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Post by Blackdawg on Nov 9, 2018 1:26:14 GMT -6
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Post by guitfiddler on Nov 9, 2018 6:08:07 GMT -6
Love the R88!
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Post by Ward on Nov 9, 2018 9:30:45 GMT -6
Yes, it's very very good. Thanks for sharing . . . i guess most of us just brushed it off at first. Mea Culpa
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Post by jtc111 on Nov 9, 2018 9:41:56 GMT -6
It's essentially how things were done 60+ years ago. Everyone was set up in the studio and the engineer used distance and axis positioning to set levels. It looks like hard work to me because you're committing to so much right off the bat.
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Post by drbill on Nov 9, 2018 9:54:52 GMT -6
Obviously, it require musicians who can play, singers who can sing, and arrangers who can arrange. Not to mention the engineer.  Cool stuff. |
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Post by Tbone81 on Nov 9, 2018 10:10:58 GMT -6
Yeah, big fan of these videos, they’re inspiring. They made me want to buy an AEA r88 too!
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Post by Blackdawg on Nov 9, 2018 10:17:41 GMT -6
Obviously, it require musicians who can play, singers who can sing, and arrangers who can arrange. Not to mention the engineer. Cool stuff. Put good shit in. Get good shit out! |
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Post by jtc111 on Nov 9, 2018 10:20:18 GMT -6
You can pry my comp tracks from my cold dead hands.
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Post by theshea on Nov 9, 2018 12:45:02 GMT -6
yeah great but it needs talent and a good room. do you or your clients have both? i and mine do not have both all the time ... :-)
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Post by notneeson on Nov 9, 2018 12:53:33 GMT -6
Have had the pleasure of recording Dave Zirbel (strat in that video) a few times. Great player and nice dude.
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Post by Vincent R. on Nov 9, 2018 13:19:34 GMT -6
I'm going to be recording the Coventry Carol madrigal for my 2019 Christmas Album with my wife and 2 of our friends for tight 4 part harmony, and I planned to record it similarly with my CM49 and FleA 49 in Blumlien. It's a little bit of a bastard pairing, but I've done it before and it works. The CM49 is missing some of the bottom end and is a tad more open. I think it's going to give us a really nice sound.
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ericn
Temp
Balance Engineer
Posts: 14,976 
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Post by ericn on Nov 9, 2018 13:57:25 GMT -6
It's essentially how things were done 60+ years ago. Everyone was set up in the studio and the engineer used distance and axis positioning to set levels. It looks like hard work to me because you're committing to so much right off the bat. You learn a lot about mics and their real polar patterns when you go minimalist stereo. |
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Post by jtc111 on Nov 9, 2018 14:51:45 GMT -6
It's essentially how things were done 60+ years ago. Everyone was set up in the studio and the engineer used distance and axis positioning to set levels. It looks like hard work to me because you're committing to so much right off the bat. You learn a lot about mics and their real polar patterns when you go minimalist stereo. In my case, it would expose how little I know. |
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Post by Vincent R. on Nov 9, 2018 22:05:23 GMT -6
It’s funny to read about the old Sinatra recordings when they only had a handful of inputs and had to record Frank and his full big band. They’d have the band laid out with several guys playing into a single mic from both sides in order to capture everyone’s performances.
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Post by Blackdawg on Nov 9, 2018 22:29:56 GMT -6
It’s funny to read about the old Sinatra recordings when they only had a handful of inputs and had to record Frank and his full big band. They’d have the band laid out with several guys playing into a single mic from both sides in order to capture everyone’s performances. The good ole days. Al Schmitt still records with all Omnis on the big band. U67s and U87s in omni. "Bleed into a good mic is good bleed" as he stated once at AES. Seth McFarlands big band album was done live in front of a big band like Frank did it back in the day. He wanted to do it that way. Kind of lame music on it..but sounds great. |
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Post by Vincent R. on Nov 10, 2018 12:07:27 GMT -6
It’s funny to read about the old Sinatra recordings when they only had a handful of inputs and had to record Frank and his full big band. They’d have the band laid out with several guys playing into a single mic from both sides in order to capture everyone’s performances. The good ole days. Al Schmitt still records with all Omnis on the big band. U67s and U87s in omni. "Bleed into a good mic is good bleed" as he stated once at AES. Seth McFarlands big band album was done live in front of a big band like Frank did it back in the day. He wanted to do it that way. Kind of lame music on it..but sounds great. Probably my favorite engineer. A few years ago I realized that a chunk of my reference mixes were all albums he had either mixed or engineered and mixed. Once I started researching his techniques and stuff it totally changed my game. Also turns out that my mentor had worked with him. So a lot of the mic placement stuff I was taught came down from his methods, which was cool to learn. I didn’t realize that about the Seth MacFarland albums. The first one was ok, but a rehash of old Sinatra stuff. The second one was really depressing. Lol. |
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Post by Blackdawg on Nov 10, 2018 12:36:26 GMT -6
The good ole days. Al Schmitt still records with all Omnis on the big band. U67s and U87s in omni. "Bleed into a good mic is good bleed" as he stated once at AES. Seth McFarlands big band album was done live in front of a big band like Frank did it back in the day. He wanted to do it that way. Kind of lame music on it..but sounds great. Probably my favorite engineer. A few years ago I realized that a chunk of my reference mixes were all albums he had either mixed or engineered and mixed. Once I started researching his techniques and stuff it totally changed my game. Also turns out that my mentor had worked with him. So a lot of the mic placement stuff I was taught came down from his methods, which was cool to learn. I didn’t realize that about the Seth MacFarland albums. The first one was ok, but a rehash of old Sinatra stuff. The second one was really depressing. Lol. Al is a god of audio. Same for me. One of my favorites was Chris Botti's To Love again album. So lush open and beautiful sounding. Haven't heard the other ones of Seth's but Music is Better than Words was the one I know he did all live. Not sure about the newest one.. |
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Post by chessparov on Nov 12, 2018 13:24:53 GMT -6
Another audio God of this kind of approach, was Sam Phillips at Sun.
Chris
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Post by mrholmes on Nov 12, 2018 17:51:32 GMT -6
Does this has anything to do with 50s gear.
Is not live recording always more orgnaic comapred to overdubbing?
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Post by Blackdawg on Nov 12, 2018 18:09:51 GMT -6
Does this has anything to do with 50s gear. Is not live recording always more orgnaic comapred to overdubbing? Eh not really. Sure. But live recordings can sound super produced now too. Doing everything with only one microphone..that hasn't been common place since the 60s really. |
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Post by mrholmes on Nov 13, 2018 16:05:09 GMT -6
Does this has anything to do with 50s gear. Is not live recording always more orgnaic comapred to overdubbing? Eh not really. Sure. But live recordings can sound super produced now too. Doing everything with only one microphone..that hasn't been common place since the 60s really.
I think I understand what you mean... position the players in the right spot is something diffrent.
I think I know a touch of it if I try to track a songwriter with guitar with one UMT 70 in the right spot. I can move the player, or the microphone.
Hard to imagine to do that with more than a single source.
But the OP was right it sounds very organic, very true.
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Cool stuff.
