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Post by nobtwiddler on Jan 7, 2015 9:58:24 GMT -6
Randy... Yes if it was a Mandolin I'd have to agree... But it's actually a Laud!
Haha
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Post by nobtwiddler on Jan 6, 2015 20:00:48 GMT -6
Have you guys seen this?
Great Sounding mic's although not cheap!
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Post by nobtwiddler on Dec 18, 2014 13:45:21 GMT -6
Years ago, in the early 80's I had a old unused for years 1000 gal oil tank on the studio property. Had a friend cut in half for me in the center. Once we opened it up, I washed it out quite a few times over the next few months so I could work in it. The residual smell was initially too much for me to be in there for but a few minutes at a time. Anyhow, long story short. I attached (welded) one cheap dynamic (Radio Shack) mic to each end of the tank...then ran old "Lionel" train track to braces I placed in the bottom of the tank. These braces were used to keep the train track about 1 foot above the tank floor in case and water got inside the tank. (although we did have a few drain holes) The track ran the entire length of the tank end to end, with Lionel end stop bumpers at each end. We then place a old Lionel train on the track with a flatbed car behind it....attached to the flatbed car was a heavy duty 6 x 9 Mindblower car speaker. The cables for audio, speaker, and train control, were all wired up and run thru the filler hole out the top of the tank. Tank was then buried under the entrance to our horse stable, which was very close to the studio. This way we could dig a short trench for all the cables right up to the studio building.
In a nutshell, it sounded amazing for almost 10 years, and worked perfectly, until it didn't. Haha Moving the train back and forth along the track would change the reverb time, and sound as well as the stereo image of the verb. Or you could use just one side of the chamber. Also you could get some crazy sounds with the train in motion! It was cool, and if there was a easy way to get in and out of this thing, then I would have made an attempt to fix it, but I'd have to rent a backhoe again, dig it up, cut it open. Wasn't worth it at that point... But it was a really great effect when it was working, and totally unique to our studio!
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Post by nobtwiddler on Dec 4, 2014 12:05:50 GMT -6
Ampeg VT-22
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Post by nobtwiddler on Sept 18, 2014 9:43:39 GMT -6
"nobtwiddler, have you used the Fat one?"
Not yet, but I do plan on getting one here to test out in the next few months. But the only problem with the Fat Bustard for me is, I only use a summing mixer when "STEMS" or RECALL's are required by a client or a label. And when I do that, I print the 16 processed stems back into the computer as well as a stereo mix all in one pass using direct outs on the Neve 8816 I currently own and love for this situation. Wouldn't be able to do this with the FB, as it has NO direct outs. Which would require me to do one stem pass at a time. A real drag. If I liked it's sound at the mix outs, I would have to have the unit mod'ed for my way of working, which is no biggie, just more $$$ after the fact. But I am intrigued by it's functions and sound at the stereo outs.... So we will see???
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Post by nobtwiddler on Sept 18, 2014 8:52:07 GMT -6
You're welcome....
By the way, no one ever mentions the 8816 as a summing mixer. Not sure why? But I can tell ya first hand, the mixes I do with this unit sound absolutely amazing! Yes, there is a lot of stuff in front of it, and I print back the processed stems to the computer, but no fooling the little Neve is great! And it offers quite a bit of facilities compared to most for it's price, and you don't need the fader pack to use it. Plus it stores all it's knob / fader settings for recall later if ya need. As a matter of fact I'm gonna try the Neve stereo EQ, and 2 x of their 2254 Comps for the mix buss. I already have enough stuff to use, and pick from, but these units can also recall all of their settings, so if they sound as good (or better) then what I'm already using, I might have to go for these also. Would make recalling mixes for the "meatheads" who need this...much easier!
Very cool piece of kit.
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Post by nobtwiddler on Sept 17, 2014 18:23:19 GMT -6
I doubt it will be 5K? It's BIG Brother, the Fat Bustard II, I believe is only about 6K and offers a hell of lot more facilities!
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Post by nobtwiddler on Sept 17, 2014 16:57:49 GMT -6
If it's a project I'm producing or overseeing, then it's all cut live to the Radar, and mixed from Radar thru console. At mix time, I do these versions, printed usually to a Masterlink 24/96 using a 2192 or a Hedd Convertor. #1 Main stereo Mix #2 Vox Up +1db #3 Vox Dn -1 db #4 Instrumental #1 No lead Vox or FX, but has Bk Vox and Harmonies #5 Instrumantal #2 No Vox at all ! #6 Lead Vox w fx #7 BK Vox with FX
Now if I'm mixing (and NOT in charge) this is what I do. Since I don't use PT....First I put all the tracks into DP- 8 At this point I use my portable rig, which means from the computer it goes out to a Apollo 16, into 16 channels of Helios Type 69's into a Neve 8816 summing mixer. The Summing mixer is set up so that all the direct outs / Mutes are pre fader. SO the fader on the 8816 are down!
I mix into the Helios/Neve using any and all the outboard I want... I then take the 16 direct outs back into the Apollo 16 and record stems as such: #1 Kick #2 Snare #3 Drum L #4 Drum R #5 Bass #6 Solo #7 GTRS-L #8 GTRS-R #9 LD VOX #10 Vox-2 #11 BKVOX-L #12 BKVOX-R #13 KEYS-L #14 KEYS-R #15 FX / SPARE-L #16 FX / SPARE-R
All of these 16 channels are assigned to one stereo output via the Apollo's digital out. Using a DAC-1 I take the digital output convert it back to Analog and insert that into the Neve's BUSS INPUT on the 8816 mixer. So this new stereo mix is now getting the Neve's transformer out sonics as well, as everything before it, and I also have an original SSL 384 Mix Buss Compressor in one of the 8816's patch points, (this one has a blend control!) and a Summit Stereo EQ (in MS) on the other mix insert.
At this point I take the stereo mix out of the Neve, and into either a Hedd, a 2192, or my UNL-8 and record the 2 mix as well as all the stems in one pass. This gives the artist / label what they want, and if asked I usually can make any changes required just using the 16 stems. Now even though the stems have all the processing imbedded in them, they will NOT sound like the STEREO MIX~! Simply because I ran them back into the NEVE thru the SSL and the SUMMIT, so once I change the stem levels in a remix, I just run everything thru the Neve as I originally did. (job security) Done...
But by the same token a bad can change levels of the stems on a laptop and send me the files and I'll just run everything back thru... Simple and easy.
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Post by nobtwiddler on Aug 23, 2014 11:16:14 GMT -6
Luther "Guitar Jr." Johnson & the Magic Rockers. Haha How was the show? I just mastered his new release, due out later this year!
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Post by nobtwiddler on Aug 5, 2014 18:24:28 GMT -6
Nothing sounds or sits in a mix (other then a plate) like a spring reverb. I have 4, use them all the time. Usually with different pre delays in front of each one. They have a thing, if it's not for you then cool, but there has never been, at least to my knowledge a digital emulation that recreates what a great spring reverb or a plate can do....
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Post by nobtwiddler on Jun 15, 2014 18:40:05 GMT -6
Whether you guys know it or not, that AMPEG was the sound of Peter Framptom for many, many, years sometime after the "Live record" !
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Post by nobtwiddler on Jun 15, 2014 18:33:53 GMT -6
Here Ya go...
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Post by nobtwiddler on Jun 14, 2014 16:08:12 GMT -6
I used 4 of the Cloud ribbon mics on drums for a album I was producing about a year ago. "Eddie Seville Restless Hearts" I believe it's available now.
They were positioned, Left (near floor tom) Right, (near rack tom) Front of kick, and Room mic. Video ran on the Cloud Site for quite a while, but I see it's no longer there?
Simply put they were amazing, If I could afford to buy 4 I would in a heartbeat! GREAT MICS, and Roger is a great guy!
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Post by nobtwiddler on Jun 2, 2014 18:00:44 GMT -6
For me the overhead mic is 90% the sound of the kit. Usually blended along with a snare, and a kick mic. Stereo overhead, and two other mics is usually the perfect solution for most of the stuff I produce.
That being said, I will usually go with a stereo Royer SF-12 above the kit, and use a second SF-12 as the stereo room mic if at all. If I don't use the Royer and I wan't a bit more detail out of the kit, (like for a Jazz, or Bluegrass session) I will go with a old Neumann SM-69 stereo tube, and it does the trick Simple and easy.
For Acoustics, like mentioned earlier, a LDC if it's strummed parts, and for that I might use a U-67, U-87, Geffel UM-70, and sometimes with great results a Coles 4038. But if it's articulation I require, then a vintage AKG 451 E, AKG 414, or Neumann KM-84, or my favorite of all time is the tube Neumann KM-56~! (which I have a few specifically for Acoustic instruments!) You gotta hear them on Dobro's or Nationals.....
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Post by nobtwiddler on Mar 9, 2014 8:41:16 GMT -6
Pretty Straight forward here also... Using a combination of Stereo and Mono Subgroups. For example:
Bus 1&2 = Stereo Drums, the entire kit goes in here including any percussion....Compressors vary, but usually it's a Shadow Hills MC, a Smart SC-2, Neve 33609 or a Fatso if I want a bit of dirt. Now I usually duplicate the Kick and Snare tracks, and they also get sent to the Stereo Bus for a bit more oomph.
Bus 3 Mono = Bass, If I cut the basic tracks, then there is always two tracks, one is the bass Di and the second track is the B-15 amp track. These are processed separately, and summed to the one bus, and compressed with either a Distressor, a Chandler EMI Limiter, or a Universal Audio La2A, La3A.
Bus 4 Mono = Vox, This subgroup is for the lead vocal and any single line harmony, doubles, etc. Stuff that is usually panned up the middle. Just like the bass tracks, all the vocals in this bus get processed on their respective channels and then get summed to this bus. Compressors that I use a lot on this subgroup are, UA 1176, Requisite 2LA, Chandler EMI, Daking 91579. and sometimes a Distressor works!
Bus 5 & 6 = Stereo Guitars, Here is where all the guitars get summed, I don't believe you need compressors on guitar tracks, especially if they are heavy distorted sound, but if I'm working with Acoustic instruments, or clean choppy parts, I will usually put a pair of Daking 91579 limiters on here, and I also love the original Joe Meek SC-2 across the guitar bus. A lot of times the solo guitars will be taken out of this bus, and placed in another bus that let's them speak better in the mix.
Bus 7 & 8 = Stereo BK Vox, Keys, and everything else.. Again everything Eq'd on their individual input channels and summed on 7 & 8. I like to use a Neve 33609 here.
That being said, I might take things out of their "normal" busses, and place them in another if it works better for whatever I'm trying to achieve. There are also a few things that will get bussed directly to the stereo master bus, and that always has a SSL 384 with a bit of 4:1 compression on it.
Nothing fancy very simple set up, I've been doing this for about 15 years now, and it seems to works well for me.
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Post by nobtwiddler on Mar 7, 2014 20:51:30 GMT -6
I've got 2 Randall cabs here... The only way they are acceptable sonically in my opinion, is either with a low powered head, or when I use the Rock Crusher after a head.
Anyhow, I love the Vox Night Train, for clean crunchy sounds, the new small 1 watt Marshalls (3 versions) for a bit more gain, or Dr Z, Karmen Ghia...
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Post by nobtwiddler on Mar 4, 2014 18:43:03 GMT -6
Hey guys, I've had the pleasure of not only meeting Dave, but listening (if only briefly) to his channel amplifier on a few sources. I have to say, if he has built this with the same dedication and sonic footprint, as his AWTAC pre, then you all NEED to hear it! Although I have yet to audition this piece. His sonic philosophy is exactly what many of us (myself included) desire and talk about on these forums every damn day.
If nothing else, you owe it to yourself to give it a listen... In a nutshell, he's building modern classics. Trust me, you won't be disappointed.
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Post by nobtwiddler on Mar 1, 2014 18:37:11 GMT -6
John, " I'm gonna get a six pack of them when my ship comes in..." That's cool, but if you're gonna hang with a few friends and record, you need a case at least, don't ya think? haha
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Post by nobtwiddler on Mar 1, 2014 8:49:55 GMT -6
Aaron, Just a thought, by why not look into the in ears phones that the airlines use? Bought in bulk, these would most likely cost about 50 cents or less a pair. Every patron would get their own new pair, no health issues. Total isolation. Easy to drive with any amp. And your audience have a gift when they leave! Get a local joint to put their logo on these and maybe they will fund their purchase. Ya never know...
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Post by nobtwiddler on Feb 28, 2014 20:22:41 GMT -6
John, I'm just doing what I can to keep the dream /the Helios sound alive!
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Post by nobtwiddler on Feb 28, 2014 9:04:49 GMT -6
Hey Don, Was wondering if that was you? haha How goes it buddy, long time no speak. Good to see ya here...
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Post by nobtwiddler on Feb 26, 2014 20:34:02 GMT -6
I'd be all over these amps, if I didn't already own 4 x 50's/60's era Gretsch amps, that were made by Supro way back then. Love that sound.
By the way, Matt Smith (in the video) is one of my best buddies, I co produced and engineered 5 albums alongside him... Amazing guy, and he can play just about anything with strings on it!
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Post by nobtwiddler on Feb 7, 2014 7:42:19 GMT -6
Levon, you nailed it. The Wait-ish vibe, & production was exactly what we were going for!
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Post by nobtwiddler on Feb 6, 2014 20:34:07 GMT -6
Thanks guys... All cut live to 8 tracks via Radar, using my location / remote rig... A few overdubs, & bounces. but for the most part as it was in the room. Warts and all. But we captured the vibe, and that was what I was hoping for!
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Post by nobtwiddler on Feb 5, 2014 14:02:20 GMT -6
Works for me?
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