|
Post by Martin John Butler on Jun 3, 2017 22:11:27 GMT -6
That's an interesting perspective porkyman. I bought the Relab XL480 when it was $400. At that moment I could have gotten the UAD 224XL plug for $133, but I still popped for the Relab because I'd used Lexicon reverbs a lot, and the Relab was heads and tails above the other plug-in competition. It still sounds good to me years later.
Today, I would use that $400 toward a hardware lexicon reverb like the PCM 70, M300, or even one of the cheaper new models.
All this is to say I get how important reverb is in home recording, arguably the single most important effect. A Bricasti is in a different price universe than the one I dwell in, but they're coming out with a less expensive reverb soon? That I'd be interested in for sure.
|
|
|
Post by Guitar on Jun 3, 2017 23:53:19 GMT -6
Ambience has become a huge focus in my workflow, recently. I think you are on to something porkyman.
|
|
|
Post by M57 on Jun 4, 2017 6:27:16 GMT -6
I just wanna chime in as an amateur speaking to the other amateurs that might be out there. Imo nothing will improve your mixes more than a bricasti. I would sell every piece of gea I had (except the perfect vocal mic for your voice) to get it. No pre comp eq is worth 1/10 the real value of a bricasti. If all you did was run a little of your full mix through studio A it would have more impact than any other piece of gear you own by far. The biggest difference between a comercia and demo quality mix imo is reverb. Or space. Some of that is just the rooms they are recording in. Some of it is mic placement and proper technique. Some of it is processing. I think it's mostly intuitive and not as audible or quantifiable as ppl think. Imo the best engineers are blessed with above average spatial intelligence even though they are not fully conscience of the ways they are affecting the tracks. In other words they can't actually hear the reflections or see them in their minds but they are intuitively able to construct the tracks and fit them in the same space and make them sound whole. it is that "glue" that everybody is chasing. For example. Imagine going to a concert and seeing a band. All those reflections bouncing all over the place. Now imagine the guitar had no reflections. Everything would be bouncing off the walls except the guitars. Your brain would pick up on that instantly and you'd think you were in the matrix bc it's physically impossible for that to happen. This is what happens when you listen to a poor mix. Your brain picks up on it instantly. It knows these sounds are not coming from the same space. it sounds matrix. That's why in my opinion if you're gonna make a demo quality recording for promo or whatever reason you're better off setting up a couple room Mics and recording live. It will sound better than poorly mixed and you'll get more leeway from the listener. Every honest amateur will admit what they struggle with the most is reverb. They can't get it to gel with the source track. That is why I believe the bricasti is the most important piece of gear you'll ever buy in today's low budget world I don't see how you can get by without one unless you're recording/mixing tracks with naturally stellar ambience. Ppl always say "well how did they make all those hit records before the bricasti," and the answer is of course BIG BIG brains with BIG BIG budgets in BIG BIG rooms recording BIG BIG talent. If you ain't got any of that you're gonna have to fake it. The easiest way (only way imo) is with the bricasti. OK, I'll bite. So if it's all about putting the instruments in the 'same' space, how come you can't do that using sends ..to the same conventional reverbs/plugs? What does Bricasti do that is unique?
|
|
|
Post by EmRR on Jun 4, 2017 7:50:56 GMT -6
I don't know of a studio I could visit semi-locally that has one. Large or small.
It's interesting to think back to the post-grunge "reverb is illegal" era. Clients really wouldn't let you use it. Ambience was OK if was 100% natural: could be the bathroom, the hall, didn't matter how big or good sounding it was.
|
|
|
Post by Martin John Butler on Jun 4, 2017 8:24:25 GMT -6
M57 said, "OK, I'll bite. So if it's all about putting the instruments in the 'same' space, how come you can't do that using sends ..to the same conventional reverbs/plugs? What does Bricasti do that is unique?
Well, you can do exactly that using sends and reverb plug-ins. The UAD Ocean Way is made to to sound like a room and not a reverb. You use it just like a reverb in different amounts to place the players in slightly different positions in the same room. I always use one blanket reverb, usually the Medium Room on my Relab XL480 plug. I bought the 7th Heaven to see if using a Bricasti style reverb the same way produced better results. I haven't tracked and mixed anything new lately, so I don't know yet.
The Bricasti has something like the power of 10 or 20 macs, I forget exactly how much. I'd suspect that power is part of what makes the sound of a Bricasti different. It's just more of everything you want. I wish I could have one, so I could just forget about and use it like Wiz does.
|
|
|
Post by stormymondays on Jun 4, 2017 9:55:45 GMT -6
Let me give you guys a tip. There's a Youtube video where Casey (Bricasti's designer) runs a whole jazz band session through the Studio B Close preset. Watch it and be amazed.
For well recorded stuff, Liquidsonic's Reverberate will take you at least 90% there. 7th Heaven might take you 95% there, I can't really quantify that. Or maybe one day I'll get the hardware and find out that it's really 200% compared to the plugins. I don't care, my mixes sound twice as "expensive" as they did without the plugin. I get the feeling that having well recorded stuff is a requisite though.
I usually dedicate one instance of the plugin to the drums, and it's like I just got an extra track with the best room mics ever recorded.
Try it. You won't want to mix without that. I know I won't!
|
|
|
Post by porkyman on Jun 4, 2017 10:47:51 GMT -6
I just wanna chime in as an amateur speaking to the other amateurs that might be out there. Imo nothing will improve your mixes more than a bricasti. I would sell every piece of gea I had (except the perfect vocal mic for your voice) to get it. No pre comp eq is worth 1/10 the real value of a bricasti. If all you did was run a little of your full mix through studio A it would have more impact than any other piece of gear you own by far. The biggest difference between a comercia and demo quality mix imo is reverb. Or space. Some of that is just the rooms they are recording in. Some of it is mic placement and proper technique. Some of it is processing. I think it's mostly intuitive and not as audible or quantifiable as ppl think. Imo the best engineers are blessed with above average spatial intelligence even though they are not fully conscience of the ways they are affecting the tracks. In other words they can't actually hear the reflections or see them in their minds but they are intuitively able to construct the tracks and fit them in the same space and make them sound whole. it is that "glue" that everybody is chasing. For example. Imagine going to a concert and seeing a band. All those reflections bouncing all over the place. Now imagine the guitar had no reflections. Everything would be bouncing off the walls except the guitars. Your brain would pick up on that instantly and you'd think you were in the matrix bc it's physically impossible for that to happen. This is what happens when you listen to a poor mix. Your brain picks up on it instantly. It knows these sounds are not coming from the same space. it sounds matrix. That's why in my opinion if you're gonna make a demo quality recording for promo or whatever reason you're better off setting up a couple room Mics and recording live. It will sound better than poorly mixed and you'll get more leeway from the listener. Every honest amateur will admit what they struggle with the most is reverb. They can't get it to gel with the source track. That is why I believe the bricasti is the most important piece of gear you'll ever buy in today's low budget world I don't see how you can get by without one unless you're recording/mixing tracks with naturally stellar ambience. Ppl always say "well how did they make all those hit records before the bricasti," and the answer is of course BIG BIG brains with BIG BIG budgets in BIG BIG rooms recording BIG BIG talent. If you ain't got any of that you're gonna have to fake it. The easiest way (only way imo) is with the bricasti. OK, I'll bite. Β So if it's all about putting the instruments in the 'same' space, how come you can't do that using sends ..to the same conventional reverbs/plugs? Β What does Bricasti do that is unique? It's not really about putting them in the same space as much as it is about instruments sounding out of place. When that guitar has no reflections it sounds isolated. Your brain can't stop noticing it. In poor mixes. Everything sounds out of place. Of course that same effect can be used to your benefit like in voice over work. The dead space separates it from the background ambience. There was an instructional video I saw. I can't remember who it was but he went down the list of all the top engineers he'd worked with and he said in all his 30-40 years he's never seen anyone record a vocal in a small isolation booth. That vocals needed room to breathe and he could always tell when someone recorded a vocal using one of those gobos bc he could never get it to sit right in the mix without any natural ambience. It's also about tone bc the environment has so much impact on the tone. Snare is the best example of this. You hear a snare sound you love so you look it up and find out it was a black beauty. So you go out an get a black beauty and get it home and it sounds nothing like the recording. The reason is. You don't really like the snare you like the way the snare sounded in that particular room. In your living room. Not so much. In a tin shed maybe even less. Under water? Who knows? I remember reading about qotsa "no one knows" drum sound and how they couldn't get the sound they wanted in one high end studio so they packed up the same exact drums and moved to another until they found it. That's how great recordings are produced. But bedroom producers/low budget independent artists don't have the luxury of chasing the sound. They are stuck with what they've got. That's why the bricasti is so important. It gives you the ability to move out beyond your own environment in to virtual space. I'm not saying it's impossible with plugins I'm saying most of us don't have the ability to do it with plugins. They are both creating virtual environments. The bricasti is like 3DCG. It's as real as it can get right now and It takes a lot of computing power to get there. Plugins are like cartoons.
|
|
|
Post by swurveman on Jun 4, 2017 13:23:56 GMT -6
For example. Imagine going to a concert and seeing a band. All those reflections bouncing all over the place. Now imagine the guitar had no reflections. Everything would be bouncing off the walls except the guitars. Your brain would pick up on that instantly and you'd think you were in the matrix bc it's physically impossible for that to happen. This is what happens when you listen to a poor mix. I read this SOS review of the song below. According to CLA, there's no reverb on the guitars. I also got one of those CLA mixes as part of buying one of the Slate products where he uses Slate plugins only. It had all of CLA's tracked instruments and the Slate FX he used, which I could open up in Cubase or Pro Tools. None of his electric guitars has any reverb.
|
|
|
Post by Guitar on Jun 4, 2017 15:02:38 GMT -6
I think you're pounding the Bricasti drum just a little too hard, but I do see a very good point.
Just to touch on the middle paragraph, I recently recorded a fairly nice guitar rig in my small dead room. The very instant that I stuck the Altiverb on there, as well as a Sound Toys Echoboy, my ears immediately perked up and hear the "tone" get multiplied by, two or three levels of quality. At least for the sound I was needing in the mix.
Looking back on my development as an audio person, this is exactly why I could NEVER get Syd Barrett's guitar sound, which is my favorite tone of all time. I bought the vintage Selmer Treble n Bass MK II amp, plugged in my vintage-style Fender guitar, but it just wasn't happening. The very moment months later, where I stepped on an echo pedal, it all fell right into place. That was such a huge element in the tone that I was ignoring, because I didn't realize how critical it truly was.
So yeah, in some ways, tone chasing can still be a relevant part of working in small project studios. Often times, it is not the gear that matters per se, but the technique with which it is employed.
|
|
|
Post by porkyman on Jun 4, 2017 16:33:30 GMT -6
For example. Imagine going to a concert and seeing a band. All those reflections bouncing all over the place. Now imagine the guitar had no reflections. Everything would be bouncing off the walls except the guitars. Your brain would pick up on that instantly and you'd think you were in the matrix bc it's physically impossible for that to happen. This is what happens when you listen to a poor mix.Β I read this SOS review of the song below. According to CLA, there's no reverb on the guitars. I also got one of those CLA mixes as part of buying one of the Slate products where he uses Slate plugins only. It had all of CLA's tracked instruments and the Slate FX he used, which I could open up in Cubase or Pro Tools. None of his electric guitars has any reverb. You lost me at cla. Lol. My example has nothing to do with guitars I just chose it at random. The same point holds true for any instrument. If you remove the reflections it will stick out like a sour thumb. It's not natural. Cla and a lot of the guys from the nineties use delays for reflections. All a reverb is is a series of delays. Of course the ideal is to not need any reverb. The ideal would be to not need anything at all. I think my point gets lost with the word "reverb." It brings up feelings of long lush lexicon plates or something. That's not what I'm talking about with the bricasti. I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing. The reason im beating the drum so hard monkey is bc I believe in it that much. I want to help ppl who are constantly struggling. Reading forums like this looking for answers. Not because I want to "justify the cost " to myself (like Mac users). Jk. The exact opposite is true. I want ppl to spend as little as possible. I want to go back in time and speak to myself. I want to tell my self stop wasting money on that "pultec" or those ridiculously over priced converters. Those aren't the droids you're looking for. Space, vibe, and tone. Space, vibe, and tone. Those are the 3 pillars. That's what im trying to capture in a recording.
|
|
|
Post by ChaseUTB on Jun 4, 2017 16:35:51 GMT -6
Or you could take RVerb or similar verb and take away the decay and build spaces useing early reflections and rooms with diffused non linear decay. You don't need a bricasti to make a good mix. Also you don't have to use Reverb on source audio for it to sound natural or ambient. Just say you love your bricasti and for YOU it was a great investment π Most Studios need better acoustic treatment / control room and monitors π€ What is the fascination with running complete mixes thru Reverbs... Why? I have seen this recommended by several posters recently here at RGO. Has anyone heard the record " Happy " By Pharrell? That's Altiverb on LD Vox π€ porkyman"I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing." So I have to ask for more because you are making it sound like the Bricasti is going to polish your drum tone and add this magic color that wasn't there if the Bricasti was not involved?
|
|
|
Post by Martin John Butler on Jun 4, 2017 17:52:19 GMT -6
Let's say we look at a very well produced song, like Mark Knopfler's "Sailing to Philadelphia". I'm sure the room it was done in sounds great, and the gear was top notch. Let's also assume it didn't have a Bricasti reverb. Nothing could have made that mix any better, so they didn't need a Bricasti. Now, take my poorly tracked demos in comparison, despite some lovely plug-in reverbs like the Ocean Way and Relab XL480, it still doesn't have that naturalness a good studio has. Now, if a Bricasti made it sound much closer to the pro recording, I'd sure like to have one, because the plugs I have now don't do it.
One of these days I'll just have to borrow a hardware reverb and compare for myself.
|
|
|
Post by porkyman on Jun 4, 2017 18:05:41 GMT -6
Or you could take RVerb or similar verb and take away the decay and build spaces useing early reflections and rooms with diffused non linear decay. You don't need a bricasti to make a good mix. Also you don't have to use Reverb on source audio for it to sound natural or ambient. Just say you love your bricasti and for YOU it was a great investment π Most Studios need better acoustic treatment / control room and monitors π€ What is the fascination with running complete mixes thru Reverbs... Why? I have seen this recommended by several posters recently here at RGO. Has anyone heard the record " Happy " By Pharrell? That's Altiverb on LD Vox π€ porkyman"I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing." So I have to ask for more because you are making it sound like the Bricasti is going to polish your drum tone and add this magic color that wasn't there if the Bricasti was not involved? Again. I'm not saying you can't. Or whoever mixed Pharrell can't. In fact my original point was that master engineers have an innate ability to do just that. But I don't. I need an edge. Not everyone can make it to the big leagues on their own. Some ppl need steroids to get there. I would love to hear some mixes of these ppl who claim they don't need one rather than ppl like DrBill and Jim Williams having to prove themselves to you. Especially since Jim and Bill are the two biggest titans on this forum. Along with Bob of course. Adding reverb to the entire mix is a tried and true (although not talked about) mastering technique. That's why you find reverbs on mastering plugins like izotope. I'm not saying it will polish your drums. I think a lot of the resentment comes from ppl who bought one and put it on their vocal, and low and behold they still couldn't sing. I'm sure it was a major let down to them. I'm saying rather than ocean way or t-verb or lex room. Try using bricasti instead. All the things you were trying to get out of those you'll get in spades with bri. How many ppl are out there looking for "secret formulas" and magic compressors trying to get their mixes to gel. Trying to get them to move and show a little enthusiasm for gods sake. π I am. All I'm saying is if you are too I strongly suggest getting a bricasti over any of those other pieces of gear you might buy. That's all. Thanks for listening.
|
|
|
Post by swurveman on Jun 4, 2017 18:29:00 GMT -6
I read this SOS review of the song below. According to CLA, there's no reverb on the guitars. I also got one of those CLA mixes as part of buying one of the Slate products where he uses Slate plugins only. It had all of CLA's tracked instruments and the Slate FX he used, which I could open up in Cubase or Pro Tools. None of his electric guitars has any reverb. You lost me at cla. Lol. My example has nothing to do with guitars I just chose it at random. The same point holds true for any instrument. If you remove the reflections it will stick out like a sour thumb. It's not natural. Cla and a lot of the guys from the nineties use delays for reflections. All a reverb is is a series of delays. Of course the ideal is to not need any reverb. The ideal would be to not need anything at all. I think my point gets lost with the word "reverb." It brings up feelings of long lush lexicon plates or something. That's not what I'm talking about with the bricasti. I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing. Well, you did say "Imo nothing will improve your mixes more than a bricasti." And for the Slate/CLA mix that I have he didn't use any delay's either on his electric guitars. So, it's possible to have a nice sounding mix with dry distorted guitars. If you want to hear CLA's mix from Slate I'll send it to you. The Bricasti has it's uses. So does Lexicon. So does Eventide, Yamaha, Midiverb II, plates etc etc. Imo, if you can't afford the hardware get the plugins. No one reverb's gonna do it. I own the Bricasti, but I'd kill for a real EMT 140, a Lexicon 480L, A couple of Lexicon PCM 70's, an AMS RMX 16 etc. etc. I can't, so I use plugins.
|
|
|
Post by Guitar on Jun 4, 2017 18:33:40 GMT -6
I don't know if it got posted or not, but I watched a few Lexicon 480L hardware, vs. Relab plugin demos, and it was so close that it didn't even matter. Like beyond hair splittingly close.
The Eventide UltraReverb is a good example of a sometimes sub-$100 plugin being based directly on a reverb from a $5,000 hardware box, and sounding very much the same.
Obviously that box can do a whole lot more with the H9000 as a multi-FX, but if you just want a good reverb, the value proposition is outrageously tipped in favor of the software, sound quality not being an object.
|
|
|
Post by Martin John Butler on Jun 4, 2017 20:55:00 GMT -6
The Relab XL480 IS very close to the 480L. Still, there's a little something different, but only by a fraction. The Relab did manage to get the width right through, and you can feel the left and right walls. That goes along way when compared to some other plug-in reverbs.
In fact, the Relab is good enough that if I had a million dollars to spend on a studio, I wouldn't buy the Lexicon 480L. But I would buy a PCM 70, and certainly would buy the Bricasti. Right now, I'd like to have the Eventide H9 pedal. I heard it on one of nofilterchuck's tracks, and it was serious.
|
|
|
Post by rowmat on Jun 4, 2017 21:03:32 GMT -6
Something worth trying if you are using reverb plugins, have a hybrid system and are doing an OTB mix.
Send a wet only version of a plugin verb out of a spare pair of DA outputs and bring the verb back into an effects return of your console (or a couple of spare channels) in the analog domain.
Summing the reverb in the analog domain may get you a step closer to the hardware version if that's what floats your boat.
|
|
|
Post by Guitar on Jun 4, 2017 21:36:31 GMT -6
The Relab XL480 IS very close to the 480L. Still, there's a little something different, but only by a fraction. The Relab did manage to get the width right through, and you can feel the left and right walls. That goes along way when compared to some other plug-in reverbs. In fact, the Relab is good enough that if I had a million dollars to spend on a studio, I wouldn't buy the Lexicon 480L. But I would buy a PCM 70, and certainly would buy the Bricasti. Right now, I'd like to have the Eventide H9 pedal. I heard it on one of nofilterchuck's tracks, and it was serious. I would be hard pressed to make the decision between a Bricasti M7 and an Eventide H9000 at the $4K-ish price point. It does seem like some of the digital hardware magic sauce has not completely trickled down to the plugins, when you're talking about the top of the line stuff.
|
|
|
Post by porkyman on Jun 4, 2017 23:10:47 GMT -6
You lost me at cla. Lol. My example has nothing to do with guitars I just chose it at random. The same point holds true for any instrument. If you remove the reflections it will stick out like a sour thumb. It's not natural. Cla and a lot of the guys from the nineties use delays for reflections. All a reverb is is a series of delays. Of course the ideal is to not need any reverb. The ideal would be to not need anything at all. I think my point gets lost with the word "reverb." It brings up feelings of long lush lexicon plates or something. That's not what I'm talking about with the bricasti. I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing. Well, you did say "Imo nothing will improve your mixes more than a bricasti." And for the Slate/CLA mix that I have he didn't use any delay's either on his electric guitars. So, it's possible to have a nice sounding mix with dry distorted guitars. If you want to hear CLA's mix Β from Slate I'll send it to you.Β The Bricasti has it's uses. So does Lexicon. So does Eventide, Yamaha, Midiverb II, plates etc etc. Imo, if you can't afford the hardware get the plugins. No one reverb's gonna do it. I own the Bricasti, but I'd kill for a real EMT 140, a Lexicon 480L, A couple of Lexicon PCM 70's, an AMS RMX 16 etc. etc. I can't, so I use plugins.Β Man. If cla just slapped a couple close mics on a cab and threw it up on a mix with no processing at all he really is the genius he thinks he is. π Definitely delay. 6k + 1/4delay = cla I think it's more likely there were closer to twelve tracks. 1 ribbon 1 dynamic and one ldc room mic double tracked per side and then mixed down through his $200k+ SSL into a single stereo track all the while saying, "hey kids. You can sound just like me using only slate plugins." If there's anyone in the world that doesn't really want you to become a better engineer it's Cla. It's not just him either. They're all like that. I watched ken Lewis mix 50 cent and the dude set the levels and I was like you're done. No further processing needed. All the work was done at tracking or the thing was pre mixed. The "raw" tracks were so far beyond any finished product I've ever produced. Same thing with scheps Even pensado though I love him. If I could just get to the point where he begins I'd be ecstatic. Btw I know with 100% certainty he not only uses bri on every mix but often prints passes to use it multiple times. Of course I use more than 1 reverb. I use a room plate and hall generally. Always use 480l for hall and to be perfectly honest with you I only use it bc other ppl say it sounds good even though to me it doesn't sound anything like I think it should. usually experiment with plates. Often have more than 1 plate. Vox and snare for ex. ive got exponential stuff. Tverb which I actually like a lot. Probably the only one I don't regret. Liquid sonics stuff and Of course echo boy delays. I just have not advanced in any meaningful way with them. They don't make the impact bri does. So serious question. If the bricasti isn't an intricall part of your workflow, and you can get there with just plugins? Why do you keep it? Why don't you put that money towards one of the other boxes you long for? EMT is Definitely on my bucket list. ππ»
|
|
|
Post by swurveman on Jun 5, 2017 7:11:05 GMT -6
Man. If cla just slapped a couple close mics on a cab and threw it up on a mix with no processing at all he really is the genius he thinks he is. π So serious question. If the bricasti isn't an intricall part of your workflow, and you can get there with just plugins? Why do you keep it? Why don't you put that money towards one of the other boxes you long for? EMT is Definitely on my bucket list. ππ» I keep it because it makes the most impact for singer/songwriters who come into the studio doing acoustic guitar/vocal songs. I don't have a great tacking room where I can place great sounding ambient mics. So, the Bricasti's rooms help. For my own stuff I do a lot of dense mixes. So, you barely know it's there. In the past year I did a shootout that I posted here between a Bricasti Plate setting and a plugin plate. Nobody said keep the Bricasti for its plates and I agree. Additionally, it takes a long time to bounce everything with the Bricasti. So, I use a room on an Aux, but for halls and plates I use plugins. I hope to buy a real plate soon. Thanks for the back and forth.
|
|
|
Post by swurveman on Jun 5, 2017 7:30:33 GMT -6
Or you could take RVerb or similar verb and take away the decay and build spaces useing early reflections and rooms with diffused non linear decay. You don't need a bricasti to make a good mix. Also you don't have to use Reverb on source audio for it to sound natural or ambient. Just say you love your bricasti and for YOU it was a great investment π Most Studios need better acoustic treatment / control room and monitors π€ What is the fascination with running complete mixes thru Reverbs... Why? I have seen this recommended by several posters recently here at RGO. Has anyone heard the record " Happy " By Pharrell? That's Altiverb on LD Vox π€ porkyman "I'm talking about space. Im talking about vibe. I'm talking about that room tone you wish you could get out of your drums when your compressing." So I have to ask for more because you are making it sound like the Bricasti is going to polish your drum tone and add this magic color that wasn't there if the Bricasti was not involved? Again. I'm not saying you can't. Or whoever mixed Pharrell can't. In fact my original point was that master engineers have an innate ability to do just that. But I don't. I need an edge. Not everyone can make it to the big leagues on their own. Some ppl need steroids to get there. I would love to hear some mixes of these ppl who claim they don't need one rather than ppl like DrBill and Jim Williams having to prove themselves to you. Especially since Jim and Bill are the two biggest titans on this forum. Along with Bob of course. Have Jim or Bill ever posted a mix here at RGO?
|
|
ericn
Temp
Balance Engineer
Posts: 14,919
|
Post by ericn on Jun 5, 2017 7:57:58 GMT -6
Again. I'm not saying you can't. Or whoever mixed Pharrell can't. In fact my original point was that master engineers have an innate ability to do just that. But I don't. I need an edge. Not everyone can make it to the big leagues on their own. Some ppl need steroids to get there. I would love to hear some mixes of these ppl who claim they don't need one rather than ppl like DrBill and Jim Williams having to prove themselves to you. Especially since Jim and Bill are the two biggest titans on this forum. Along with Bob of course. Have Jim or Bill ever posted a mix here at RGO? No for DR Bills just put in a Disney DVD!
|
|
|
Post by stormymondays on Jun 5, 2017 8:05:10 GMT -6
Let's say we look at a very well produced song, like Mark Knopfler's "Sailing to Philadelphia". I'm sure the room it was done in sounds great, and the gear was top notch. Let's also assume it didn't have a Bricasti reverb. You do know that Mark's got Bricasti in his guitar rack, and in his British Grove studio, right?
|
|
|
Post by Martin John Butler on Jun 5, 2017 8:22:13 GMT -6
Thanks Stormy Mondays! That's really cool to know, I had no idea. It was probably not the best choice as an example. I was just saying IF a song like that was done sans Bricasti...
I should have thought, wait a minute, he's Mark Knopfler, he's probably got six of them scattered around. :-) Lyle Lovette's "Road to Ensenada" is my vocal sound benchmark, I probably should've used that. I'm pretty sure there's no Bricasti there, and that track doesn't need a thing.
Thinking on that a bit, it only makes me want a Bricasti even more.
|
|
|
Post by jcoutu1 on Jun 5, 2017 8:33:47 GMT -6
Have Jim or Bill ever posted a mix here at RGO? No for DR Bills just put in a Disney DVD! Hey Bill, nice work. Love that vocal. This the Bricasti?
|
|