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Post by Randge on Feb 9, 2015 21:29:27 GMT -6
This was the setting that was hitting nearly -20 compression. Notice the first is at 2:1 and this one is 8:1. R Cool R! did you get a chance to use it on drums? and what does the all buttons sound like?(sorry if i missed a post somewhere?) We did, Tony. I can't remember what all got recorded as we were moving pretty fast. Jeff was needing to leave about the time players were sneaking in. Damn late musicians! Lol! R
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Post by Randge on Feb 9, 2015 20:25:56 GMT -6
Attachment DeletedThis was the setting that was hitting nearly -20 compression. Notice the first is at 2:1 and this one is 8:1. R
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Post by Randge on Feb 9, 2015 20:23:38 GMT -6
Attachment DeletedGary "Biscut" Davis is a 4 time Winfield banjo champ and works at every major show in Pigeon Forge it seems. He and I were on tour with Dolly together and he also produced her "Halos And Horns" record we did a few years ago. He is a monster player. This is the setting I used for pass 2. As you can see, there is alot more attack to be had and lots of flexibility there. R
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Post by Randge on Feb 9, 2015 19:51:19 GMT -6
Here is the quicky link I filmed as I let the drum buss print with the Fredenstein's on.
R
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Post by Randge on Feb 9, 2015 18:51:10 GMT -6
Hey all,
I am trying out a pair of the new Fredenstein F660's tonight on some drum buss duties. I really like how it sounds on drums. I can post some files later for you to hear but I want to get some time with it and take advantage of some mixing while I have it. Here is a quickie youtube vid I shot while printing a stereo buss. I am gonna buy one of their new 500 series comps and see what they are all about. They are really affordable if you have some 500 series space to fill. I tried out the Opticon from ACME today as well. They really work for grunging up stuff. When I went for clean, they didn't touch my CL-1B or the mint vintage Sta I am borrowing to mix this record with. My wallet is crying from hearing all of this good gear this week!
R
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Post by Randge on Feb 9, 2015 18:02:45 GMT -6
People are forgetting the power of Sirius radio and similar worldwide stations via the internet. Artists like myself are able to make a good go of it and build a fan base that is pretty substantial. I am not so sure that those artists aren't doing better than mainstream country artists who have sold themselves to the devil through a 360 deal with a major label, financially speaking. So, at what point do you call it success?
R
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Post by Randge on Feb 9, 2015 14:51:33 GMT -6
It was red lighting the 10 but not the 20 button on the reduction meter. I can just hear it get sluggish with that kind of extreme compression. The 2nd pass is where I would probably use it.
R
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Post by Randge on Feb 9, 2015 14:30:50 GMT -6
Sorry, classic country is coming back. I am watching it happen. More and more people are going back to it because they hate what is on the radio so badly. I can use Sturgill Simpson and Moe Pitney as a perfect example of two modern day acts that are going there with more to follow. They are both turning up the heat in Nashville at the moment. I am working with a 22 year old kid that is the best I have heard come along in quite a while as well. He is fully capable of becoming the next Daryl Singletary /Joe Nichols/Kevin Denny/Joe Diffie if he plays his cards right. I had the best of the best session country players in and they all spoke of how much fun the session was because it had some shit on the boot. I start mixing it tomorrow morning and will post more about as it unfolds to the public. Cowboy, Bradley Walker has everything. He is one of my favorite artists and that record was an incredible one to make with Carl at the producer helm. I was super fortunate to play on about 1/2 of the record. R Not to speak for someone else, but I think what Ward is saying is that classic country will never again be the top dog, money making, chart topping thing that it once was. But classic country (like classic blues, bluegrass, soul jazz, big bands, rockabilly etc etc etc) will always have a place in American music. A track of classic American music may occasionally buck the trend and become a hit, but there's no precedent of a style of music re-emerging to become popular again with the public at large. Stylistically, American music moves on at an alarming rate. For me personally, my whole thing is how roots music informs and supports something new. I disagree. I think it is coming back in a big way. Nashville will go through a everyone sound like Bruno Mars, and then it will hit. R
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Post by Randge on Feb 9, 2015 14:28:04 GMT -6
That is cause someone put the Retro OP-6 on top of the console tape saying what they were! So, all of the left channels were the 1731's and the right ones were the Red dots. Maybe Jeff can verify that for us.
R
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Post by Randge on Feb 9, 2015 12:19:17 GMT -6
This post has 61 views right now but only 7 people have actually downloaded it for a listen. Download this and have a listen people!
R
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Post by Randge on Feb 9, 2015 12:12:35 GMT -6
They just don't realize how many funeral homes would buy ad time or it would be a hit.
R
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Post by Randge on Feb 8, 2015 22:05:13 GMT -6
HAHAHAHA!
R
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Post by Randge on Feb 8, 2015 21:44:18 GMT -6
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Post by Randge on Feb 8, 2015 21:28:24 GMT -6
Comparatively speaking it was bottom heavy. That said, they are three very viable designs and I could make a record with any one of them happily. I just prefer my converter to be clean and not imparting any stamp on the sound to that degree.
R
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Post by Randge on Feb 8, 2015 21:00:05 GMT -6
That was also my assessment. I felt the Burl to be too wooly and bottom heavy at such a stage of recording when you should have what you want already dialed in. Too colored for my taste. Svart has a winner on his hands.
R
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Post by Randge on Feb 8, 2015 20:54:00 GMT -6
I tried uploading a bunch of pics but it says the website has exceeded its attachment space at the moment.
R
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Post by Randge on Feb 8, 2015 20:49:44 GMT -6
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Post by Randge on Feb 8, 2015 19:58:28 GMT -6
Sorry, classic country is coming back. I am watching it happen. More and more people are going back to it because they hate what is on the radio so badly. I can use Sturgill Simpson and Moe Pitney as a perfect example of two modern day acts that are going there with more to follow. They are both turning up the heat in Nashville at the moment. I am working with a 22 year old kid that is the best I have heard come along in quite a while as well. He is fully capable of becoming the next Daryl Singletary /Joe Nichols/Kevin Denny/Joe Diffie if he plays his cards right. I had the best of the best session country players in and they all spoke of how much fun the session was because it had some shit on the boot. I start mixing it tomorrow morning and will post more about as it unfolds to the public. Cowboy, Bradley Walker has everything. He is one of my favorite artists and that record was an incredible one to make with Carl at the producer helm. I was super fortunate to play on about 1/2 of the record.
R
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Post by Randge on Feb 8, 2015 13:17:17 GMT -6
All moonshine, no hangover. Mix it, and it will be the worst. I had only beer since I had to engineer.
R
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Post by Randge on Feb 8, 2015 11:56:09 GMT -6
I figured so, Unit7, but I didn't want to leave folks hanging and wondering.
R
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Post by Randge on Feb 8, 2015 11:53:58 GMT -6
For me, most of the time, I spend quite a bit of one on one time with the artists in preproduction and we know what we are focused on and shooting for. So, I am able to be flexible with the tracking players if someone has a great idea or stick to the charted plan that is working. We try things both ways if time and money permits. So, with having a good idea of the game plan and preproduction behind us, I can use creative eq and compression on the way in. If I was unable to have the adequate preproduction done before hand,I track with a bare minimum of essentials and use outboard later. I do high pass needed instruments so the headphone mix sound clean and manageable.
R
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Post by Randge on Feb 8, 2015 10:25:32 GMT -6
Get em boys. Trust me, just get em. As many as you can afford. Regarding the build up for this event, I find this report almost on the cruel side I want to hear more!! I want pics. I want videos. Or are you guys still out partying, toasting and cheering for Jeff and his new gems?! I had to leave directly from this event and go to another event here in Nashville, where I was out all night. I did take Cowboy with me but he drove back home around midnight. I stayed and played music till 3:30 am. So, sorry that I wasn't here to give a report any sooner. I will be checking out Svarts stuff this afternoon and hope to fill you guys in on my findings there this evening. R
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Post by Randge on Feb 8, 2015 10:04:02 GMT -6
My "Mississippi" sax player friend wasn't able to come either. Give me a few days guys and I will post some pics and the files from the day yesterday. My bud, Gary Davis, did come and play some banjo. IMO, a banjo is one of the most difficult instruments to compress. Jeff's comps worked incredibly well at controlling peaks and getting it under control without smearing. We hit it with crazy extreme amounts of compression, too, and it held together. With moderate and sensible settings, I was able to make it impossible to hear any compression going on and that is what I want for that particular instrument. Up to that point, the Great River PWM 501 was the only comp I would dare to put on a banjo at tracking time. Jeff's 526 compressors maintained the banjos transients and smoothed out the file in the most musical way possible. I was also impressed how well it worked with everything from a finger shaker to a kick drum. I will be building a pair as soon as the kits are available. Magnificent work, Jeff.
R
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Post by Randge on Feb 6, 2015 7:46:08 GMT -6
Ha! Am I crazy or does it sound like that?
R
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Post by Randge on Feb 5, 2015 22:16:54 GMT -6
Not sure if it was how the files were processed but all of them have a buzzy/fuzzy/wooly sound to them that isn't flattering to rap.
R
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