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Post by jazznoise on Aug 27, 2017 18:19:01 GMT -6
Don't forget that superior drummer has multiple samples per velocity layer per drum so you don't get that machine gun effect. Are you sure you're not hearing that? No but interestingly I'd wonder if the round-robin'ing involved in doing that is performed as well in an offline render. I offline render all the time for demos/client feedback as they're usually right but I'll do an online render for the final mix as my only act of audio superstition.
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Post by jazznoise on Aug 27, 2017 18:14:11 GMT -6
A punk band today would probably try to make everything sterile and perfect. You'd never hear anything like the original Misfits. As I understand it, those albums had no budget or time but they sound perfect for the material. Same deal with Venom. A band ruined by obsessing over production values. Even their 1996 re-recordings sound all wrong and too polished for the type of music. I don't believe there are any real new punk bands anymore. Hey now
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Post by jazznoise on Aug 27, 2017 10:22:39 GMT -6
Yeah the guitarist should probably go. Good news is that if it's a 500 seater church you probably have at least 300 guitarists to pick from.
Shame they don't have a full time engineer they pay to at least supervise the team and dot the i's and cross the t's. Would you put yourself forward? Seems a bit much, I know, but make the case that it's needed and suggest a token amount to warrant the hours you'd be putting in. For the rig that's there it'd make sense to have someone who is over it full time and with whom the buck stops.
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Post by jazznoise on Aug 26, 2017 17:55:56 GMT -6
I thought it was clearly just a photo. Studios do this all the time, stick all the mics in frame for an end of session shot.
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Post by jazznoise on Aug 25, 2017 4:47:47 GMT -6
Glen said they have 2 audience mics, but somewhere they're connected to the board via a Y-cable, hence the mono signal. The guitar player is kinda clueless about technology. so the amp he uses is cranked to 10, and his pedal board is on 2 and is super noisy. because his amp is set so loud, he turns way down, and the DI is in between his pedal board and the amp. So, his signal that heads to the converters is super low, even tho it sounds loud in the room because his amp is turned up so high. it's a tiny marshall amp, similar to one of these marshallamps.com/products/amplifiers/one-watt-series/jvm-1c/ The people running the console or Midas rig are just not paying attention to the meters for everyone, so they don't notice that the bass is clipping almost all the time. perhaps they can't control the Midas preamps from where they are in the room (they're in the balcony of the sanctuary, the Midas converters for the console are downstairs in the machine room) Sorry now, but not good enough imho. Things like bass are set and forget, the guy doesn't own a bass that's 30dB louder for certain gigs. If the channel list is consistent the settings are the same it's a 3 minute job of running around one sunday morning to never have the same issue ever again. Regardless, they're supposed to be professionals and they should be resolving those technical errors. Running clipped signals all the time is a pretty basic mistake. I'm not a FOH guy but 70+% of the time I've done it I've been asked for a stereo or multi-track out and I've always set the gain staging properly for my device and whatever one they've brought because I'm the sound guy and it's sort of my job. If they want me to do FOH, and do monitors and cue music between acts and make sure it all feeds the H4 they gave me then hey that's what I'm doing tonight. Audience mics need to be stereo, it's standard broadcast practice and they have the channels. Lose the 2nd kick mic if they're running low. Again if these guys are volunteers, I feel I'm probably overstepping my mark but the budget involved here implies they're paid so they should act like it. (Guitarist needs to be white lied into not ruining things either. Can one of the cool guitarists at service do a jam with him and maybe suggest "You know what I like to do? Properly gain stage my guitar" or something. It'll never self balance if that guy doesn't know what balance is. At the very least he's going to have the other musicians constantly adjusting to try and compensate.)
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Post by jazznoise on Aug 24, 2017 16:46:33 GMT -6
If you did the test and the result is no apparent noise then I'd argue his complaints are spurious and you should move on. It certainly doesn't correlate my understanding of a biquadratic filter. Unless you added an FIR stage, which would be fairly stupid in the context of a highpass. Regardless, digital filters never add noise. They're delay lines, not magic boxes.
It sounds like he's just talking shit for attention, to be blunt.
EDIT: Actually went through the mix session, I'd say you did a good job with what you had, I couldn't motivate myself to do a mix as there's a lot of prep work involved with all the clipping. Interesting to hear what was coming out of FOH - which seems to be mainly sax, drums and organ. There's a critical gain staging issue for this setup - a lot of things like the lovely bass tone are essentially destroyed by the clipping. -18 is plenty of room, the engineer should have all the gain he needs on the faders. With dynamic stuff like slap -24 is acceptable, there's no noise issues and the extra headroom isn't going to add major hum. If ye want to do nice production videos, he's going to have to let the setup mutate into a hybrid live/FOH recording setup.
What's the guitarist's story? He's DI'd, but it sounds like he turns up towards the end so I feel like he's using some dirt. Is it an active guitar or is the engineer turning up the gain? Regardless, I'd even just dangle a 609 in front of the amp.
I'd also argue for a stereo audience mic, because audience should always be ORTF (better band/crowd separation, very effective in this scenario to keep the ambiance off the band).
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Post by jazznoise on Aug 24, 2017 8:28:33 GMT -6
In a room that expensive, it'd be an injustice to not use the best equipment available.
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Post by jazznoise on Aug 23, 2017 17:09:16 GMT -6
Couple of ambisonics mics in the back there too! Very cool
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Post by jazznoise on Aug 22, 2017 17:49:23 GMT -6
A cardioid is half figure 8 and half omni. The sides of a figure 8 reject far more than the back of a cardioid. Top and bottom too. Do fig 8 ribbons null more deeply at top and bottom than "fig 8" condensers? I would think so. I would think the big difference is the off axis frequency response as large diaphragm mics can be very un-even when off axis. Excellent paper on dual diaphragm vs. single diaphragm condensors, not directly related but can be extrapolated from to better understand their operation. According to them, the low frequency response remains fig 8. cdn.shure.com/publication/upload/340/pdf_ea_dual_diaphragm_mics.pdf
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Post by jazznoise on Aug 21, 2017 20:25:30 GMT -6
Definitely easier to null bad room reflections with a ribbon than a cardioid or an omni. I don't own an RCA but I cut an album recently and used a ribbon for the lead vocals, ran it hot into my Art Tube MPAii for overdrive.
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Post by jazznoise on Aug 21, 2017 9:35:50 GMT -6
The abuse, the drugs, the mental illness, his death. The big star set up for the big fall. Showbiz isn't good for music. There are lots of unknown, indie musicians that are junkies and have personal problems including mental illness. I don't see these problems as being caused by the old model. You're being extremely facetious. MJ was part of a group of kids forced by their father to make music, and were abused as children from every corner. Regardless: name a major musical popstar that hasn't had a public meltdown and tell me the spotlight didn't make it a million times worse. I'm not saying that musicians and mental illness don't go hand in hand, I'm saying the media game is seeing how far you can build these people up before crashing them down into the ground and there's no tears to be shed until it kills them at which point the idea of accountability flies out the window and it's all just "tragedy". How can you see a child star like Michael Jackson or Britney Spears as anything except a victim? Or Gary Coleman or Michauli Culkin for that matter? People like Adele are 18 year olds pressured to tour until they have to stop because of bleeding of the larynx. People like Kurt Cobain who were already fragile were ruthlessly torn apart in the media spotlight. G'way with yourself.
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Post by jazznoise on Aug 20, 2017 12:13:37 GMT -6
Lots of people bemoan the internet's democratization of music. I think they're dead wrong, and I'm not said if no one ever gets to be the next Michael Jackson. That's a hideous paradigm and it has nothing to do with music. I'm trying to understand your point here. Having grown up listening to Michael Jackson from his Motown days to his solo career, I think he made marvelous music through the studio/label system and evolved with the times setting new/different standards of excellence. What's so hideous about that? The abuse, the drugs, the mental illness, his death. The big star set up for the big fall. Showbiz isn't good for music.
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Post by jazznoise on Aug 20, 2017 6:20:09 GMT -6
My shitty 600 facebook like band played 25 shows last year playing all our own original music and we got paid every time and that's in a country of 4.5 million where everyone and yr mom is in a band and there's only a handful of venues per city. So my premise is this: youth culture is still there and can still be engaged with meaningfully, but you can't dictate to it.
If you're into independant/punk music, the community has maintained the same mechanics since the 80's and plenty of people are organizing shows and trying to give each other an honest chance at seeing the word. The world has changed and you're less likely to be both a rock band and a serious commercial success than in the last 30 years. The 00's 'landfill indie' craze in the UK is something I blame for that, as well as the post-punk revival stuff that came out of the US. What did become viable was the dance-punk stuff, like Bob alluded to and bands like Bloc Party, LCD Soundsystem, YeahYeahYeahs. However in terms of independent music the stream of music has been unwavering - while that stuff came out bands like Arab Rader, Lightning Bolt, The Locust were all doing their thing and also touring. The Yeah Yeah Yeahs actually got booked for a show in my town of 150,000 before they got big. Then they blew up in size, still agreed to play and the show was rammed to the rafters.
If you're in Hip Hop in Ireland, it's a good time to be doing it. Dance music was the same 10 years, but in general when communities rely on others the music falls apart as soon as the accountant tells them the manager to stop booking these dorks and that's what happened. The problem I think you're all trying to address is that 'real' music fans are often broke weirdos, and tickets are the easiest sell for them. Then t-shirts and records. Very often the bar doesn't make much from those guys. When the kids take drugs and don't buy drinks the bar doesn't want anything to do with them. You need that young professional or older music fan crowd to pay the bills for the bar, but they're also the worst for not buying merch and they often hate good music and just want to hear old covers.
We started organizing shows in town and the quality of music coming out is amazing, there must be half a dozen genuinely good bands in just my town and we're meeting and hearing about loads of great local artists all the time. I'm genuinely enthused by new Irish music, but the press would give you the idea that all is happening is uke's and bad falsetto singer-songwriter trash, ironic white rappers and bed-wetter indie. I think it's coming around again in many ways, and certainly here it feels like a good time to be making music in a band.
Lots of people bemoan the internet's democratization of music. I think they're dead wrong, and I'm not said if no one ever gets to be the next Michael Jackson. That's a hideous paradigm and it has nothing to do with music. It is far less financially punishing to be a kid in a band then it was 20 years and that's an objectively good thing. Most of my favorite bands had a job for several of their first albums, if not the entire way. Do these bands have money to give audio professionals? Not really. Is that their problem? No, not really. Are they on less money than their peers were historically? I don't think so.
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Post by jazznoise on Aug 17, 2017 11:47:41 GMT -6
I have friends that tour on the "living room show" thing. They love it. We've done living room shows for bands and often even with less than half the capacity they make more than a venue show would. It's the obsession with "professionalism" that hinders so many, you have to do what's right for you.
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Post by jazznoise on Aug 16, 2017 16:17:22 GMT -6
Fuzz Face (easily built)> Vox Wah (Hendrix Mod) > Octavia (Build a clone, but the Octavix does it fairy well). Dirty amp, something Marshall-y. The modulation FX and delay are less import than having an amp that can gain stage that stuff well.
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Post by jazznoise on Aug 16, 2017 5:24:11 GMT -6
The first one isn't bad for the style, I'd consider cutting around 5Khz in the overheads and taking out a little bit of the 180Hz in the kick. Is there supporting snare and tom mics? They could do with a little more body.
Something funny about the sax sits but maybe it's just it's the only thing getting that much reverb. There's some midrange interaction 700-900 between it and the keys, try soloing them and seeing if you can use something notching to get some better seperation.
Second mix: Low shelf on the bass around 150Hz and boost the fundamental of the kick, the sensation with that sort of slap thing is that the bass's fundamental implies more low end in the bass than it actually has. Same issue with the brass and keys, spot mics for snare and toms. There's some bright FM string sound on the right that's not doing anything for me. Not sure how you'll fix it, but it's not adding much musical to my ears.
Feel like a dick listing of that much but it's small stuff - 2dB changes here and there. Tell the keys player to sell his DX7 though.
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Post by jazznoise on Aug 16, 2017 5:15:25 GMT -6
I used to suffer with this more, but I haven't in a long. I think the big ticket is clear communication. I meet with artists prior and I talk through them with their expectations and experience, and I'll be honest with them - ie. you won't do Pet Sounds in a day, but here's what you can do and here's the level of preparation that will best let you do it and based on what they tell me I'll give them a rough schedule in advance. If they're unhappy with the reality of it, I'm not going to sugar coat. I'd be doing a disservice to promise them something we couldn't deliver in the time we've agreed, and I tell them that. But then I'm a weirdo in that I consider the work somewhat vocational - I'm supposed to be making band's lives easier. It's fixed fee for a day in the studio with me, because anybody who charges hourly always ends up doing overtime or if not the band start freaking out 45 mins before the time is over. I'd rather we got the work done and didn't look at the clock outside of going for lunch. Obviously I do deals if the band can't afford my rates, but with live recordings the process is usually pretty cheap. My mix rates are cheap because I record what I mix and most mixes are usually simple and unattended and I think bands find this process of paying more and more time to do less and less work bizarre, I'd rather just charge more for the day I'm recording with them to offset the hours. adamjbrass 3 revisions: Rough, Middle and Final. Encourage them to not seek opinions outside of the band, as it quickly turns into "My girlfriend asked why my vocals are quieter than the other singers especially since I'm more handsome?". I also tell bands straight out, I've seen records shelved over A&R agents in tiny international labels and loudmouth boyfriends. They need to be in control all the way and you're there to facilitate their decision making process.
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Post by jazznoise on Aug 15, 2017 15:57:33 GMT -6
Woah nelly
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Post by jazznoise on Aug 5, 2017 7:32:10 GMT -6
I think you'd have to be able to have a switchable frequency on that shelf. I often start around 450Hz to tackle proximity effect!
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Post by jazznoise on Aug 4, 2017 18:36:03 GMT -6
More up in the air with the last 2. A has a faster release than B, which works better for the voice I feel but the acoustic guitar seems to pump a little more. Again, if you like that sound, then that's totally fine. It can be too much for some. If we're making me choose, and we are, I prefer A. Thanks for the feedback. FYI the guitars are unchanged. The vocal compression is the only variable that switches. Wow! Weird, I was hearing it as 2-bus compression. Still stay with A, sits better with the track whatever the reason.
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Post by jazznoise on Aug 4, 2017 17:43:26 GMT -6
More up in the air with the last 2. A has a faster release than B, which works better for the voice I feel but the acoustic guitar seems to pump a little more. Again, if you like that sound, then that's totally fine. It can be too much for some.
If we're making me choose, and we are, I prefer A.
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Post by jazznoise on Aug 2, 2017 16:44:03 GMT -6
The cross-borders stuff is nonsense. I have a European healthcard, meaning I get the same access to healthcare everywhere in the EU. That's places with different laws, different languages, different medical practices. Not having insurance in Ireland, however, is increasingly unwise but I can't afford it so..
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Post by jazznoise on Aug 2, 2017 9:41:18 GMT -6
Very good reverb plugins like Softube's Tsar-1 are hard to argue with, though I admittedly use my TC M-OneXL much less then I should. Mostly as a delay line for room mics.
The only thing I'd add is a room mic always sounds better feeding most reverbs than the dry source, I think it's easier to manipulate an acoustic space rather than just try to replace it.
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Post by jazznoise on Aug 2, 2017 9:35:06 GMT -6
The mic seems considerably brighter when you remove the load resistor, which is interesting. Can't say I'd have a defined preference, as on a more sibilant voice it might be problematic. Lovely low shelf filter there i will say, once applied you can quickly hear the vocal sound how it might need to in a mix.
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Post by jazznoise on Aug 1, 2017 16:46:01 GMT -6
Compressor 1. Compressor 2 is robbing some top end off the track and the long release isn't working. The short release on Compressor 1 is a little pumpy, but I think it mostly works here - some sidechain filtering would fix it if you really want to be picky.
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