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Post by mitchkricun on Dec 26, 2021 9:00:53 GMT -6
Hope everyone had a great holiday!
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Post by mitchkricun on Dec 18, 2021 14:16:01 GMT -6
post some clips if you've made anything with it! I wanna hear the Otto tune also! Chris When I make something with it you guys will be among the first to know!
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Post by mitchkricun on Dec 17, 2021 8:40:27 GMT -6
Interesting. It's a big hairy on the top end for my tastes though. It can be, for sure. But it has the option of several impedance choices, so it can be tailored.
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Post by mitchkricun on Dec 17, 2021 7:59:13 GMT -6
I just thought I’d pass along a new amp sim plugin that really impressed me by Otto Audio. It’s definitely all about distorted sounds. It doesn’t even do clean, or even overdrive for that matter, but I demo’d it and shot it out against all my usual ITB distorted tones, of which I already have too many, and came out seriously impressed. So I caved and bought it. I enthusiastically recommend you demo it and listen for yourself. I’m not a metal guy, but I find heavy distorted sounds useful in lots of situations, and this thing delivers, imo. Enjoy!
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Post by mitchkricun on Sept 25, 2021 10:37:12 GMT -6
Amazing to be blown away all over again by something I “thought” I already knew… Such a gift. Thank you Thank you Thank you.
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Post by mitchkricun on Sept 25, 2021 8:22:36 GMT -6
How do the OH’s sound solo’d? That’s one thing that always messes me up with SSD5 libraries. They just don’t sound like any OH’s I’ve ever heard in my life. Interesting...How so? (or, as it seems the case may be, how NOT so?) I guess what I’m saying is, if my eyes were closed and someone was soloing the individual channels one at a time, I would guess the OH’s were room mics. They just don’t sound like mics over a kit to me, perspective wise. The close mics almost always sound better than what I’m able to achieve with a real kit, but the OH’s seem to sound way less representative of good mics over a kit. I don’t know, maybe I’m crazy…
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Post by mitchkricun on Sept 22, 2021 15:17:02 GMT -6
How do the OH’s sound solo’d? That’s one thing that always messes me up with SSD5 libraries. They just don’t sound like any OH’s I’ve ever heard in my life.
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Post by mitchkricun on Aug 20, 2021 6:57:14 GMT -6
Not to be contrary or state the obviouse But…. It’s so much better when the drummer plays with the proper dynamics. Or can be directed to think about that if they aren’t at time when tracking. I can’t stand hearing a hard hit snare turned down. It sounds loud quiet. I love that last line. So true…
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Post by mitchkricun on Aug 20, 2021 6:46:36 GMT -6
Not much to add here because most things gave been covered. Good source, good room, GOOD PLAYING are a given. If you don’t have that, good luck. I almost always use parallel compression and nuke the room. Making sure the phase is tight also a big one. Adding samples can really help too as many have pointed out. One thing I can add is, overcompressing can totally suck the life and depth out of a drum sound. If the drums are too dynamic, consider bringing the room mics up until the kit is more dynamically balanced, instead of adding more compression.
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Post by mitchkricun on Aug 11, 2021 17:39:33 GMT -6
As a writer: Beatles Jellyfish Fountains of Wayne
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Post by mitchkricun on Jul 23, 2021 19:09:59 GMT -6
Weird. I set out to tune the individual elements by ear and with all the internal processing turned off, when I switch the output of the snares to 3&4 it sounds like a totally different sample. Switch back to output 1&2 and it sounds right??? This is with all the internal plugs bypassed. None of the other busses do this. I switch the OH’s from output 9&10 to 1&2, no different. Just the snare Buss.
Btw, this is on the Nashville Punch preset in the Bob Rock package. I haven’t tested it in other kits.
The workaround for now was to solo the snare Buss, bounce to a new track using output 1&2 and it sounds how it should. Bizarre… Thanks for the suggestions!
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Post by mitchkricun on Jul 23, 2021 18:32:39 GMT -6
I am outputting the busses to my DAW. The individual elements get bussed internally in SD3, then I output those busses to channels in my DAW. Sounds completely different though. I’m not sure what you mean in your last sentence though… I may have misunderstood. You were saying you've got whole kit processing on output 1-2 but when you bus things out to individual outs, that processing was on the kick because the kick was bussed to output 1-2. I just meant don't route the individual tracks to outputs that are being used by internal SD3 buses that you want to keep. As I think about it, though, I think it still won't do what you want. If you have internal SD3 processing on the whole kit that you want to keep, there's no way to have the individual tracks both routed to DAW auxes and have internal SD3 processing on the whole kit. If it were me and I was head over heels for some preset but wanted individual DAW auxes for the drum tracks, I'd just copy the SD3 processing with plugs in the DAW. I haven't found the internal SD3 plugins to be good enough that I didn't think I could do better with my usual DAW stuff. Might even be a valuable mixing tutorial, going through all the routing and processing and figuring out what it is you like so much about the SD3 preset. I get that, and that’s what I usually do. I’m just working on a song and I just really dig the preset as is sound and punch wise. I just want be able to automate a few things and maybe add a better reverb without putting it on the whole kit. I guess I’ll just recreate the processing by ear. Was just hoping for an easier way. I thought about muting everything but the kick-bounce, everything but the snares-bounce, etc.
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Post by mitchkricun on Jul 23, 2021 13:52:51 GMT -6
I would just leave the bussing intact within SD3 and output those busses to auxes in your DAW. For the individual elements, output them to channels that aren't already being used by the preset. Would that work? I am outputting the busses to my DAW. The individual elements get bussed internally in SD3, then I output those busses to channels in my DAW. Sounds completely different though. I’m not sure what you mean in your last sentence though…
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Post by mitchkricun on Jul 23, 2021 12:58:22 GMT -6
Hey SD3 pros! Let’s say you really like the sound of a particular preset in Stereo. How do you keep the exact sound when you use multi output and bus the individual drums to their own outputs? I know they use internal “plugins” to create the presets, but when you Buss the drums out the processing seems to get lost. For instance, a stereo preset may have processing on output 1&2 for the whole kit. When you Buss it out, that processing just ends up on the kick because I Buss kick to 1&2, snare to 3&4, etc. You seem to also lose the internal routing to fx and other processing. Any quick way to retain the exact sound of the preset, but have additional control of each element for my own processing, automation, etc?
Thanks!
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Post by mitchkricun on Jul 14, 2021 8:45:51 GMT -6
Very generous responses! Thank you! To further clarify, I’m 55 yrs young, still churning out new original music (check the “What Are You Working On? Forum), with no delusions of becoming a popular artist at this point. I would love to get some placements, but having a difficult time getting anyone to listen to my material. I’ve yet to get a response saying, “We checked out your music but it’s not what we’re looking for” or “The production value is not up to snuff”
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Post by mitchkricun on Jul 13, 2021 12:53:29 GMT -6
When you say 50/50 split on publishing I presume that you mean they take all the publishing side, and you get the writers? That deal is not unusual. Usually comes in the form of "in perpetuity" music library deals. Unfortunately at this point in time, I no longer take those deals. Certainly not for $500. It is essentially a buy out of everything - leaving you with only writers royalties - and writers royalties are in decline with streaming. The life and earning potential of a song is far greater than $500 IMO. I would pass. But good luck with whatever you choose!! Cheers, bp Thanks Dr Bill. I hear everything you said. I was really hoping you’d chime in, so thank you. I agree with everything you and others have said. I know it’s not a good deal, but it’s good to hear that it’s not unusual. Sorta… Part of me is thinking it could be a “foot in the door” to let them have 3 of the 7 they want to acquire and see how it goes. Then it might be easier to approach other agencies if I have a few placements?
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Post by mitchkricun on Jul 13, 2021 12:30:33 GMT -6
Owning the masters with no expiration strikes me as kinda fishy. I’m assuming these are songs you’ve written for artistic purposes, and recorded at your own expense? (As opposed to works for hire whose productions were paid for by this label) That’s correct. Most of the songs are almost 20 yrs old though. I’m considering saying yes to the ones I don’t care that much about. Truth is, I have pretty much zero connections in the Sync world, and not feeling like there’s much chance on these songs generating any income without an “in”.
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Post by mitchkricun on Jul 13, 2021 6:34:08 GMT -6
There’s a company named Fervor Records that wants some of my songs for licensing. Here’s the deal they’re offering.
$500 up front per song They will own the Masters 50/50 split on publishing They get all the Sync revenue No expiration
I do know from the person who recommended me to them, that they do get some legit placements, and this is apparently their standard deal. I’d like to know if this is reasonable or a complete rip off.
Any advice is much appreciated!
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Post by mitchkricun on May 16, 2021 10:42:51 GMT -6
I used to own one. Had it for a few years, but never bonded with it. I much prefer the Kush Omega for clean, not sterile and I think the Millennia pres are beautiful too. That’s just my taste though and should in no way stop you from auditioning one. Good luck!
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Post by mitchkricun on Mar 25, 2021 8:02:21 GMT -6
I got a Launcher a few months ago. I LOVE it with an SM7b on my vocals. I actually prefer it, for my voice, to some pretty expensive, well known alternatives. Plus, I really have been digging the vibe of just holding the mic in my hand to track vocals. It’s especially convenient when doing stacked harmonies by myself. I just sit in front of my desk and can do 3-6 tracks of each part in minutes. The tone of this box just fits my aesthetic. Makes me super curious to try their mics, which I was already kind of gassing for. My current fave chain is SM7b—Kush Omega Pre—Inward Connections Brute. I actually preferred the Omega to Neve/API/TG Abbey Road/Awtec, etc. for me. Just makes me smile....
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Post by mitchkricun on Feb 26, 2021 8:20:18 GMT -6
Gorgeous. Those tracks sounded pretty great before treatment though. Seems like it brings a very expensive extra few percent that I’ve been trying to convince myself that I don’t need. Compelling for sure.
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Post by mitchkricun on Feb 25, 2021 7:55:33 GMT -6
If I remember correctly, and I may have my dates wrong, but at the time there were two standalone options. The Marantz and a Studer that was going for around 7k. I didn’t think the SCSI option was available yet, but could be wrong. Maybe I got the deck earlier? My Marantz still works, but I only use it as a Player.
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Post by mitchkricun on Feb 25, 2021 1:22:22 GMT -6
Oh, and TDK sounded the BEST..... ;-)
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Post by mitchkricun on Feb 25, 2021 1:20:42 GMT -6
ibb.co/jgXWCr0Back in ‘96 I bought a Marantz CD Burner for a mere $4500! The Studio I worked at would give the clients their mixes on 1/2” 456 or DAT for Mastering and transferred those to Cassettes for $5 each for the individual band members. The only other place in town (Philly) to get a CD burned was a Mastering house that charged $75 a piece. I paid the thing off in 6 months charging only $50 a piece! A steal! Every band member would happily buy one and then go show their friends how they hit the big time cuz they were on a CD. Ahh, the good ol’ days... I just came across this receipt and it gave me a smile, so I thought I’d share. Have a great day friends!
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Post by mitchkricun on Feb 17, 2021 14:50:13 GMT -6
EV is a LEGEND!! I've watched EVERY video on his YT page in its entirety. SO MUCH knowledge being dropped and I learned quite a few cool little tricks that I hadn't thought of or used before. EV's mixes are INSANE, his gear is INSANE... I love his use of mono to stereo trickery to give things extra energy, etc. He definitely defined the modern pop-rock sound in the 2000s, without a doubt. For me, NO ONE does it better. Long live EV and I can't wait to see what kind of insane space he builds up in Vermont 😂😍👌 Huge EV Fan! Care to elaborate on the mono to stereo trickery. I must’ve missed that. Thanks!
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