ericn
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Balance Engineer
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Post by ericn on Jul 26, 2021 16:22:13 GMT -6
Anybody else jump on the 8 channel bandwagon? I tried in the early 2000’s Very different approach then you took. Yamaha 02R v2 was the center piece, it for the time wasn’t bad Having dynamics the routing and EQ digital out to 2 Fostex 8ch Hard disk recorders mounted below. An Aphex 9000 rack full of dynamics for when I needed something before conversion for house keeping a couple of outboard pre’s. The hand made snake splitter box was as big as the mixer/ recorder rack. The thing about this rig was I had redundant 8 track or 16 track no backup could always borrow somebody’s ADATs or use the PT24 rig if I needed more tracks. 8 tracks for rock and roll with backup or what ever I needed for Broadway like shows. I’ll admit I adopted to the workflow of the O2R, I did recording, mixing, FOH and wedges with that thing ( if Randy could mix monitors at the Grammies for MJ on a DM2000 I could do anything that was going through a 250 seat theater on an O2R). I keep looking at DM2000’s just because I could live with a better sounding O2R.
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Post by drumrec on Jul 27, 2021 7:43:23 GMT -6
But the music those last few years just did nothing for me...even more so as things got over produced, over processed, grid'ed, sample added, pitched corrected etc, etc, etc... All of a sudden I hated what I did for a living...and considered getting out. But what else could I do? As I started in this biz with my own studio at age 16...in 1972 So how could this happen?
Interesting reading nobtwiddler I have not jumped on the train with 8 channels (rather the opposite). But jumped on what you mention little about over produced, over processed, grid'ed, sample added, pitched corrected. Getting back to the nerve like it was recording in the same room with all the musicians at the same time. This is something that is missing in today's recordings. Soon I'm finishing my studio with my colleague. It is a large live studio here in Stockholm at 1500 Square foot. It will be one big room and back 2 basic! Only with rollable damping screens. Then you have to take the bad with the good with all the leakage of other musicians during the recording. But that's part of the charm. Have looked around a bit and many of the musicians' colleagues have missed this and love the ide to more basic recording. So I know that there is a large customer base to cover the studio when it is ready. Back when you play, sweat, laugh, have eye contact in the same room and deliver that nerve that only occurs during such recordings. Time will tell.........
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Post by nobtwiddler on Jul 28, 2021 9:27:33 GMT -6
Just in case I haven't updated the photos, After all that this is the rig, that I use for the 8 track sessions. (I built 2 x of these complete setups.) Along with the Radar 6, loaded with 1 Ultra Nyquist card that limits us to the 8 tracks. Sometimes on a smaller gig, I bring just the one rack (as pictured) with a few free standing boxes to add what I might need, comp's / limiters, etc.
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Post by Guitar on Aug 2, 2021 5:34:58 GMT -6
The closest I've got is my MixPre 6 from Sound Devices. Use it often in conjunction with a video camera for that type of thing. Very often, just two tracks in use.
Just got this little MOTU Ultralite MK 5. If I can add an iPad to it (maybe this year, who knows), might be a pretty cool little mobile recorder.
Until then I'll just be using a laptop.
These rigs will likely get used in the coming months for some out of town projects that are pending. That's about my average with these mobile rigs, once or twice a year.
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Post by Deleted on Aug 2, 2021 6:09:33 GMT -6
Anybody else jump on the 8 channel bandwagon? I disconnected the MOTU rig and bought an Apogee Symphony Desktop. I wasn’t using inputs and outputs and I had little desire to go otb at all with the MOTU AD being a great deal more colored than the DA and recent plugins being so good. TDR Molot GE put aside my desire for most hardware compression but there are still some processors and pres I want. I’m not a huge fan of multiple mics on each drum because they’re mostly there to counteract player deficiencies. That’s the elephant in the room. Most of these modern metal guys can’t play at all and need to be heavily edited. The extra mics are mostly there to just be more faders to ride or be gated and replace them. And there’s already a lot going on in the recording of a metal session that will create a need for drastic eq simply by deterioration of the setup of the instruments and nobody wants to wait an hour in between every track. If they could afford to do that, they would be going elsewhere. Double the mics means double the mix time and for what? When I get stuff with better mics or use better mics, I don’t have have time do this. The bad guys get edited and sampled anyway. And better mics can be throwing away all the gross off brand live sound and Chinese clones and sticking with Shure. The drummer I work with a lot sounds better with his 4 mic all Shure setup than he did going to most smaller studios who have never heard of Morbid Angel. 2x ksm 137 overheads, sm57 snare, beta 52 kick. All raw with overheads cranked in his custom in ear monitors. Before he was getting a lot of high pass filters overheads, poorly pre processed tracks on the way in which might be fine for a modern rock or metalcore but the processing for play double kick metal without samples is entirely different and needs more drastic resonance cutting. 1 db doesn’t mean shit and if they got close but didn’t find it, drum tone is worse and I still had to do the insane -12 db or more resonance cut because the drum was being hammered. The fat kicks I got sounded like sine waves, snares wimpy, they were cutting the box but not enough, not changing the heads enough, not checking every screw because they’re going to rattle when he starts blasting. Now I just need a good 8 channel ADAT pre and there’s decidedly little in-between an Octopre and an awesome Crane Song Spider.
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