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Post by noah shain on Sept 20, 2017 21:35:39 GMT -6
Water Coffee Snacks Tech services
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Post by noah shain on Sept 20, 2017 19:28:17 GMT -6
Overstayer MAS!!!!
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Post by noah shain on Sept 20, 2017 19:27:35 GMT -6
Happened to me. I think I remember it's a faulty relay. Fixed at the factory free of charge.
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Post by noah shain on Sept 19, 2017 10:18:59 GMT -6
Get your vocal and drums right on the edge of too loud and then push em up 2db.
I know, I know...you can listen to the instrumental when you're alone to get off on all the hard work you did that nobody can hear with that vocal up so loud.
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Post by noah shain on Sept 19, 2017 10:14:58 GMT -6
Boys! Gig was great! The whole week was a lot of fun. Got to connect with a bunch of friends, both locals and folks who travelled to the festival, as well as a ton of business types that needed their behinds kissed. All in all a success.
Cherry on top was loading my artist's backing band in to OmniSound to cut 2 of their originals. We did 2 guitars, acoustic, B3, piano, steel, bass, drums and vocals on the Legacy they have in there. Such a cool, historic Nashville studio. Marty Robbins owned it in the 70s and they haven't updated it much. It's like a working mans studio...really affordable and set up to cut stuff fast. Chris Mara sent me there when I couldn't find a room and asked for help. All my Nashville buddies told me it's one of their favorite rooms in town. So...it was a blessing to find it.
We did an LA style 17 hour cutting day. Ha! My buddy Duane Betts rolled by at 1 in the morning after some fancy AmericanaFest after parties and threw a few licks on the song for us...it was a blast!
All in all a perfect southern rock/country music week!!!!
I almost forgot! Matt Stager went out of his way to bring us a pair of his big bad 1As to use for the session. It was the first time I got to use the 1A on guitars...holy crap is it good!!! A foot off the grill and WHAMMO! Instant record. The house engineer Rory (amazing engineer and guy) immediately went to work figuring out how to get the boss to pony up for some Stagers.
Huge thanks to Matt S!
So...great trip!!
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Post by noah shain on Sept 10, 2017 2:02:16 GMT -6
Haha. Transformers alone put CAPI in a different league. Also, an output attenuator is not the same as the fader on a VP28 or an API console. Capi has far more in common with the circuits that define the API sound than new API gear does. JK tagged me and RB here cuz both of us own API 1608s that we were unhappy with until we both modded them with capi components and Jeff's guidance to get them closer to "real" API circuits. I'd say the difference is NOT subtle. Do a search and you'll find the thread where I posted some before and after files that ended up inspiring RB to do the mods too. Anyway...I don't know much about new API preamps except I'll never buy one. I also got kicked off a panel that API was sponsoring because I talked about the mods I did and that I have 8 capi Eqs in the console and 0 apis. But we all hear stuff differently and we all like different sounds. But I will say believer or not there is some science involved. The gear isn't filled with pixie dust. It's filled with components and it works based on the laws of physics. Capi stuff is designed and built a certain way and it's different than new API gear. It sounds the way it does on purpose. We like it because of facts, not feelings. Jesus H. Christ....OK, I'll have to try them. You guys know what you're talking about. I've just found myself not relying as much on mic-pre choice and more on instrument and mic choice/placement to affect sounds and tone lately. I will get myself a 28 and do some comparisons. I can move those 512v units pretty easily if I need to. #IthoughtIwasdonespeding$ongearthisyear I'm with you on mic choice and placement superseding mic pre in order of importance although certain mics paired with certain pres in certain rooms can be special. i also kinda learned the hard (expensive) way that there is no single mic pre that is gonna give me that magic button EUREKA it sounds like god moment that I looked for for a decade. It personally took me that decade just to learn to hear what might make one pre more valuable to me than another. You won't catch me buying a neve clone again. A neve EQ clone maybe (ehem...alctron...ehem)😉 I think most of the celebrated differences in mic pres are pretty subtle and the people that are choosing high quality mic pres based on experience (instead of trends or online mob mentality) have well trained ears and the subtleties they value might not even be audible to many ears. The obvious and unnacceptable difference between a mackie and a neve might actually be imperceptible to some until they are trained to hear it. The results of most shoot outs and A/B tests I've read would bear out that theory. Sometimes, depending on the context, the mackie or the old high school principal PA announcement Shure brothers mic pre is just gonna beat everything else. I've come to the basic rough conclusion that the order of importance in recording is something like this: Player Instrument Room Mic Pre and/or compressor. Sometimes compressor is higher on the list! Of course, with variations from time to time. But get yourself a vp28 with litz transformers and red dots and try two things...drive the input hard and back off the fader and then...flip the approach and go gentle on the input and push the fader up. That second method is rarely talked about on line but it's got a cool, different sound. In fact it's kinda the opposite of what you hear people recommend on line. But if you walk in to some of the well known API rooms in LA during a tracking session you might see mic pre gains set pretty low and faders pushed way up past zero. You might just recognize the character of it. It's mentioned somewhere on the CAPI site I believe. Remember that the older records that established the API sound were tracked and mixed on large format consoles and the signals not only went through the ENTIRE channel of those consoles (including fader amps and eqs) but then maybe went to a bus BEFORE they traveled through tape machine electronics, on to tape, back through tape machine electronics and ANOTHER trip through an API channel, maybe a bus, summing amps and then through ANOTHER set of tape machine electronics and on to tape again. So a single stage, modern API mic pre ain't really gonna get you all the way there... I'm not implying they are bad or anything, just that they are missing a whole bunch of API!! But capi got you covered. Poke around the site and read the well written descriptions and you'll get a feel for what Jeff is really doing over there. It ain't about cashing in on api's brand...it's about the sound of those old circuits. It's about the sound that fostered your client's belief in API. CAPI will get you to that sound and if you can build the kits you'll get there really affordably. A vp28 probably has MORE than double the molecule bending componentry of a new API pre. It's that good stuff in there that'll get your signal sounding right.
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Post by noah shain on Sept 9, 2017 17:03:11 GMT -6
Cool. Well I look forward to hearing your opinion. I'm most interested in what these might be able to do for kick, snare and toms. I'll report
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Post by noah shain on Sept 9, 2017 17:00:30 GMT -6
Yamaha Q2031A. Monstrously good Graphic EQ. It takes socketed input transformers on the back (features a transformer in/out switch for flavors) and can be upgraded with an output transformer for each channel as well (factory option). Super quiet and over delivers compared to any plugin EQ I've ever tried. I run mine into Zulu and it also offers 10db of analog gain if you desire. SCHWEET. Thanks -L. Those look cool. Do you have stock transformers in it? What are they?
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Post by noah shain on Sept 9, 2017 16:55:56 GMT -6
That's the Noah's we know and love! Of course my bank acct has been scared shirtless to hear about the Overstayer modules! I sold some precious stuff that I'll miss forever to get them. I been kinda alpha testing Jeffs stuff for years and many phone calls and emails and brain storming conversations. I know that Jeff has a handful of users who contributed far more than I did. These are revolutionary tools for working engineers. I had a deposit in on the modular channel for a couple years. Before it was even a sketch.
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Post by noah shain on Sept 9, 2017 16:53:08 GMT -6
Did you get the 73, which has to be used with the preamp, or the 75 which can run standalone? 75!
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Post by noah shain on Sept 9, 2017 13:51:09 GMT -6
The 1A is a thing of beauty
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Post by noah shain on Sept 9, 2017 13:42:14 GMT -6
Is it possible these eqs are good? Really? Buy one and tell us😎 I did I will
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Post by noah shain on Sept 9, 2017 8:52:53 GMT -6
Just got two Overstayer Modular Channels, 2 Stager 2Ns and a 1A and a Spectra-Sonics V610 (thanks to our own JK!) I'm super interested in those Overstayers. They're incredible
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Post by noah shain on Sept 8, 2017 22:55:50 GMT -6
Is it possible these eqs are good? Really?
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Post by noah shain on Sept 8, 2017 22:53:30 GMT -6
Just got two Overstayer Modular Channels, 2 Stager 2Ns and a 1A and a Spectra-Sonics V610 (thanks to our own JK!)
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Post by noah shain on Sept 8, 2017 21:16:17 GMT -6
This is the test that must be done! See, I'm not a believer. I am a believer in API though and so are my clients. I've heard all those CAPI GAR/RedDot shootouts and the diffs are pretty subtle. I got my 512v units for not much more than an assembled VP28. Would love to hear a shootout! roundbadge noah shainHaha. Transformers alone put CAPI in a different league. Also, an output attenuator is not the same as the fader on a VP28 or an API console. Capi has far more in common with the circuits that define the API sound than new API gear does. JK tagged me and RB here cuz both of us own API 1608s that we were unhappy with until we both modded them with capi components and Jeff's guidance to get them closer to "real" API circuits. I'd say the difference is NOT subtle. Do a search and you'll find the thread where I posted some before and after files that ended up inspiring RB to do the mods too. Anyway...I don't know much about new API preamps except I'll never buy one. I also got kicked off a panel that API was sponsoring because I talked about the mods I did and that I have 8 capi Eqs in the console and 0 apis. But we all hear stuff differently and we all like different sounds. But I will say believer or not there is some science involved. The gear isn't filled with pixie dust. It's filled with components and it works based on the laws of physics. Capi stuff is designed and built a certain way and it's different than new API gear. It sounds the way it does on purpose. We like it because of facts, not feelings.
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Post by noah shain on Sept 6, 2017 14:47:02 GMT -6
I'm a partner in a label from Alabama and one of our artists is playing AmericanaFest next week!
The band is Jimmy Lumpkin & The Revival. I've posted a track or two of it here. It'll be a big old shindig. We'll have 2 guitars, horn section, B3, background singers, pedal steel...a proper mess!!! Should be a fun show.
We are playing at:
The Basement East 9 pm Saturday, Sept 16
I'd love to have you guys out!
If you wanna come just let me know in this thread and I'll put you on the list. First drink on me!!!!
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Post by noah shain on Sept 1, 2017 22:22:49 GMT -6
I know I'll be the odd man out here but I just got 64 channels of Avid 16x16 and I quite like them.
I'm not too knowledgeable about converters but...
These sound good to me.
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Post by noah shain on Sept 1, 2017 22:16:16 GMT -6
I've done quite a few productions with programmed drums in place of real ones. If you take the time to do detailed programming and make sure it's "played" like a drummer and then print each drum track to audio separately (kick, snare, toms, oh, etc) and treat it like a recorded drum kit you can get it to sound pretty convincing. Curious to know what program you use? I've always recorded live kits, but I'm interested in programming drums on an upcoming project. Any recommendations? I've only used the Kontakt ones. 60s, 70s and studio drummer.
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Post by noah shain on Aug 31, 2017 8:25:23 GMT -6
Rowmat are these good or special? You love them?
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Post by noah shain on Aug 31, 2017 8:22:02 GMT -6
I've done quite a few productions with programmed drums in place of real ones. If you take the time to do detailed programming and make sure it's "played" like a drummer and then print each drum track to audio separately (kick, snare, toms, oh, etc) and treat it like a recorded drum kit you can get it to sound pretty convincing. Good advise, I forgot to change the Logic Drummer region to a Midi region to check if some notes where at the exact same velocity. And to my surprise there where a lot of. Lesson learned .... Logic Drummer needs some help to make it better. Happy again thanks for your help.... Make sure the left hand (snare backbeat hand) is behaving properly, i.e.: some ghost notes double hits and such and also make sure hats and rides aren't playing when the right hand would be busy doing other things.
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Post by noah shain on Aug 30, 2017 8:16:49 GMT -6
I got a pair of 2 Ns and a 1A. Only used them on drums so far and I am in love. Spectacular kit sound with just the 3 mics.
I was going for a fat, dark sound and I got it!!!
I'll be using the mics a lot and can report back more but the 1A out in front of the kit a few feet gave me exactly what I was after...big, bottom heavy image of the drum kit without cymbal overwhelm.
I can post the track here in a few days.
The 1A gave me exactly what I would want if I were to place an RCA in the same spot. The 2Ns were lovely in a Glyn Johns config.
Love these mics.
They'll be on every record I do. Can't wait to use them in guitars.
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Post by noah shain on Aug 30, 2017 8:11:14 GMT -6
I've done quite a few productions with programmed drums in place of real ones. If you take the time to do detailed programming and make sure it's "played" like a drummer and then print each drum track to audio separately (kick, snare, toms, oh, etc) and treat it like a recorded drum kit you can get it to sound pretty convincing.
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Post by noah shain on Aug 24, 2017 22:06:19 GMT -6
Amen
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Post by noah shain on Aug 21, 2017 6:31:40 GMT -6
Interesting thread to read. Quite a few left turns here and there but interesting. I'm thirty and probably on the older side of the millennial bracket, but a millennial nonetheless. I remember a childhood with not much more than MS-DOS - what appeared to be a glorified, more temperamental typewriter. And then I remember the days of that horrid dial-up sound, which sounded like the Alien was raping Dalek through an intercom. And I remember waiting up late nights in my room watching a white bar fill up to a blue bar telling me my song download had finished. While pirating the shit out of classic discographies, I can’t forget how genuinely excited and grateful I was every time that download bar said 100%. I burned CDs like a madman so I could go to school the next morning and give my friends a copy in the sheer hopes that they'd feel something of what I felt. And because downloads and leaks were still quite inefficient, I still spent every cent I had on new and old records, books and films and eventually live shows. And I also religiously combed through interviews with my favorite artists hoping they'd name drop a record or two that they liked. What I just described really is no different than anyone who is a lifer with this stuff. And I believe that any anxiety which exists around that incredible feeling - the feeling of being moved by art - is missing the point altogether. It’s not going away. It’s eternal. The technology is what always changes. More people seem to get hurt with each passing change. Yes, it’s true that comedians, chefs, youtube personae have all achieved a higher station than before. Music shares space with a ton of things - including gear lust! And there are a lot of distractions…A ton. So much that eats away at the self-discipline of even the most well-intentioned person of high integrity. It’s also true that a great deal of an artist’s development is his or her personal responsibility, compared to an era where a producer and a team of writers acted as a filter. The same goes for recording studios. If you want people coming through the door, you have to cultivate an experience level, an aesthetic and a musical vocabulary that is irreplaceable. Buying a pair of 1176s and a U87 means jack. The guys I assist under are working regularly because they’ve cultivated a number of skillsets. They’re good at making a joke at the right time. They’re good at making it feel like a record when the artist walks back in from the live room. They’re good at staying on top of which module is acting up in the console. They’re good at recognizing the holes in the synth collection and making a measured purchase that makes sense and adds value to the studio. They’re good at realizing that the upper register of the chorus is a little lacking in impact and may need a counterpoint two-octaves up from the vocal melody. They’re good at recognizing that the internet in the lounge is kind of shitty and we need a new router. Most of all, they know the difference between something that’s alright and something that’s “Wow!” They have conviction about that feeling and will go to bat for their convictions. Are they rich? No, but they’re starting to make more money in one of the most expensive cities in the world. And they pay it forward and are very forthcoming with the next generation of engineers and artists. No one can hear it and do it like they do it, but the attention to detail, the curiosity, the relentlessness - these things are admirable and make you want to be that good. I thought I was a good listener before I got to their studio but now... With all these obstacles to the craft, I still feel that, given time, you really do end up with some extremely, extremely talented and very savvy people making music. Ones who are more aware of how to, not just make a record, but also market it in a meaningful, non-slimy way that works. Extreme peaks among a vast mediocre plateau. Like I said, I'm barely thirty. What the fuck do I really know? But what I'd suggest is that it is not a good time for people who are half-in and half-out. And I don't think money plays as much of a role in this as everyone would have you believe. Furthermore, I don’t really buy into most narratives about what my generation believes or doesn’t believe because people making those claims are trying to approximate a whole which is so diffuse and so fractured that they just end up looking like idiots. (Columnists like David Brooks come to mind…) On another, semi-related note: Our country has always had a disdain for teaching and education and it really is bizarre. It is beyond an Achille's heel. It is an Achille's bullet hole to the chest. Nice post! However you appear to be overlooking the fact that recording music is NOT making music. Recording music may not be making music but I'd proffer that producing records is damn sure making music. The way I do it it is.
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