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Post by yotonic on Nov 14, 2021 21:52:47 GMT -6
Chasing that James Gang "Funk 49" mojo with a pre-CBS Fender Vibro Champ
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Post by yotonic on Nov 14, 2021 14:43:14 GMT -6
Four takes, comp... If there is anything left to fix, punch, and done
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Post by yotonic on Nov 12, 2021 22:11:56 GMT -6
That mic channel is cranked, and it also sounds like it has an 1176 on it. Obviously doubled, and great control over mouth noises etc., because it's hot. He's singing in the classic "conversational style" of a lot of pop vocalists; Rob Thomas etc.
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Post by yotonic on Nov 12, 2021 20:45:48 GMT -6
Don't forget that in those days, studios had Engineers, and guys rode the faders on vocals, still the best way to get a present vocal, better than compressing.
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Post by yotonic on Nov 9, 2021 21:05:24 GMT -6
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Post by yotonic on Nov 8, 2021 19:35:16 GMT -6
I was just listening to "Shelter" by Ray LaMontagne and remarking to myself how much more soulful his voice sounded through the SM7 on that record as versus his "God Willin The Creek Don't Rise" where vox were through a Neumann M49. Too crisp. If you have the right voice the SM7 is the tool. But you have to give it a chance and lsten to it in a mix. It's a little bit of an adjustment after all of these LDCs.
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Post by yotonic on Nov 6, 2021 17:08:15 GMT -6
You could own 46 Behringer preamps for that.
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Post by yotonic on Oct 31, 2021 20:32:56 GMT -6
I've bought "vintage" Quad Eight and Electrodyne stuff over and over again, and never wind up keeping it. Throw Sphere in there too. Just ordered some reissue Electrodyne gear, fingers crossed. I'm a sucker for Quad Eight anything.
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Post by yotonic on Oct 21, 2021 18:04:38 GMT -6
There's no egocentric rhythm guitarist who wants more "them" in the mix, there's no self-conscious vocalist who is the absolute best part of the band, but insists on being further back in the mix, and there's no song writer who is unintentionally rewriting a very famous John Mellencamp melody... Then what's the point?
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Post by yotonic on Oct 20, 2021 22:02:41 GMT -6
This sounds so good. Really high caliber playing and production. Funny thing is, Scott Weiland would have been right at home on this. It has subtle similarities to "Sour Girl" which is one of my favorite songs by Dean.
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Post by yotonic on Oct 20, 2021 17:49:31 GMT -6
Lexicon PCM 96 / Love it.
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Post by yotonic on Oct 12, 2021 18:08:22 GMT -6
Room treatment is critical but.... my original Teletronix LA2A is the single most important piece of gear I own. Blows my original Neve 1073s out of the water. I could make a great sounding record with this thing in a dumpster. Some pieces are game changers, just like great quarterbacks. Make the moves you can make now, but if you ever get a chance to grab a great piece of gear do it. You can't flip room treatments, you can always get your money and more out of a vintage Neumann.
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Post by yotonic on Oct 12, 2021 17:56:04 GMT -6
Preamps are like microphones. You need to choose the one whose characteristics you want imprinted on your guitar track. My Neve 1073 has more bass-end than my Wunder and my API has more mid range cut than my Quad Eight. If you record your own music, tailor your gear to your sound. If you record others then you are going to need 3-4 preamps to cover your bases.
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Post by yotonic on Oct 6, 2021 20:53:46 GMT -6
Pretty much my favorite two singers in rock history. Which one has the better clean channel and which one has the better overdrive?
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Post by yotonic on Oct 6, 2021 19:53:37 GMT -6
A&C plug ins. B&D hardware. B is an 1176 plugged into a wall socket somewhere in western Kentucky based upon the cycles I’m hearing. Clearly the wall socket is running at 116 as versus 120. I suspect that’s because of the beer cooler you have plugged in on the other wall. 😎
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Post by yotonic on Oct 6, 2021 16:27:31 GMT -6
So it's a spring reverb?
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Post by yotonic on Oct 5, 2021 22:43:44 GMT -6
The two files are not the same volume so that threw me a curve ball. In my experience plug ins always rob some content and dimensionality of the source, similar to a Xerox copy. Your B file sounds more dimensional to me and less collapsed. So I would expect that to be the hardware file. I’m also listening on an iPhone…. Lol. But even on this thing there is an audible difference between the two files.
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Post by yotonic on Oct 5, 2021 22:36:54 GMT -6
It’s hard to find a good U67 nowadays. They just don’t come as often. I’ve been looking for at least a year and haven’t found anything worth buying.
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Post by yotonic on Oct 1, 2021 17:32:00 GMT -6
I like the close mic approach for a pop Elton John sound. I have pair of KM84 set up like Gus Dudgeon did for Elton John and it sounds fantastic. I picked up the idea from Val Garay and it works. I've done the matching U87s, the 6 mic configs with a 251 room mic. This setup is simple and sounds like radio, when the material is pop.
VAL: "My favorite piano to record is a pre-WWII Steinway B 7′ Grand (http://www.steinway.com/pianos/steinway/grand/model-b/). The amount of punch and size of that piano has been unmatched in my experiences. My mics of preference are a pair of AKG 452EB’s, but you can also use AKG 451B’s. I place them on the inside facing down at the strings at an angle of about 15 degrees towards the pianist. The mics are just about centered with middle C on the keyboard and the capsules are spaced between 15 and 20 inches from each other. The angle between the two mics is about 75 degrees with the capsules about an inch off of the strings and 3-5 inches back from the hammers.
I learned this technique from sessions with Elton John’s producer, Gus Dudgeon, back in the early ‘70s at the Sound Factory, Hollywood. We were doing strings and horns on “Philadelphia Freedom.” I couldn’t believe how huge the piano sounded. I’ve been micing pianos this way ever since and it never fails to produce a massive and wide sound."
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Post by yotonic on Sept 28, 2021 1:22:56 GMT -6
Nice punchy little loud mouth Martin OM 28. Well built, great player. And records nicely so far.
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Post by yotonic on Sept 28, 2021 0:59:42 GMT -6
The M7 seemed to resist to EQ a bit more, which is probably why as drbill says it doesn't stack well.. Actually Vincent, I DIDN'T say that it didn't stack well. I just said it was big sounding, and doing 10 doubles on group vocals in a mega-pop style arrangement, I just decided to go with a different mic (UM70 male, KM86 female) for textural choice. On other tunes, I actually DID stack with the Heiserman M7 and it was fine. It EQ's fine to my ears. just for clarification. For me, the Heiserman ROCKS!! Did you say “Mega Pop Arrangement “? Lol. We are all way too old here. I’m frightened by the thought of what that is. Pretty sure Dr. Luke doesn’t use the phrase mega pop arrangement 😬 But I definitely understand your vernacular!
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Post by yotonic on Sept 24, 2021 0:08:45 GMT -6
Right now you can’t be in music production if money matters. Sadly, thanks to Silicon Valley being in the music business is akin to owning a vineyard.
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Post by yotonic on Sept 23, 2021 13:51:27 GMT -6
I still use it alongside outboard reverbs from TC & Lex
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Post by yotonic on Sept 22, 2021 20:44:46 GMT -6
Dr. Bill & John nailed it. Time is money. Artists & Producers are in short supply of both.
However, classic analog gear is a good investment. I have some pieces that have appreciated in value enough to buy several Mac computers and a pile of plugins.
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Post by yotonic on Sept 18, 2021 23:05:03 GMT -6
Reverb sends need to be full wet on the FX box... I've used a TC m2000 for eons without problems. Clipping? Never if anything it needs a gain bump on the output side. Used it via SPDIF loop with a Focusrite & windows no problems. These days with Logic I default send 1 & 2 to outputs 15 & 16... feeds the analog ins which return to a pair of channels on the SSL... console summing here not a true ITB loop but still never clips. Not unless I get stupid. Check your IO settings again. And the wer dry mix. If the mix isn't 100% wet it could clip and also create phasing issues... Damn it I hate it when he beats me to it! 😎 All I will add to what the moose said is a limiter on the send is seldom a bad thing! Also an RTA on the send to see where your clipping can teach you a lot. The first thing I do when I find that I am either clipping or distorting is reach for sound tools on the iPhone to find out where I’m clipping, it makes tracking down the why easy. The limiter did the trick. I was using a reverb with a long decay. Thanks
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