But has anyone been getting good results with acoustic guitar, bass, flutes, etc...?

This is good info to know. Thanks.

Hi Sylvan,
 I would think the PC2A will be especially good on flutes.

 The variable release, the frequency influenced threshold, and the general nature of the soft knee into a high ratio with soft expansion near the top is a great choice, especially on a monitoring chain.

 The flutist can actually play into the effect and listen to a fuller and richer tone.

 The performer may also respond to the effect by playing more freely and dynamically as the leveler will help tame the results and not cause as much self conscious uncertainty about what the best performance level may be.

 This also allows the flutist to explore a wider range of gain response on the preamp, so you can get a wider palette of color from the circuit as the performer treats the mic/pre/converter chain with either grace or vigor. The results get smoothed over when listening and this sometimes inspires more emotionally engaging performances.

 best regards,
mike

 Hi Sylvan,

 I'm not an expert mixer and I have never really used the real thing, but man I'm loving the PC2a so far . I tried it out on a bass track and a few gutar tracks. I think once I get the total hang of the adjustments I'll love it even more.

 Mccue- I would quote that last big post but it was a book. If you knew anything about 3.0 and 3.5 you would know WHY it works so well in Cubase as opposed to other Programs. The built in functionality improvements are mainly designed with ONLY cubase in mind. I don't blame them for this,but that functionality doesn't translate well to other DAW programs. Having the older standard is no disadvantage to PC. If you must pontificate at length in the future,please know what you are talking about. A big smiley face doesn't really serve to validate anything.

John,
your ability to dance is phenomenal.  I salute you.  I'm not interested in arguing with you any more.  you win.  I'm the bad guy.  have a nice day.

back on topic - I have only used it on a couple of tracks.  I have noticed the same behaviors as others have mentioned, that getting the levels is tricky to compare differences since the level changes so much with the R37 knob.

so far I like what it does.  it seems to make a nice smooth signal with a little pleasant color added in.  but I still reserve judgment on more use of it to determine if I think it was worth $40 or not.

Mccue- I would quote that last big post but it was a book. If you knew anything about 3.0 and 3.5 you would know WHY it works so well in Cubase as opposed to other Programs.

 
Personally, the most interesting statement I saw in Mike's novellete (twice) was this: "If you are not running SONAR and Kontakt you are not getting the best sound".    And that was in reference to piano and drum sounds.   I didn't realize that Kontakt was that good in these two departments, particularly when up against apps like Ivory and BFD2.   Then again, I own none of these, so....
 
 

Cool, thanks for clarifying.   Since I do not own any of them, I usually just go by what others say about them.   Kontakt isn't mentioned very often in the specific context of piano and drums, but more as good overall sampler that has a *wide* variety of sample sets available for it.

John T


I've only tried it on one bass recording so far, and I didn't find it as good for that, though I'm keeping an open mind.

Interesting, I have a track with bass that's been tricky to dial in and the PC2A was the perfect solution.