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Post by rocinante on Dec 4, 2015 11:10:50 GMT -6
Ehhh.... i have to kind of disagree. You ever work on a Neve? Or a nice Trident? I am sure you have heard an sm57 through a Neve channel. Imagine a whole drum kit. Its alive. Its not even apples and oranges. Its a f'ing banana tree versus an over ripe kiwi. Im not a total gear snob. I mixed my bands first album on a vlz. But years later working on higher end consoles took me mere hours to get the results I spent countless days on. For a brief period I used a mackie for monitoring when I decided to go ITB for a few years. It wasnt horrible but it wasnt great either. Now for live work they are awesome. I have a mackie thats been to burning man 3 times and the damn thing is still kicking in our practice space. Now thats a mackie plug if there ever was one; Mackie: Survives burning man.
Nowadays I'm doing a good deal of work on a semi modded Ghost. Its no Neve but its definitely far easier to work on then mackies. I have so many options of what I want routed where its sometimes too much. I can be completely in the consoles path or run everything through a 1290 front end via my patchbays. Its really what im in the mood for. For me its more about options and ease of use.
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Post by rocinante on Dec 4, 2015 3:17:50 GMT -6
I hate 90% of the music on the radio nowadays. Back in the day popular music was mostly made up of talented musicians, who worked hard, had some good luck, knew how to smootch a little, and after years of building a loyal fanbase through touring and promotion got rewarded by being played on the radio. Those days are for the most part gone. Nowadays its money. You pay to play. I played and toured with some acts that had openers that paid them in the thousands just so they could be the opening band for 2-3 weeks. It was jaw dropping. And that was in the metal scene. But make no mistake there are some incredibly talented bands recording some amazing albums out there. And yeah they're using top of the line modern gear to achieve incredible results. They just arent played on stations that play Miley Cyrus. I was listening to Opeth's Deliverence yesterday. Ahh its just beautiful. Its 3 dimensional. The engineering skills on the drums alone (IMO) are a showcase of drum mic'ing and mixing mastery. Its very much top notch metal album production at its finest without the jejune quality of the nu metal mid swoop cookie cutter junk that infiltrated the metal scene in the early 2000s. And theres thousands of other albums out there that also integrate such masterful production. Gogol Bordello's "Gypsy Punks" is another that comes to mind. Its highly produced but not so much that its plastic or too generic yet still has that almost commercial quality. Also Between the Buried and Me comes out with some very produced sounding albums yet they're really well written pieces by some really talented musicians. Tom Waits is also still dishing out masterpieces every few years using a plethora of recording and production techniques to achieve his goals. I could go on literally forever. Point is these days (and for the last ten years) good modern music isnt played on the radio or on TV. Its played in a house or on a stage at a club and the only way you get to hear it is by sifting through the riff raff while sipping on a cocktail or reading posts like this one I'm throwing down right now.
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Post by rocinante on Dec 4, 2015 0:36:01 GMT -6
I actually got into a good deal of trouble playing music I engineered and produced and can completely understand anyone's reluctance. I can't even mention several documentaries I did the entire soundtrack to (if you've ever done them and know how much work was involved then you know how much that hurt) All just because I had streamable/downloadable tracks on my website.
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Post by rocinante on Nov 30, 2015 16:09:10 GMT -6
I remember eyeballing those awhile back and being intrigued by the size and form factor. Another is the wr-da7 which has a small cult following. Many felt the preamps were pretty usable. Others thought it was blah. But again at 48k.... Strangely they went up in price. I do enough live work that having one mixer for both would be really economical (I have an a and h 40 channel I use for live) Another interesting option is the studiolive rackmount with digital controller but that seems very centered on live applications.
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Post by rocinante on Nov 30, 2015 11:29:12 GMT -6
Yeah my experience too is only in the live realm. 01v96 was honestly my favorite for ease of use but the studiolive was nothing to scoff at either. It does seem that many ofvthem are limited to the 48k sample rate which makes them nearly useless for me as i import a lot of work done in 96k.
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Post by rocinante on Nov 30, 2015 9:40:48 GMT -6
So I'm curious about the recent deployment of somewhat affordable digital mixers. Anyone using a Gsr-24? Qu-32? Studiolive AI? Are the yammie dm2000s still relevant? Are you patching hardware in? How is the daw and plug in control? To have it all in one seems nice but i still like the analog workflow, are these newer digital mixers better off than a artist mix or mcu?
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Post by rocinante on Nov 27, 2015 18:02:08 GMT -6
Yep what Ward said and I'll add the 160 is great for drums especially kick and snare. Gives them both more girth. Great for rock, metal, hip hop, where yiu need the drums to sound heavier. Ill occcasionally have them on the drum bus during mixing as well. Ive also used the 160 with bass and gotten excellent results.
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Post by rocinante on Nov 26, 2015 16:35:27 GMT -6
Do guitars count? I would let it all burn before ever taking away my guitar and I would own nothing if I didn't own a guitar. I suppose ghe guitars are my studio centerpiece cause I doubt I'd be involved in anything related to a studio if it wasn't for the guitar. So removing guitars from the equation; I can honestly say I'm most grateful for my dual neve 1290's via Martin Adrianesse's pcbs and my u87. A close runner up is the wa76, followed by the helios then my various diy mics. As finicky as the 1290s can be they are simply my favorite pres. Heritage is a close second in the preamp department though.
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Post by rocinante on Nov 25, 2015 9:35:42 GMT -6
Dude doing the "Adele in 25 styles" is frigging talented. Im thankful for people like him.
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Post by rocinante on Nov 24, 2015 3:30:14 GMT -6
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Post by rocinante on Nov 24, 2015 3:27:15 GMT -6
I'll join in.
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Post by rocinante on Nov 24, 2015 2:23:09 GMT -6
Adele uses a rode n2 into a 6176. That is all. Afterwards there is a slight touch up with editing and some plate reverb but her producer/co-writter is a somewhat minimalist. And yes, her entire hit album vocals were recorded using that chain exclusively. And no, I don't usually like that genre but I think she's talented.
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Post by rocinante on Nov 24, 2015 1:23:06 GMT -6
Looking over some older mixes, it seems I've done "New York" aka (by me right now) 'split seperate parrallel compression' before but never gave it any thought. It was more an accident then something I intended on doing I'm sure. And rarely had I kept the track that way in the end it appears. It looks like I did it while setting up the mix, but in 4 out of the 5 songs that I found I eventually settled on an eq on the effected track. I'm not all that surprised that it had been done before and named but its interesting nonetheless. So thanks for the short history lesson and enlightening us with your experience fellas. Keep it coming, I always have room to learn more. Cheers Dylan
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Post by rocinante on Nov 22, 2015 21:36:00 GMT -6
Oh yeah I use a series of compressors often enough for vocals. 1176 into La2a can be just outstanding. A compressor in parrallel with a completely different compressor seems like it would probably cause phase issues (on top of other things) but I'm sure someone has tried it as an effect and considered it a success. I guess it would depend on the comp though and your attack settings. Worthy of experimentation imo. Mid-side parrallel vca tube split compression? Neat.
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Post by rocinante on Nov 19, 2015 23:37:10 GMT -6
Okay I realized that last statement of not using any of the SD grooves was not true. I guess I spend a decent anount of time making the beats which makes it feel like I never use the grooves but in the last 5 minutes I could think of 10 examples where I have. As a matter of fact just two days ago I used a couple of grooves for an 'inspirational' video we had peoduced and edited for a client as well as in the chorus of one of my own songs. So I guess my pants are pretty much on fire.
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Post by rocinante on Nov 19, 2015 23:15:40 GMT -6
Martin I mean console as in my Soundcraft Ghost but I also mix Superior Drummer within the DAW and the results are pretty similar (we are dealing with a sample software). Depending on the situation i will run each part of the kit i.e.; the snare, the kick, through its own channel and sum them via the Ghost busses (i also work on a Trident). Usually it's if I already have been working with other material this way. I also rarely ever use any of their full kit 'grooves' other than a 'fill' or ' bridge'. I'll use just the kick and hi hat and either fill in the other parts of the kit myself or I have one of my drummer friends do it (and watch them smugly put me to shame with just their fingertips). Obviously given the option a good drummer with a decent kit is vastly superior to superior drummer but thats not always available or what the client wants. Honestly I have yet to find a collection that actually has the beat I have in my head. Fortunately I know some incredible drummers that can.
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Post by rocinante on Nov 19, 2015 0:06:33 GMT -6
I still have my racked version as well. That makes two for two (dbx 160 being the other) of useful yet affordable hardware compressors I own that are now offered in 500 format (well kinda) I have been meaning to mod my vla II as I still use it on overheads somewhat regularly and read good things about the mods bringing it to another level.
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Post by rocinante on Nov 18, 2015 23:58:11 GMT -6
Noego, Not to lengthly at all. I'd say spot on. Welcome aboard.
Dylan
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Post by rocinante on Nov 18, 2015 21:40:40 GMT -6
I run each drum through its own track treating superior drummer like a recorded kit. I then double everything sending one to one bus via aux and leaving the other uneffected (and sometimes muted). While SD sounds great coming from the plug I always feel the need to tweak it a bit more especially in instances like fast heavy choruses where I need the snap of the snare to really come out. It also organizes it in front of me better and is easier (for me) to manage coming through the console. I also like having an effected bus and a 'raw' bus to play around with parrallel compression with.
Depending on the situation I'll do this through my console instead of the daw.
The elysia is on my 2016 wish list.
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Post by rocinante on Nov 18, 2015 21:26:34 GMT -6
The CLA 1176 on the bass preset does the trick every time. No need to waste UAD dsp. That's my go to nowadays. Bass going DI through a modded cham labs 7602 to la2a or 1176 then cla76 for final sheen. I don't know why the modded 7602 works the best out of my 1073 clones for bass but it just does for me.
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Post by rocinante on Nov 18, 2015 21:20:17 GMT -6
Dont get me wrong I like and use lexi. I use a microverb for that matter. Well two settings occasionally anyways. But with the H3000 I noticed the difference in quality immediately compared to my lexis. As for me, I too use hardware verbs for the dsp and its far easier to find a singers sweet spot using hardware verbs. Especially when they aren't feeling comfortable. Drowning them in reverb seems to make them come out of their shell. I've my eye on evilbay. Thanks again gents, Its your trustworthy experiences and opinions that have me returning to this great forum. And spending my dollars on something useful instead of the latest GAS rage.
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Post by rocinante on Nov 18, 2015 3:20:43 GMT -6
Tc m-one. Sold the rest of my supposed "good" cheap ones. I'm intrigued by this too. Is the M-1 comparable to anything not cheap? In other words; Is it steps above a Lexicon mpx-×××but not quite an Eventide? Can you get Eventide or pcm quality effects from it? I've read of more than a few hot shot producers who used Finalizers
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Post by rocinante on Nov 17, 2015 0:09:32 GMT -6
Im a little rough with cables to be honest but id say roughly half of my (20?) snakes are hosa and ive only had two jacks (individual jacks in the snake) ever die. Or more correctly; need to get fixed. The problem is; you realize that it's only the trs jack comes after you've ripped apart your gear, instruments, console, and are half insane and missing hair from trying to figure out why channel 13 doesn't have audio going through it. Of course in hindsight the jack seems like the likely candidate but while mixing, its one of the last. For some reason (out of fear i guess) i always imagine the worst and think: 'god damn it! wtf is wrong with the 1176 now?'
So yeah IMO Hosa cables are fine to use.
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Post by rocinante on Nov 16, 2015 14:01:19 GMT -6
Yeah but id hold out. Lots of problems right now. Do you remember how bad MOTU drivers were? You had the choice of about 10 pcs.. maybe. Mac was pretty much fine but windows users had to dig for the correct mobo in order for their $1500 core system to work. Lots of pissed off people at any rate. Now. The 424 card is nearly plug and play. I anticipate the same for the x-touch. They put way too much into it to just let it fail and thry know the market needs more daw control options.
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Post by rocinante on Nov 15, 2015 12:27:27 GMT -6
No its going to an unmanaged switchbox. I tried direct into the back of the pc but that wasnt great. I then went to the router which gave me the same results. And yes in PT 10 it still drops but in Studio one sometimes it wont even see it and I have to close it, then refresh it through eucon hui, then restart studio 1, then remove it from the list of ctlrs, then put it back on, and then it works. Sonetimes PT gives me a message that it had trouble communicating. Otherwise its an awesome controller. When it works that is.
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