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Post by sean on Jan 26, 2024 13:28:07 GMT -6
It's very likely Jerry Roe played drums on this. No idea if he did this at his house or in the studio. He's a Meinl guy. Hit him up on Facebook or Instagram and he'll probably tell you how it was tracked
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Post by sean on Jan 25, 2024 22:34:31 GMT -6
As insane as this sounds I'd recommend going to your local drum/music store and hitting a couple triangles. Some have nasty overtones or are a really unpleasant pitch Hmm, needs more cowbell.. I probably have a dozen different cowbells at the studio haha
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Post by sean on Jan 25, 2024 16:57:18 GMT -6
As insane as this sounds I'd recommend going to your local drum/music store and hitting a couple triangles. Some have nasty overtones or are a really unpleasant pitch
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Post by sean on Jan 25, 2024 13:12:49 GMT -6
Do you need an affordable four channel preamp? It would be hard to beat this TL Audio PA-2001. It’s a hybrid solid state and tube design. Each channel has a 12AX7 gain stage so with the input gain down and output up it can be transparent, but when you drive the input harder into the tube and dial back the output you’ll get some nice saturation. Each channel also has a high pass filter, phase reverse, and phantom power. All four channel works and sound great and the unit is in excellent condition for its age. $450. I could ship or pick up in Nashville preferred.
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Post by sean on Jan 20, 2024 7:50:45 GMT -6
I’m not personally familiar with the microphones or outboard you listed but this is usually what I do…
Mandolin: KM84 or a pair of KM84’s. Or KM54/KM56 or KM66/KM86 if they are available. Usually a GML preamp, or a John Hardy or an API (I don’t like the sound of API’s pads and a mandolin chop is often too loud and will peak without it so it’s rare I use them) I don’t compress mandolins “to tape”, occasionally I’ll use a DBX 160VU or a Distressor or an 1176 or whatever plugin to even out a chop, but honestly not often. Usually I’ll place each mic slightly off each F hole, but trying to avoid the players hand moving in front of the mics every time they chop. Hard to explain but maybe I have a picture. The sound of the mandolin comes from the bridge vibrating the top and there isn’t much sound at the neck joint, where occasionally I’ll see a microphone placed. I find you get a lot of pick noise and no low end up there. If it’s a single mic I’ll just move my head around listening to the instrument and place it where it sounds good and the player can usually adjust. That’s the advantage of a single mic placement…an experienced player can play to the microphone. Its a little more difficult if there are two because as they move the phase between the two mics changes (which apply to every instrument) Things to watch out for is the sound of the bridge plate cover, which sometimes has a high pitch “ring”. A piece of tape or a little piece of foam (or taking it off!) helps. Also, the sound of the pick hitting the top of the mandolin. It sounds like a woodpecker on a mic. That’s a technique thing and if you hear one Izotope RX is your friend!
Banjo: There are two popular “styles” of banjo tones these days…the Bela Fleck/Allison Brown/Noam Pikelny sort of muted, clean, mellow sound or the more traditional Earl Scruggs/Bobby Osborne sound. For a more traditional bluegrass sound a Neumann U87 or U67 has been my go to. The sound of the banjo is the bridge resonating the head, amplified by the tone ring, so usually I place the microphone in the open space on the below the hand and slightly above the tone ring. I’d place a microphone in the same place when I’m recording Bela or Allison or Noam but I’d go for a flatter microphone. Bela likes a U89 or Josephson e22s (he also used his personal C24), Allison likes a Coles, but I’ll usually add a second brighter microphone because in an ensemble sometimes you need a little help getting their banjos to cut through a mix. I also like an Electro-Voice RE20…works great especially when you are worried about bleed. Compression…again I usually don’t. Sometimes I’ll have to deal with a bad resonant or harsh frequency but usually just some very narrow Q equalizer will help with that. Otherwise automation is your friend. If I were to compress sometimes I’ve used my Spectra V610’s as peak limiters with success, or a LA2A. Hardy preamps usually work for me. I’d avoid overly bright microphones because you’ll get a lot of “pick noise”, especially with metal picks, which is hard to get rid off.
Guitar. Lately I’ve been using my AKG C34 a lot…Bryan Sutton was searching the internet to buy one after I used it with him on a record recently…but I’ve used KM84’s and KM86’s and KM54’s a lot too. Similar to a mandolin I like a mic on the upper and lower bouts, pointed in towards the neck. Or one at the neck joint and one down by the bridge/body. Or X/Y. There’s really no rhyme or reason to it…just whatever I’m feeling that day. GML, Hardy, or Daking preamps usually. Again, no compression. If I feel it needs it a 1176 or Daking FET II work well.
And in all honesty, good sounding recordings come from good players. Banjo and mandolin are pretty unforgiving under a microphone especially when it comes to intonation and no mic placement can fix that. So, just be diligent with that. A banjo rolling along out of tune will make the whole track sound wrong!
Thats all the knowledge I can impart at 7:30 AM as someone who records bluegrass regularly and has Grammys for it.
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Post by sean on Jan 15, 2024 15:57:18 GMT -6
I think, with your Superkick, just take the resonant head off and put a pillow or blanket in there and see if you can get the sound you are looking to achieve. I would experiment with putting a packing blanket or something over the bass drum to prevent it from causing the toms from resonating. Depending on how dead you want it, the head really don't matter at a certain point.
Remo Ambassadors with a felt strip sound great, but I wouldn't buy them for a house kit in a studio because they don't last very long. Powerstroke 3 isn't that much different from a Superkick I (single ply 10mil heads like an Ambassador but they has a inlay ring). I have a D'Addario endorsement and while I do prefer Remo heads on toms and snare a lot of the times I do like the coated Evans EMAD, with it's removable dampening rings. That combined with a EQ3 resonant head is pretty flexible for me in the studio.
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Post by sean on Jan 10, 2024 22:06:14 GMT -6
G&L ASAT Classic Custom. Pretty unique guitar…hollowbody with an added bigsby and Rio Grande pickups.
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Post by sean on Jan 8, 2024 20:14:16 GMT -6
Yeah. Think Apollo is 24 dbu. 6x6 is 12 dbu. Burl is 22dbu. It’s a pretty noticeable difference. probably because it’s usb bus powered. USB ports can only provide +/- 5v For comparison, rme Babyface pro can output +19 dbu but can only take +13 dbu on input. I'm surprised they didn't add an optional power supply, like the Grace M900 for example. Using only bus power, it doesn't have enough juice to drive, say, HD650 or similar headphones. But using the power supply it comes to life. But, the option of being strictly bus powered is handy while traveling.
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Post by sean on Jan 7, 2024 16:00:45 GMT -6
I find myself using Capitol Chambers a lot for the "long" chamber sound, and Seventh Heaven for the Bricasti chambers like the Sunset and A&M which are nice for "shorter" chamber sounds. The Hitsville does the short chamber well, which can sound cool on percussion in particular. Need to spend some more time experimenting with that one. But, the Atlantis was nice when I demo'd it but a bit pricey (I guess?) but I've been pretty blown away with the Liquid Sonic stuff. A lot of it is a bit tweaky but Seventh Heaven is instantly rewarding. Since getting it I've been using it for Chamber and Room. What kind of stuff are you using Cap Chambers on? I just haven’t felt like there were many things in the genres I’m doing that I find myself using it on. It’s does that big Sinatra era chamber stuff better than pretty much anything else out there…I just don’t find myself needing that much. Lots of background vocals, ooo’s and ahh’s, strings, and sometimes as the main reverb on a lead vocals if it’s a ballad. Otherwise I thibk it works best just feeding certain words to it. I always start with “The One” preset.
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Post by sean on Jan 7, 2024 10:54:37 GMT -6
I find myself using Capitol Chambers a lot for the "long" chamber sound, and Seventh Heaven for the Bricasti chambers like the Sunset and A&M which are nice for "shorter" chamber sounds. The Hitsville does the short chamber well, which can sound cool on percussion in particular. Need to spend some more time experimenting with that one.
But, the Atlantis was nice when I demo'd it but a bit pricey (I guess?) but I've been pretty blown away with the Liquid Sonic stuff. A lot of it is a bit tweaky but Seventh Heaven is instantly rewarding. Since getting it I've been using it for Chamber and Room.
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Post by sean on Jan 5, 2024 13:58:22 GMT -6
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Post by sean on Jan 1, 2024 18:13:54 GMT -6
To use ericn term of low end clients, in 15 years there really are only two types:
1: Those who are incredibly grateful for your time and contributions and will give you zero notes because they know that the music they've made is really just for themselves and to share with a few friends and family. If they are nice people I don't mind doing these projects, knowing full well no one is going to hear it and I'm not going to share with anyone either.
2: Those with unrealistic views of their own talent that think they are better than they are, and will never be satisfied and don't understand why their record doesn't sound like Bruce Springsteen or something because in their mind they are equally talented. These projects are incredibly difficult mentally and are often soul crushing, because you begin doubting yourself and you're stuck trying to turn chicken shit into chicken salad and no matter how hard you work on it it's still chicken shit and no one wants to consume chicken shit. So, ultimately it was not worth your time, no one is going to hear and they few that do aren't going enjoy it anyway. That's harsh, but true, and when you come across these projects it's best just to say "I'm not the person for the job"
Also, if it's someone you don't know, definitely listen to it first before taking the gig.
Last advice...if the client is the singer and songwriter, just turn his vocal up a couple dB louder than you think it should be and they might be happy. Because really the only thing they want to hear are themselves.
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Post by sean on Dec 30, 2023 22:43:33 GMT -6
Dan’s account get hacked or something? Yes here and GroupDIY running the same scam
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Post by sean on Dec 30, 2023 21:35:37 GMT -6
Maybe deleting your account is smart if you are going to be inactive since dandeurloo was hacked and scammed people (me) out of money…helps avoid someone taking advantage of your reputation online
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Post by sean on Dec 30, 2023 20:55:35 GMT -6
THIS IS A SCAM DO NOT SEND MONEY
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Post by sean on Dec 30, 2023 20:55:16 GMT -6
THIS IS A SCAM DO NOT SEND MONEY
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Post by sean on Dec 30, 2023 18:52:44 GMT -6
1 minute ago Add bookmark #1 Selling my Neumann TLM67 serial #221 , the initial run of the first 250, which included Neumann shock mount, Neumann Wind screen and the wooden box, all in mint condition. Meticulous attention paid to quality control of first 250, I assume they would also be seeking great reviews upon early release. I can attest It does sound better than the later ones being produced as I've had several of them at the same time at my place. thanks! $850 shippedPics: imgur.com/a/mEIzjnoPM’d about this and the KM183’s
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Post by sean on Dec 30, 2023 9:54:42 GMT -6
For someone to supposedly be leaving on good terms, it's an odd move to delete the entire account and hurt the site's numbers. And - hey - if you're going to leave, there's no need for a big production telling people how much you're going to miss them. I just don't understand people sometimes. It's akin to walking into someone's business/bakery and announcing you've stopped eating bread and we all would be healthier if we didn't eat bread. Thanks a lot. And if you're wondering, I emailed Michael and said the exact same thing. I would assume that deleting the account helps resist the temptation to log in…not unlike trying to get off Facebook or other social media platforms. If it’s deleted your less likely to get drawn back in
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Post by sean on Dec 28, 2023 7:57:04 GMT -6
Good on you Michael! I think I need to do the same…I’ve enjoyed forums for well over twenty years (my local radio station WOXY back in the day, TapeOp, Gearspace, here) and I’ve think I’m getting to the point where while it’s a great thing to do when the dogs wake me up at 6 AM and I can’t make any noise without disturbing the rest of the house, I should spend my time working or getting back to playing myself. That’s been tough for me being an engineer since all my friends are professional musicians and I can’t necessarily hang with them when it comes time to “jam” but that doesn’t mean I can’t find a way to enjoy creating music again without comparing myself to others who’ve devoted their life to their instrument and craft. I’d just like it to be fun. That’s probably a better way to spend an hour a day instead of browsing forums.
I hope you find a lot of enjoyment composing and it’s a rewarding experience!
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Post by sean on Dec 27, 2023 18:25:00 GMT -6
Also it’s worth it if you multi mic any instruments I had not even thought of that. Will most likely do M/S or stereo pair on anything acoustic (guitar, mando, violin, etc.) In what way do you find it useful - the obviousness of it is escaping me.... For me it’s useful because you can tune both/all the tracks at once instead of one at a time. I believe with all the other version you can only do a single mono track at a time. Which is incredibly annoying and time consuming. On the rare occasion you have a vocalist that sang into two mics this feature is also useful. This is also a benefit of the full featured Izotope RX…if you have a multi-mic’d source and you can edit all the tracks together as a group instead of one by one. The amount of time it saves you pays for itself with one record
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Post by sean on Dec 27, 2023 14:52:47 GMT -6
Also it’s worth it if you multi mic any instruments
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Post by sean on Dec 27, 2023 13:59:58 GMT -6
Preston at PTW Audio has repaired a bunch of these. They often need recapped, when they sound dull and have even lower output than normal is the usual sign. He’s in Nashville www.ptwaudio.com/
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Post by sean on Dec 25, 2023 8:10:39 GMT -6
That I can remember…
Home: RME ADI-2/4 Pro SE Neumann KH150’s Audeze LCD-5
Studio: Avid HDX card Neumann KH310’s Chandler REDD Microphone pair Upton 251 AKG C34 AKG C422 Royer SF12 Josephson e22s pair Retro Sta Level BAE 1073 Summit Audio EQP200 Vintage King rack for my 1064’s High Voltage Audio EQ6S
Instruments: Mellotron M4000D ARP Solina Gibson J45 Standard Gibson Les Paul Classic Fender American Standard Stratocaster Gretsch BST-1000 Epiphone Serenader 12 String Fender Champ Handwired Ampeg B15N Slingerland 14” Pink Oyster floor tom (matches my kit took me 5 years to find one!)
I think that’s all the big stuff, many cheaper mics and accessories and plug-ins for sure though.
Still got my eye on several things for 2024, I think a better Hammond for the studio being the highest priority (A100, B3, or C3) and as much as I hate it maybe a Hear Back Pro system…sometimes 6 “more me” just isn’t enough…musicians have just gotten too used to making their own mix instead everyone listening to the same thing and playing together (what a funny concept, right!)
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Post by sean on Dec 23, 2023 20:58:21 GMT -6
I'd like to try to record a song or two of my/our own with some engineering buddies...like most of us we set out own music aside to record others and it be nice to do something creative on the other side of the glass. We'll see.
Otherwise, do a little bit better job of managing my time so I can enjoy more of it away from work
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Post by sean on Dec 23, 2023 15:18:36 GMT -6
If you find the release times too slow on the 54F50's you can swap a few resistors and get them to 100ms, 200ms, and 400ms which is a pretty common "mod" for the original 2254's (I think all of the BAE racked modules have those release times)
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