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Post by RicFoxx on Feb 25, 2016 13:40:51 GMT -6
I tried it and thought it was better than anything I've used (except for the RND Master Buss Processors Limiter.) Do you use it on individual channels? Also some of their other plugs are fantastic (ik73 especially)
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Post by RicFoxx on Feb 24, 2016 5:46:32 GMT -6
I've heard about how some producers swear by the LA3A. I know it was used on Adele's 2nd album. I jumped from page 1 to 6, but from what I heard on page 1, I really wasn't lovin' it. It seemed to thin things out. I'd love to hear it on vocals if you can Ragan, perhaps that's where the LA3A shines? It definitely does not thin things out. Some might even find it emphasizes too much low mid. I love it. It puts things on lock down. I'll do some vocal samples if I get a chance. It definitely does not thin things out for me either the only negative on the unit for me is that it has a barely audible fizz way up high. Other than that I can say this is one my favorite compressors...especially on bass.
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Post by RicFoxx on Feb 23, 2016 7:43:37 GMT -6
Yep that 7720 sounds great modded (I have one) and the Gap La3a sounds good to! The vintech/distressor is a great pairing (you can hear it on my soundcloud song Field of Dreams primarily.)
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Post by RicFoxx on Feb 20, 2016 13:03:04 GMT -6
It could have been way more better for the price!
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Post by RicFoxx on Feb 20, 2016 9:22:53 GMT -6
I was actually surprised how he didn't drive most channels with VCC. Only a couple of channels were overdriven for effect... He als used VTM a lot and used VCC and VTM on Aux channels. When I bypassed the plugs on master channel the levels were pinned and I believe backed off the levels with both VTM and VBC Red. I watched this video (not the paid one) the other day plus read the GS thread where some techniques are revealed so I thought I'd try it. Took a demo a friend sent me (programmed drums, bass DI, 2 guitars and a scratch vox) all done on his mBox 3 Put VMR with VCC, FG-S and FG-116 on each track VMR with VCC BUSS, FG-RED and VMR on master 1. Cranked VCC close to/in to distortion on every track 2. Put FG-Red on CLA Mix Preset 3. Cranked VCC on 2buss 4. Channel by channel cranked HF/LF and comp Spent no more than 10 minutes. Sounded like CLA - honestly. Sure it was nowhere near polished and lacked any finesse/automation, etc but it really did have that loud in your face CLA thing. Tried adding L1 to every track but should have done that first like he does Sounded like a (poorly mixed) CLA record and when bypassed sounded like what it was - an unmixed 8 track demo. Definitely something to his way if you're looking for that. Wished I would have taken a bounce of it - was at a buddy's place. Give it a shot
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Post by RicFoxx on Feb 20, 2016 9:16:49 GMT -6
I watched the videos and it's cool to have the session to look at what's going on. The drums are the best part. Lots of stems...had his assistant take 180 tracks to 48. non existent guitar processing. The song is pretty good for tutorial purposes. The levels are insane and breaks all the rules especially the gearputz thread. He uses the trimmer plug a lot though.
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Post by RicFoxx on Feb 16, 2016 18:18:33 GMT -6
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Post by RicFoxx on Feb 16, 2016 10:41:35 GMT -6
Gap sorry ward
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Post by RicFoxx on Feb 16, 2016 7:09:20 GMT -6
Ive had this for a couple of weeks and I like it, or at least the idea of it. First time hearing a LA3A type compression and I love what it does...makes me want a Serpent Audio one or an original. The only things that I dislike are...the top seems a little sharp and a loss of all transient info. Probably put in a kenetek and better components.
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Post by RicFoxx on Feb 16, 2016 6:35:37 GMT -6
Im with wiz with drums...not a big fan of drums being spread out wide. I like a killer soundstage...like I have the best seat in the house of an incredible sounding venue...no disconnects and lots of room energy with the drums just popping (I like Tony's drum mixing from what I heard of his recordings.) Vocals out front but magically glued to the band. Separation without disconnect, no big walls of sound that are all together like that blackish purple color of all colors of play-doh mixed together.
Im definitely not good enough to get this going so I don't know if LCR is the answer...Ric
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Post by RicFoxx on Feb 14, 2016 9:08:36 GMT -6
Awesome interview...Down to earth! Good to see some Phoenix Audio stuff...those pres are fantastic!
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Post by RicFoxx on Feb 13, 2016 8:22:11 GMT -6
The Soyuz sounded fantastic and I agree with what one of the engineers was saying that a microphone can inspire a great performance if the vocalist is excited about what they're hearing in the headphones.
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Post by RicFoxx on Feb 9, 2016 12:48:01 GMT -6
Oh man...here's where I get flamed!!!! I track rock/pop/r&b vocals with a ton of compression. I might hit 3 compressors on the way in. Some mild distressor on opto hitting peaks into an 1176 20:1 pegging the needle on loud parts and maybe into the 176, also working, after that. I'll have the singer do a couple full warm up passes where I'm just adjusting gain, Eq and compression. I always try and get the mic pre to work for me first. I'm not afraid to bury the needle there either. I'm probably as wrong as an "engineer" can be. I don't end up with square wave files at all. They're nice healthy wave forms. I read a Sylvia Massey interview a long time ago where she said she wants to track a finished sounding vocal. Compressing well in to double digit reduction. I was so happy to read that because I was hiding my dirty little secret...I thought I was a closet over-compresser. A lot of the guys I know here in LA are very aggressive with vocal compression...tracking and mix. Maybe my records have that offensive, brittle, harsh vocal sound that we all hate and I can't hear it cause it's mine. I don't know... I do feel like I don't know what I'm doing when I read posts about how little everyone else is compressing but man...if I don't do it I end up with a plug in limiter on it so I can contain the vocal while we are in the tracking/rough stage. Granted I'm doing mostly fairly dense, aggressive music. Well, at least I'm honest!! HaHa....thats awesome! If a were a tracking engineer (with ears like yours:) in a proper tracking facility I would have absolutely no problem tracking with lots of compression. If it were not for the fact that I can monitor compressed/heavily limited signal without committing, I would have to compress on the way in (heavy compression helps me not oversing.)
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Post by RicFoxx on Feb 9, 2016 8:00:58 GMT -6
Personally for someone like myself who tracks everything myself and has a one room setup, I track monitoring compression only... that way I make sure Im not making a mistake that can't be reversed, I can manipulate/add compression to the track anyway I want in my proper environment! I use to have a separate control room setup that when I recorded other artist I could dial in compression and commit.
As far as compression, I love the 76 followed by an LA-2A for vocals/bass, the LA-2A on clean electric for tone, LA/3A on Dirty Electric/Background Vocals, VCA for Drums and VCA/76 for drum parallel.
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Post by RicFoxx on Feb 3, 2016 6:37:32 GMT -6
I do this with NI Maschine and it is very easy and creative for pop productions.
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Post by RicFoxx on Jan 31, 2016 20:23:05 GMT -6
Sorry to hear that Randy...,be strong and keep moving forward!
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Post by RicFoxx on Jan 31, 2016 19:00:45 GMT -6
Hey all, Just wanted to let my friends here know that I have two units left from the first run. These are ready to ship immediately, no wait. After these two are gone then it's going to be a couple month wait while the next run is built. Brad How much??
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Post by RicFoxx on Jan 27, 2016 12:49:04 GMT -6
NoFilterChuck or anyone else, how do you change the meters to show anything over-18dbfs yellow and anything peaking over -12 red or something like that?
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Post by RicFoxx on Jan 27, 2016 12:45:41 GMT -6
Nofilterchuck or anyone else, how do you change the meters to show anything over-18dbfs yellow and anything peaking over -12 red or something like that?
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Post by RicFoxx on Jan 26, 2016 6:35:24 GMT -6
F9 tutorials are well done!!
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Post by RicFoxx on Jan 24, 2016 16:39:50 GMT -6
oooh very good and nice what transformers They look like litz wire transformers.
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Post by RicFoxx on Jan 24, 2016 13:36:35 GMT -6
I monitor using console not software monitoring in logic while tracking which provides very low latency tracking with console but audio playback is not in time with what I tracked (barely out but out nonetheless.) Kcatthedog I've had Apollos for a couple of years and watch those setup videos many times
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Post by RicFoxx on Jan 24, 2016 8:42:57 GMT -6
What touch screen was he using
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Post by RicFoxx on Jan 24, 2016 8:00:30 GMT -6
This is the only reason I don't use Logic as my primary DAW. With the Apollo I feel like the recorded tracks are not played as recorded (timing wise.) This does not happen in PT! Otherwise I would just use Logic all the time. I monitor through the UA console...do I need to enter a global offset???
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Post by RicFoxx on Jan 22, 2016 11:42:43 GMT -6
The whole concept of "envisioning, choosing and committing" on the front end, before the song is cut relies on experience and vision of the engineer and producer. Two elements that seem to be lacking more and more as modern productions can't seem to capture the creative muse of older more visionary productions that we all cling to as the holy grail. These types of plugins and concepts exacerbate the problem. Of course, tools are the responsibility of the wielder of the tool, but we all know where this will lead.... More decisions being "put off" until the mixer gets it...... More "options" down the line. What happened to the "all faders up - sounds close to a mix" concept? Gone. Antiquated I guess.... Yep, my problems as a singer songwriter are...I want everything to sound huge and punchy, its hard for me to worry about engineering decisions when Im thinking about phrasing and voicings, patching in the moment kills my momentum and God forbid my DAW crashing. I lose vision as a artist, lack vision as a engineer and it causes me to get nothing done because I have maybe 30 minutes to an hour/day to do this right now.
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