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Post by mulmany on Jan 28, 2020 19:29:24 GMT -6
Don't you have a Svart box?
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Post by kcatthedog on Jan 28, 2020 20:47:58 GMT -6
Gee, too bad Billie Eilish and her bro only used mediocre apollo stuff, think what they could have achieved with better gear !
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Post by Johnkenn on Jan 28, 2020 21:04:31 GMT -6
Gee, too bad Billie Eilish and her bro only used mediocre apollo stuff, think what they could have achieved with better gear ! It’s all beats, clicks and whispering...Seriously, seriously, seriously doubt this was Apollo to market.
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Post by Johnkenn on Jan 28, 2020 21:05:49 GMT -6
Don't you have a Svart box? I do. I’ll have to hook the DA back up. I compared them with the Apollo x when I first got it and thought the Apollo had slightly better top end...but I should check again.
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Post by kcatthedog on Jan 28, 2020 21:09:57 GMT -6
Gee, too bad Billie Eilish and her bro only used mediocre apollo stuff, think what they could have achieved with better gear ! It’s all beats, clicks and whispering...Seriously, seriously, seriously doubt this was Apollo to market. They recorded in the bedroom with a bf , producer said how little they had to do, mastering included a dangerous convert 2+, I think. Was being a bit facetious:)
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Post by tkaitkai on Jan 28, 2020 21:31:05 GMT -6
Gee, too bad Billie Eilish and her bro only used mediocre apollo stuff, think what they could have achieved with better gear ! Yep, it's actually pretty impressive. I believe Billie used a TLM 103 in an untreated bedroom. Finneas is a great producer and they are both incredibly talented songwriters. Mixed by Rob Kinelski and John Greenham, who are both killer. Definitely makes me question some of my gear choices, but alas, here I am.
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Post by Martin John Butler on Jan 28, 2020 22:02:45 GMT -6
I have the Louder than Liftoff Silver Bullet here to test. It improved a final mix subtly, but in a really desirable way. I think the magic will be when I try doing multiple tracks through the API or Neve circuits. After I get a little more time with it, I hope to try the Dangerous 2 Bus +. Whichever piece gets me closer to a big console sound will be where I set my sights. I can't afford either one yet, but I like to know what to aim for.
I have the Apollo X6, and it doesn't make me cringe like the first 2 generation Apollo's did. Black Lion Audio now has a clocking mod for the X Apollo's that could be very interesting.
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Post by christopher on Jan 29, 2020 12:07:52 GMT -6
Gee, too bad Billie Eilish and her bro only used mediocre apollo stuff, think what they could have achieved with better gear ! It’s all beats, clicks and whispering...Seriously, seriously, seriously doubt this was Apollo to market. In LA nothing is ever truly like the story they sell on the cover. Although I have heard her sing and play instruments in TV and her family has real talent. (Family being the key word..moms recordings are pretty cool too)... I like her and her family, music is pretty important in their house, pretty cool.
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Post by sirthought on Jan 29, 2020 14:36:44 GMT -6
I think they tracked with Apollo 8 mkII and the mixer had a Dangerous 2-Bus and Dangerous Compressor. Since the Eilish album Rob bought the Convert AD+ and Danger Monitor ST controller. Despite the hybrid mix bus system, he's mostly doing plugins because of recall.
I'm guessing he's going to be busy for a stretch.
Those guys are not precious about fancy gear at all. Finneas loves recording and producing stuff, but I think because money was always an issue growing up he tries to stay somewhat fruggle. Music production is a money pit, indeed.
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Post by Johnkenn on Jan 29, 2020 15:24:28 GMT -6
I think they tracked with Apollo 8 mkII and the mixer had a Dangerous 2-Bus and Dangerous Compressor. Since the Eilish album Rob bought the Convert AD+ and Danger Monitor ST controller. Despite the hybrid mix bus system, he's mostly doing plugins because of recall. I'm guessing he's going to be busy for a stretch. Those guys are not precious about fancy gear at all. Finneas loves recording and producing stuff, but I think because money was always an issue growing up he tries to stay somewhat fruggle. Music production is a money pit, indeed. Of course, that’s $10k in gear just mentioned there
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Post by gwlee7 on Jan 29, 2020 15:39:02 GMT -6
I have the Louder than Liftoff Silver Bullet here to test. It improved a final mix subtly, but in a really desirable way. I think the magic will be when I try doing multiple tracks through the API or Neve circuits. After I get a little more time with it, I hope to try the Dangerous 2 Bus +. Whichever piece gets me closer to a big console sound will be where I set my sights. I can't afford either one yet, but I like to know what to aim for. I have the Apollo X6, and it doesn't make me cringe like the first 2 generation Apollo's did. Black Lion Audio now has a clocking mod for the X Apollo's that could be very interesting. I will be really interested to hear your thoughts on the Silver Bullet. I have definitely been lusting after one.
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Post by tkaitkai on Jan 29, 2020 18:15:47 GMT -6
I think they tracked with Apollo 8 mkII and the mixer had a Dangerous 2-Bus and Dangerous Compressor. Since the Eilish album Rob bought the Convert AD+ and Danger Monitor ST controller. Despite the hybrid mix bus system, he's mostly doing plugins because of recall. I'm guessing he's going to be busy for a stretch. Those guys are not precious about fancy gear at all. Finneas loves recording and producing stuff, but I think because money was always an issue growing up he tries to stay somewhat fruggle. Music production is a money pit, indeed. Of course, that’s $10k in gear just mentioned there That's true, but it's also worth noting that was mostly the mixing side of things. The recording process seemed to be a bit more modest — an Apollo 8 and a TLM 103 aren't exactly cheap, but not exorbitantly high end, either. Still, I don't think I'd be satisfied with that combo for my sound. I definitely wish I could make something like that work. It'd certainly save me a lot of money.
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Post by kcatthedog on Jan 29, 2020 18:33:57 GMT -6
And small Krk monitors in an untreated bedroom!
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Post by Deleted on Jan 30, 2020 10:02:00 GMT -6
My first post here. I've had experience upgrading to a bunch of high end converter over the years. I'd say always go DA first if you don't have something very good to great so you can better hear your later AD upgrade. If you can't hear the improvement in your setup, then it's not the right upgrade for you right now and you should upgrade something else first. And small Krk monitors in an untreated bedroom! They used something even worse: A pair of Yamaha HS5. Think about that mid-forward Apollo conversion into something that's a smaller, ported NS10 with an always active limiter. Gross.
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Post by Guitar on Jan 30, 2020 10:49:31 GMT -6
Those yamaha hs speakers are some of the ugliest speakers I've ever personally heard. I did not get on with them at all.
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Post by nick8801 on Jan 30, 2020 11:32:56 GMT -6
I have a couple friends who use the Yamahas. One has the 8’s the other has the 7’s. They aren’t exactly fun to listen to, but they work. Both of these guys make really great mixes. As far as Eilish’s untreated bedroom, it’s super tiny, has a big bed and lots of furniture. While that’s not technically treatment, I bet it sounds pretty flat!
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Post by svart on Jan 30, 2020 11:35:10 GMT -6
When your songs and mix consists of keyboard/synth, beats from a plug-in and highly edited and effected vocals, it's kinda hard to make judgements on the prowess of someone who "tracked this in a bedroom".
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Post by Johnkenn on Jan 30, 2020 11:57:15 GMT -6
When your songs and mix consists of keyboard/synth, beats from a plug-in and highly edited and effected vocals, it's kinda hard to make judgements on the prowess of someone who "tracked this in a bedroom". See - this is exactly what I was trying to say. It’s well done, no doubt and most likely above my ability, but it’s not like they tracked a five piece band in the bedroom.
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Post by Johnkenn on Jan 30, 2020 11:58:13 GMT -6
Something like Owlsey’s first record recorded at his house seems like a more impressive feat.
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Post by jcoutu1 on Jan 30, 2020 12:30:22 GMT -6
This is how it's done...
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Post by sirthought on Jan 30, 2020 12:45:13 GMT -6
Here was their tracking side, not knowing what all plugins they used, but in his interview Finneas said he tried to use mostly Logic plugs. MacBook; Apollo 8; Spectrasonics (all three suites); LPX; Tascam DR-5; Yamaha HS5 + HS8S; AT2020; Neumann TLM 103; Akai MPK249; Nord Stage 3; Antares Auto Tune Pro (only on one song) Acoustic and Electric Guitar Acoustic upright piano
All capable equipment, but certainly leaning on the prosumer side of things, especially mics and monitors. My guess is this will all get upgraded swiftly. They are still very young and now have cash!
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Post by kcatthedog on Jan 30, 2020 13:01:13 GMT -6
Apparently he hasn’t upgraded significantly for his new home set up, got an X apollo
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Post by Bob Olhsson on Jan 30, 2020 21:32:15 GMT -6
It's hard to say. Monitoring is critical however I think A to D quality is very important working in the box. I'll never forget the first time I boosted 10k on a recording made with an Apogee rather than an old Pro Tools Mix converter. Now A to D has come a long way since the '90s, however, the quality of the recorded signal still sets the limit of what plug-in processing can do.
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ericn
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Post by ericn on Jan 30, 2020 22:21:02 GMT -6
When your songs and mix consists of keyboard/synth, beats from a plug-in and highly edited and effected vocals, it's kinda hard to make judgements on the prowess of someone who "tracked this in a bedroom". See - this is exactly what I was trying to say. It’s well done, no doubt and most likely above my ability, but it’s not like they tracked a five piece band in the bedroom. Yeah but every time I hear it on a good pair of speakers that really go below 40hz I can tell it was done in a bedroom. Now before somebody says, “ but it’s all synths” Go listen to Yaz Situation or Yellows OH Yeah on reall full range speakers and tell me it don’t matter.
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ericn
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Post by ericn on Jan 30, 2020 22:29:53 GMT -6
It's hard to say. Monitoring is critical however I think A to D quality is very important working in the box. I'll never forget the first time I boosted 10k on a recording made with an Apogee rather than an old Pro Tools Mix converter. Now A to D has come a long way since the '90s, however, the quality of the recorded signal still sets the limit of what plug-in processing can do. Umm Bob, even back then that was the equivalent to a Yugo vs Paul’s Ferrari. In the dictionary next to the word sucks is a picture of a Digi 888/24!! The only thing any 888 was good for was converting Digi link to AES with a decent clock, hell the whole reason for external clocks were the 888 and 888/24. For me it’s like the Chicken or the egg, the answer is both. I need to capture what I hear before I print it to digital but I also need to hear what I printed
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