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Post by matt on Nov 30, 2014 13:25:02 GMT -6
Two Notes Studio
Probably:
Purple 10 500 rack Smart C1LA
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Post by matt on Nov 30, 2014 0:35:33 GMT -6
Pickups make a difference, always. I recently installed a set of low-output OX4s into my CC#2 Goldie and now I have the sweet, articulate Les Paul I have always wanted, but could never find. I guess I have evolved to the thinking that you can distort clean, but not un-distort dirty.
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Post by matt on Nov 29, 2014 10:20:27 GMT -6
having my amp miked up and ready to go...having a stand and mic ready to go for acoustics...having a dedicated mic pre and mic ready to go . . . Just making it as easy as possible to be creative. Hah! I spent last night doing just this, sorted some minor cabling confusion and decided to dedicate certain pre channels so gain levels and signal routing stay the same. I've been burned a few times by having things wired wrong. Of course, the takes I missed were the best ever. I tend to change things and not document what I've done. So I found a notebook and declared it the official Logbook of SJS. Now I just need to use it.
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Post by matt on Nov 28, 2014 17:31:52 GMT -6
Thinking about bus compression, and getting into the whole 500 thing. Anyone have experience with this comp? Also interested in options. The console needs feeding.
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Post by matt on Nov 27, 2014 0:35:37 GMT -6
Hey matt, do you understand what this means? Maybe I don't get it because I'm semi in the bag, but it looks like if I buy a plug, I get Radiator, MicroShift, Devil-Loc, and the new PrimalTap free? That can't be right. Hmm I didn't even look at the ad since I already own the Native FX package, which is still on version 4. Maybe they are talking about a free upgrade if you already own FX, but I'm not sure. Verrry Interesting.
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Post by matt on Nov 27, 2014 0:09:16 GMT -6
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Post by matt on Nov 26, 2014 12:46:57 GMT -6
Unfortunately, she's still a little expensive for my current standing in the music industry. Understood. I've had to back off on purchases as well, against my better judgement. When you start looking at outboard to feed the console, things get spendy very fast.
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Post by matt on Nov 26, 2014 9:38:01 GMT -6
As I've come to figure out...just because it's a good deal, it doesn't mean I HAVE to buy it. With respect, I disagree. The siren calls. Think of it this way, metaphorically speaking: in an alternate universe, you are young, handsome, and single. She is the most beautiful girl you have ever seen, and you can have her for an insignificant sum in the big scheme of things. Do you walk on by, saying "Meh, it's too expensive and I am a penny-pinching cheapskate!"? NO! DO IT!
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Post by matt on Nov 24, 2014 7:28:44 GMT -6
Martin, excellent work! Your latest mix sounds very good; however, I do agree with levon and m57 that the vocal is just a bit too hot - perhaps hotter than intended. Should be easy to fix, if you decide to revisit.
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Post by matt on Nov 22, 2014 16:35:18 GMT -6
Unless the fans turn on her. She could be one to wear out her welcome with pop culture. It's funny how that can work. Seems to me, many acts go through mid-career doldrums because of over-exposure or failure to adapt to changing taste, only to experience a resurgence when their original fan base grows older and returns for largely nostalgic reasons.
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Post by matt on Nov 22, 2014 11:06:10 GMT -6
I have defended her in the past, but this is weak in my opinion. Yes, it is weak, IMHO. Maybe it will turn out to be "not one of her best" when looking at her entire career, which I expect to be long and full of releases. I bet she still will be making music as an old woman, 50 years from now.
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Post by matt on Nov 21, 2014 17:34:37 GMT -6
Her album 1989 is #1 on the Billboard 200 for the third week running; this song peaked at #48 on the Hot 100 chart. Not my type of music, but I'll take it over Bro Country any day. Beautiful and talented women tend to weaken my knees.
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Post by matt on Nov 21, 2014 11:26:41 GMT -6
Sony 7520 here, along with Beyer 770s for general use while tracking. The 7520 is one loud set, but they are clean and have wide response to my ears. But I don't really mix with them other than checking pan and such.
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Post by matt on Nov 17, 2014 11:09:21 GMT -6
Welcome!
To change your sound radically, look at different amps. For more subtle changes, look to your pickups.
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Post by matt on Nov 16, 2014 21:03:04 GMT -6
Are Tele 12ax7's extremely rare or something? Maybe, but $1400 for two tubes seems crazy to me.
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Post by matt on Nov 10, 2014 16:04:16 GMT -6
How about heat with the Sta? Does it throw a lot? Do I need to leave open spaces or can it just be racked up? It does not throw a lot of heat, IMHO. You should be fine with an open-back rack.
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Post by matt on Nov 10, 2014 15:57:28 GMT -6
The 6V6s in my STA are Egnater-branded Rubys. They are in there by accident, though. When a tube got noisy, I replaced both with the tubes out of an Eggie Tweaker just to test things out. It sounded so good I left them in.
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Post by matt on Oct 31, 2014 14:14:01 GMT -6
Well, The album is titled "Anything Goes", so I'm not sure why anyone would be particularly surprised at the quality of the content. It's as if this music is the audio equivalent of Paint-By-Numbers, where the number of colors N = 2 or maybe 3, and never change.The worst is how exploitive it seems. But if it sells . . . there's no accounting for taste.
Anyway, this is more my style:
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Post by matt on Oct 27, 2014 20:35:24 GMT -6
Big fan of Dave here. When I saw pics of him in the studio during the Nirvana Era with a Bonham hat I knew his thinking was in the right place. They scared me at first, I thought they were killing off the concept of lead guitar. I shouldn't have worried. A great band, and now the Foos carry the Rock banner, IMHO. Someone other than the Old Guard has to; there has to be new music, new blood, or Rock will slowly fossilize.
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Post by matt on Oct 24, 2014 11:25:05 GMT -6
We have moved to flatwounds to reduce string noise when going DI. Can't remember the brand just now. My bassist likes them, and they seem to have an even tonality up/down and across the fretboard on his G&L ASAT. He does not use a pick. But, FW strings are not for everybody, so YMMV.
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Post by matt on Oct 24, 2014 8:15:11 GMT -6
I am building a mix for a new song right now, and while I am aware of recommended levels such as -12dbfs, I always make everything a little crunchy and then end up backing off a bit. Red - bad, green - good. I always have to fight gain-creep and the "make everything louder than everything else" thing. I probably record hotter than I need to, as well, always fighting my preconception that it must be loud, or it won't Rock. I do try and avoid clipping, though. Mostly. I sure could use a year or two as an assistant in a well-staffed studio built around PT. And an SSL or Neve board, while I'm wishing.
I have much to learn, thanks to everybody for the comments. Very useful stuff.
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Post by matt on Oct 23, 2014 11:53:40 GMT -6
In a recent series of videos published by Westlake Pro Audio, Andrew Scheps states that he has gone ITB. However, unless he has unloaded his outboard, I would guess that his approach depends on the project, with varying pressures (or lack thereof) dictating the production method.
I am finally using my console (Midas F32) to sum stems out of my Symphony configured for 8/24 I/O. I might be kidding myself, but I think mixes sound better when run through it, making the additional A/D/A penalty worth while. Heck, I finally found the true purpose of my pair of Slate Dragons: on the "ambient" drum bus, working in parallel. It's beautiful. But now I want more outboard. It's a terrible thing, GAS.
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Post by matt on Oct 20, 2014 12:10:17 GMT -6
It's very important to have phase correct at each stage of wiring / interface and you have to go segment by segment to check it. Great tip ! this is like engineering 101 but I believe it's often over looked today with younger self taught engineers because it's rarely talked about . Well I wish I was younger but alas, I am not. However, I am self-taught, and the lack of a mentor is a big deal to me. Having to discover even the smallest things on your own sucks. But I make do by leveraging my slightly obsessive personality to relentlessly experiment and study the ways of the masters. So, thanks to all who freely share - it makes a real difference to people like me.
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Post by matt on Oct 20, 2014 10:24:49 GMT -6
Place the speaker flat on it's back and put a penny or a nickel on the dust cover of the speaker. Who says loose change has no value! Great idea.
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Post by matt on Oct 19, 2014 17:11:28 GMT -6
It makes a big difference if you have high resolution speakers that are full range, and usually not powered speakers ( the vibration takes away some resolution in the image)." Apologies, but I find this sort of hair-splitting regarding equipment and the quality of audio playback tiresome. Maybe it's because such claims are entirely subjective and unprovable. But, perhaps my ears are just not good enough to hear such perceived differences. I'll never know, I guess, and I'm OK with it. However, I must admit that I prefer recording guitar tracks each month during the days near Full Moon. I find that the increased lunar gravity adds a very satisfying girth to my tracks.
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