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Post by gouge on Mar 5, 2015 22:06:06 GMT -6
am looking for any advice on workflow tips and tricks.
I've been specifically trying to find information on double miking techniques. what's the general method here for combining the mics? send to an aux and bring that back on a spare channel or send to a group and record a mono out.
any other tricks people like to use.
something I've been doing of late with vocals is I load up all of my double tracked vocals onto one channel and send that to a 100% gain aux send consisting of predelay and reverb plus a stereo delay on another aux send pushing 25% gain.
I then control the amount of reverb/delay under the main vocal with the fader riding it as I mix.
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Post by rickcarson on Mar 6, 2015 7:09:38 GMT -6
If I im trying to sum two tracks to one channel for recording I usually do it through my consoles (SSL) buss outputs. I get my blend using the faders.Your delay/reverb fader is great and has been done for ever.
Try a parallel mult on your vocal and compress the snot out of it and blend it under your lead vocal that is a great trick. Same thing with drums and kicks and snares. One of the greatest thing about a desk is to just be able to park things places and always know where they are. I would get into good habits. Make your kick channel always your kick, snare always your snare, Your main reverb parked on an aux and a set of channels so everyday you come in and have the things you would expect. Its very different to the daw where you have everything but its a step away and its a variable. The desk brings consistency in workflow to me and that is the greatest thing about it
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ericn
Temp
Balance Engineer
Posts: 14,976 
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Post by ericn on Mar 6, 2015 7:57:41 GMT -6
These days I find I'm recording everything to its own track, this way I make all my choices at mix, I will ideally dedicate an aux to a rough mix while tracking .
With the modern DAW Tracks are the one thing that is not in short supply.
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Post by Ward on Mar 6, 2015 8:02:42 GMT -6
What I miss most about working on an LFAC, besides the tactile nature of everything, is ALL those channels... instead of returning reverbs, delays, effects, synths, modules, drum machines etc on auxiliary inputs, you return them on actual channels and can EQ them, gate them, compress them, cross-send to other effects etc.
I really must buy that SSL this year.
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Post by rickcarson on Mar 6, 2015 8:42:26 GMT -6
What I miss most about working on an LFAC, besides the tactile nature of everything, is ALL those channels... instead of returning reverbs, delays, effects, synths, modules, drum machines etc on auxiliary inputs, you return them on actual channels and can EQ them, gate them, compress them, cross-send to other effects etc. I really must buy that SSL this year. You are very right about this! |
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Post by swurveman on Mar 6, 2015 10:01:36 GMT -6
I combine two mono channels into mono aux's all the time. I find it easier to control with one fader both for EQ'ing and for automation. I then often set up one Stereo Aux for Instruments and for Drum and Bass for overall fader automation and overall ease of being able to hear the instruments/drums balance and cohesiveness.
FYI:
I saw this video the other day concerning HPF's and aux vs individual channels. Don't know if it's legitimate scientifically, but its advice is to only high pass two sources that are at the Aux channel and not at the individual channels due to phase issues. The advice starts at the 5 minute mark and deals with phase's effect on sounds of two sources when using a hpf on each of them independently. Basically, it cautions on two much high pass filtering and the cumulative effect of wrecking the mix balance due to a build up of phase shifting. If anybody with more knowledge than me wants to comment, I'd find it interesting.
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Post by tonycamphd on Mar 6, 2015 11:39:53 GMT -6
I combine two mono channels into mono aux's all the time. I find it easier to control with one fader both for EQ'ing and for automation. I then often set up one Stereo Aux for Instruments and for Drum and Bass for overall fader automation and overall ease of being able to hear the instruments/drums balance and cohesiveness. FYI: I saw this video the other day concerning HPF's and aux vs individual channels. Don't know if it's legitimate scientifically, but its advice is to only high pass two sources that are at the Aux channel and not at the individual channels due to phase issues. The advice starts at the 5 minute mark and deals with phase's effect on sounds of two sources when using a hpf on each of them independently. Basically, it cautions on two much high pass filtering and the cumulative effect of wrecking the mix balance due to a build up of phase shifting. If anybody with more knowledge than me wants to comment, I'd find it interesting. He spent the first 5 minutes complaining lol, he's right though, but he could have just jumped straight to "every track needs to be treated INDIVIDUALLY on it's content" and been done. I have linear phase eq's on every single channel of my templates, they start in hi/low pass filter mode out to the extreme ends, and bypassed, i use them primarily for cleaning things up transparently, you have to be aware of pre ringing on lower freq content with transients(kick, funk bass etc), and always default to your ears. I plan on using the chop shops and dandeurlou's Harrison ford filters for the vibe tracks where i'm looking for character through resonant bumps/cuts. Phase smearing is only good in measure, and one of the reasons i'm not a big fan of the ubiquitously over/misused parallel compression. ymmv |
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Post by tonycamphd on Mar 6, 2015 12:00:41 GMT -6
my glacial move toward an OTB studio is based around a Modded Soundcraft Delta 8, I'm a big fan of subs, the SC delta has 8 of them, and i have 40 channels(banks of 8) of passive summing under construction to be dropped to L/R channels as well(yes 40 channels lol).
The layout of my console is 24 channels before the 2 buss, all assignable to those 8 console busses, the consoles direct channel outs, as well as outboard effects and misc outboard will feed up to five /8 channel passive summers, which will in turn be "makeup gained" via pre's such as capi missing links, vp28's, NV73's or ? then the remaining 14 channel strips located to the right of the consoles master/8 subs will receive the five passives(also can be used for super transparent makeup gain), i can use inserts for buss compression and eq at this point if desired. This will finally give me what i've been after for years in a home studio environment.
22 mono, essentially 11 stereo buss's
hope this makes sense 8)
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Post by gouge on Mar 6, 2015 18:36:43 GMT -6
rickcarson - cheers, that's my setup, every channel has it's thing so I track and mix the same instrument on the dedicated channels with the dedicated gear parked there. kick - 1, snare - 2 etc. makes patching and knob twisting very fast and if I want to change it up I have a very big pile of patch leads. parallel vox has been a bit of a go to for me as well. not so much other instruments but vox for sure. ericn - thanks, that's way I'm currently going, everything gets it's own track and the combo mics get recorded as a print. then I either use the print or the combo. but I've been contemplating just going with print tracks only. there is a risk, Ward - I must go further along this route I think. currently my guitar delay aux sends come back on channels which are hard panned and then get fed into eq and aux reverb. been thinking about running mults this way as well. will give that a go, thinking out loud it will also allow my to simplfy my reverb sends because I can do the eq/comp tailored on the return channel insert. the console I use also allows me to send the stereo aux returns t othe busses so I can play with buss compression after reverb/delay which for drums can add something nice.
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Post by gouge on Mar 6, 2015 18:58:21 GMT -6
swurveman - that was a very good video for me. those are the types of tips that are invaluable. I've recently started using the aux to mix mics. I was using the faders and sending that to a buss but it's started to slow me down a little because it means that whatever fader movements I use I hear in the mix A and I might not want that. basically as I'm tracking I'm sorting out the mix and coming up with ideas as I go by monitoring the mix A.
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Post by gouge on Mar 6, 2015 19:18:10 GMT -6
tonycamphd - I've use a similar setup based around modified 32 channel ghost. being split there is a ridiculous amount of inputs which I don't use all of. It has 8 busses and 8 aux sends before the master buss. The routing combinations are insane. The daw gets used like a multitrack and the master buss has a dsd recorder connected tape A O/P and I/P and of course there is also cd, turntable on tape B I/P. I also have a reel to reel floating around the inserts. The first 12 console channels go direct out to the daw and the first 4 busses go direct out to the daw to make up 16 channels. I can also mult the mics direct to the daw, bypassing the console and use that for monitoring only. That gives me a lot of flexibility to send any of the single channels or combined channels from the console in real time no latency. something like 64 inputs or something crazy can get mixed down to 16 which i've never actually done. I never go over 16 channels during tracking. mix time I use a lot more. recently new gear has been acquired. so I am slowly getting more outboard. at mix I've been putting the vp28 and lilpqr on mix buss with a drawmer 1968 and that makes a very nice difference. Now tho things have been expanded as I try to get more sweet gear on the busses. Next mix I will be putting all of my preamps on the groups. ie. daking pres on guitar buss, ma-5 on vocal buss and lola's on drum buss or swap the vp28 onto drums and the lola on master. am yet to really play with it.
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