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Post by professorplum on Jun 12, 2019 10:55:57 GMT -6
Craig, thanks again for dropping by and already giving some great insight!
Would love to hear any details on the drum tracking for Slow Burn. Specifically always wondered what kinda snare, dampening used, how the kit was mic'd, if most of the sound came from spot mics or OHs, etc. Really anything you'd be willing to share about that song would be very cool! That main acoustic sounds absolutely amazing too - also Epiphone or Guild with a 4038 and KM56?
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Post by jsteiger on Jun 12, 2019 11:09:56 GMT -6
How much do you think Jeff wants for that $500 mic? Well, maybe if you add a 2 in front of the 5 and add a zero LOL
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Post by dreamsambas on Jun 12, 2019 11:26:22 GMT -6
Anybody have a 4038 and KM56 I could borrow?
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Post by Bob Olhsson on Jun 12, 2019 13:42:39 GMT -6
I switched to figure-8 on almost everything years ago. Part of why I think it sounds better is that it ducks the room. A cardioid is a 50/50 mix of figure-8 and omni. Think about that...
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Post by lordalvin on Jun 14, 2019 10:27:51 GMT -6
lordalvin, I'm curious about the way Slow Burn was tracked. Was it the whole band live? We tracked at Sheryl Crow's studio above her horse barn. There was a booth that we used for drums, an amp closet and the main room that was for tracking and the control room. Todd, Daniel and Kacey sat in a semi-circle facing me at the consoles (there were Neve and API sidecars) and we could see Ian at the drums through the french doors in the booth. When we had a take we liked we would fix parts, comp and do some overdubs. I was wearing headphones most of the time we were tracking. It wasn't ideal, but it felt good working that way. I already explained how we got acoustic and vocal sounds. Bass was a P bass through a DI. Drums were very basic. D112, 57's, 421's, KM184's on overs and hat. I had an old Jensen speaker that I use as a sub-kick. Mono drum mic was an RCA77dx. I used an Ampex 1101 on top of the kick pointed at the drummers knee that I ran through a Memory Man to get the little bit of slap delay. Compressors were two distressors. One on kick and one on mono. I think I used some DBX 160's on the overs. That's it.
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Post by lordalvin on Jun 14, 2019 10:43:33 GMT -6
Craig, thanks again for dropping by and already giving some great insight! Would love to hear any details on the drum tracking for Slow Burn. Specifically always wondered what kinda snare, dampening used, how the kit was mic'd, if most of the sound came from spot mics or OHs, etc. Really anything you'd be willing to share about that song would be very cool! That main acoustic sounds absolutely amazing too - also Epiphone or Guild with a 4038 and KM56? I just posted some of the details about the drums. I know the snare was a Sugar Percussion snare. The rest of the drums were just the ones at the studio that we liked. I have to say, I have been engineering sessions for about 26 years now and I have always tuned the drums on those sessions unless it was someone like Shannon Forrest or Manu Katche who do it all themselves. One of the reasons those drums sound the way they do on Slow Burn is because of my tuning techniques that I have spent my whole career perfecting. Of course, Ian Fitchuk is an incredible player too. It's rare to find a drummer that can play with Ian's keen sensitivity. But tuning really does matter. I tune to the song. Pitch, attack, decay, cymbal choices. All of it has a musical affect on the players and the listeners.
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Post by Johnkenn on Jun 14, 2019 15:44:16 GMT -6
lordalvin, I'm curious about the way Slow Burn was tracked. Was it the whole band live? We tracked at Sheryl Crow's studio above her horse barn. There was a booth that we used for drums, an amp closet and the main room that was for tracking and the control room. Todd, Daniel and Kacey sat in a semi-circle facing me at the consoles (there were Neve and API sidecars) and we could see Ian at the drums through the french doors in the booth. When we had a take we liked we would fix parts, comp and do some overdubs. I was wearing headphones most of the time we were tracking. It wasn't ideal, but it felt good working that way. I already explained how we got acoustic and vocal sounds. Bass was a P bass through a DI. Drums were very basic. D112, 57's, 421's, KM184's on overs and hat. I had an old Jensen speaker that I use as a sub-kick. Mono drum mic was an RCA77dx. I used an Ampex 1101 on top of the kick pointed at the drummers knee that I ran through a Memory Man to get the little bit of slap delay. Compressors were two distressors. One on kick and one on mono. I think I used some DBX 160's on the overs. That's it. think I posted this earlier...but that track is really stunning.
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Post by professorplum on Jun 14, 2019 19:41:43 GMT -6
thanks for the great info - obviously tuning/mics/mixing makes a giant impact but that sugar percussion snare better sound damn good for $1,000
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Post by Bob Olhsson on Jun 15, 2019 10:03:44 GMT -6
For many years tuning and even rebuilding drums to eliminate resonances was an integral part of being a recording engineer.
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Post by lordalvin on Jun 15, 2019 10:41:21 GMT -6
For many years tuning and even rebuilding drums to eliminate resonances was an integral part of being a recording engineer. In the studio where I started working there was no one else to keep the instruments working and sounding good so I had to learn about all of them.
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Post by lordalvin on Jun 15, 2019 12:33:31 GMT -6
> "Grandma cried when I pierced my nose" Geez. Pop music. It's a good recording and mix. By the third minute the loudness was making it sound choked to me, especially after the band comes in. Millenials probably don't know any better. Damned Millenials! Singing about things that actually happened in their lives and using compressors all over everything. What do they know? Attachments:
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Post by macsearcher on Jun 15, 2019 12:49:38 GMT -6
Mic Drop.
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Post by sean on Jun 15, 2019 13:13:48 GMT -6
Grammys...the one thing my extended family understand about my job and want to talk about during the holidays.
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Post by geoff738 on Jun 15, 2019 13:27:24 GMT -6
Ok, Everybody post their Grammys now. I’d post mine but my kid took outside and lost it in the playground one day. Yeah.
Cheers, Geoff
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Post by sean on Jun 15, 2019 13:30:24 GMT -6
Ok, Everybody post their Grammys now. I’d post mine but my kid took outside and lost it in the playground one day. Yeah. Cheers, Geoff If I could trade them for a microphone I would
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Post by geoff738 on Jun 15, 2019 13:34:37 GMT -6
Ok, Everybody post their Grammys now. I’d post mine but my kid took outside and lost it in the playground one day. Yeah. Cheers, Geoff If I could trade them for a microphone I would Man, I dunno. Toys are fun, but recognition from your peers must feel pretty good too. Congrats! Cheers, Geoff
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Post by donr on Jun 15, 2019 13:35:01 GMT -6
> "Grandma cried when I pierced my nose" Geez. Pop music. It's a good recording and mix. By the third minute the loudness was making it sound choked to me, especially after the band comes in. Millenials probably don't know any better. Damned Millenials! Singing about things that actually happened in their lives and using compressors all over everything. What do they know? Ouch. This was my first exposure to Kacey. She does have a way with lyric. And the record sounds gorgeous upon further listening. I should have gone deeper before commenting.
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Post by Johnkenn on Jun 15, 2019 13:57:58 GMT -6
> "Grandma cried when I pierced my nose" Geez. Pop music. It's a good recording and mix. By the third minute the loudness was making it sound choked to me, especially after the band comes in. Millenials probably don't know any better. Damned Millenials! Singing about things that actually happened in their lives and using compressors all over everything. What do they know? If you only knew who you were talking to.
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Post by Johnkenn on Jun 15, 2019 14:06:10 GMT -6
Ok, Everybody post their Grammys now. I’d post mine but my kid took outside and lost it in the playground one day. Yeah. Cheers, Geoff I do not have a Grammy. But I have taken multiple shots out of one multiple times.
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Post by geoff738 on Jun 15, 2019 14:14:26 GMT -6
Damned Millenials! Singing about things that actually happened in their lives and using compressors all over everything. What do they know? If you only knew who you were talking to. Heh. Well I took Mr. Alvin’s response as being in good humour. I dunno if Don has any Grammys? He might. I’m quite sure he has some gold and platinum hanging on his walls. A bit cheeky perhaps, but I did kinda chuckle and maybe part of that was knowing Don has had a five decade or so career and counting in this crazy biz. But it sounds like all is good. Cheers, Geoff
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Post by Johnkenn on Jun 15, 2019 14:16:23 GMT -6
I mean, it's not like this thread has been effusive in its praise of this album/production/engineering or anything.
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Post by sean on Jun 15, 2019 14:20:28 GMT -6
I love threads about particular records. And I’m always happy when good things happen to good people. I don’t know Craig personally but I’ve worked with Ian Fitchuck a lot and success couldn’t come to a better person.
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Post by Johnkenn on Jun 15, 2019 14:27:01 GMT -6
Anyway - loved that 224 tip...had never really approached it like that.
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Post by lordalvin on Jun 15, 2019 14:35:17 GMT -6
It was meant in good humor. Everone has opinions about that album and they are entitled to them. I’ve heard them all. I must admit that some of the mix bus compression wasn’t to my taste, but it has grown on me. It’s aggressive but still feels musical.
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Post by geoff738 on Jun 15, 2019 14:38:43 GMT -6
Also, read through this and the drums can’t possibly sound good. They were using Km 184s. Gasp!
Cheers, Geoff
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