Other Misc. Products

The T560 is a vinyl cutting lathe, cutting realtime using a custom metal yoke/support/cutting mechanism. It uses a Technics 1200mk2 [or later] for vinyl platter and playback monitoring arm.

A rack of analog gear is used to

1] optimize the signal for vinyl [subs/extreme highs, balance, stereo/mono control, horizontal treble, vertical treble].

2] Volume control of cut/playback monitoring.

3] Amp dispatch levels , 3 band eq, groove spacing, cutter diamond temp control, motor control switch

4] monitoring R/L/ST/horiz treble/vert treble

5] Peak metering

6] cutter amp

the cut vinyl extrusion is removed by vacuum pump directly from the cut.

sounds are 3D and fat. extreme care in set-up needed both sonically, and physically !
Some wow & flutter [option extra motor available], some background noise, like tape, but low.
very long learning curve ! loads of parameters to balance and each cut is different.

Good build quality. Good design.
Quality product.

I bought this product to retrofit some vintage Ludwig shells hoping to avoid drilling the shells for regular mounts and to save weight and to keep harware to a minimum.

Context which I use the product on the drumset are live, studio, for practise and rehearsals.

This is the only product at the moment that uses the lug and mount in one unit so there isn't anything comparible as such.

PRO's: The bass drum spurs are really good, height adjustable, while heavy they are not overly heavy, no drilling of the shell was required, and they do look good. Happy with these.

Cons: The mounts stick out quite far which could effect transportabilty with regard to case sizes etc.

Just trying to find out how to use the adapter to fit skinnier hardware on some other mounts purchased.

The iLok dongle system is too unpredictable and therefore not reliable for live performance. I recently went thru terrible stress when, on a major production in New Zealand, the licenses of my iLok 2 weren't recognised anymore and moreover I couldn't open Logic X files using Sonnox plugins (at least to replace them with iZotope equivalents or else). I noticed that the plugins that can be transferred to my HD (GRM Tools, Flux, etc…) never failed whereas the Sonnox which cannot be transferred and requires the use of the physical iLok fail from time to time (and require internet connection to work again…). During a studio session you might spend a couple of hours to fix the problem but forget about it in live show/performance or in a place without internet connection.

I’ve read here and there advices about getting cracked versions of my plugins. What a ridiculous situation: I would have to use cracked versions of plugins for which I paid and own the license… How can the software industry let such thing happen? It is like they are paradoxically rewarding theft…

On the other hand, I never had problems with any challenge/response protection in over 20 years (Native Instruments, Ableton Live, iZotope, etc, etc…). So handy not having to plug a dongle when travelling a lot with a laptop (working in cars, trains, flights…) plus the risk of forgetting to take the dongle with me.

I wrote a letter to iLok and Sonnox support letting them know in details my awful experience and asking them to allow for HD transferable licenses for any plugins I paid for and for which I need a professional grade reliability (especially the Sonnox in my case): they didn’t get back to me as of today. In the meantime, I’ll stop using the plugins “locked" on the iLok for any professional work…

Be warned.