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Post by wiz on Feb 19, 2016 14:47:38 GMT -6
I watched this, and couldnt help feel a disconnect from the sounds he likes. Which is in no way judgemental.. but it sort of explained to me
why I don't like what I don't like, in things like slates stuff, and the sounds that CLA gets.
There is a brilliant part though, even if you don't like the result..where he plays the room mics, which sound great btw, and he blends in the snare sample.. that was
a real eye opener.
I try to view this stuff in the light, that I always learn something.
I also find it interesting the dry recorded snare sound, is so, well... normal... 8) and close to what I would get...I figured it wouldnt be like that and would have
been more, I don't know, hype-y to start with.
Certainly I imagine, that even though the sounds aren't my cup of joe, I would learn a few nuggets from the course.... not going to pony up atm though.
cheers
Wiz
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Post by tonycamphd on Feb 19, 2016 20:11:43 GMT -6
this is awful!
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Post by Ward on Feb 19, 2016 20:31:42 GMT -6
Which Green Day song is this?
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Post by donr on Feb 19, 2016 21:24:09 GMT -6
As an amateur AE, I've always wondered why the conventional wisdom was to close mic a snare with a 57 or whatever pointed at the top head. It doesn't sound much like a snare, and CLA has to torture the snare track audio to get it into the ballpark. The snare sound has to come from the room, or the 'verb, or the leakage.
Mic'ing the snare with the same 57 pointed at the snare shell perpendicular to the shell yields a more usable sound in my experience, a technique taught to me by Corky Stasiak at the Record Plant NY.
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Post by donr on Feb 19, 2016 21:47:03 GMT -6
A word from our sponsor: CLA is brought to you by Slate VMR. And a lot of that CLA snare tone in this instance comes from Slate module mojo.
BTW, has anyone bought/viewed the video? I might, I can afford it. I bought the Fab Dupont subscription but I haven't had much time to take advantage of it.
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Post by donr on Feb 19, 2016 22:41:10 GMT -6
I watched this video (not the paid one) the other day plus read the GS thread where some techniques are revealed so I thought I'd try it. Took a demo a friend sent me (programmed drums, bass DI, 2 guitars and a scratch vox) all done on his mBox 3 Put VMR with VCC, FG-S and FG-116 on each track VMR with VCC BUSS, FG-RED and VMR on master 1. Cranked VCC close to/in to distortion on every track 2. Put FG-Red on CLA Mix Preset 3. Cranked VCC on 2buss 4. Channel by channel cranked HF/LF and comp Spent no more than 10 minutes. Sounded like CLA - honestly. Sure it was nowhere near polished and lacked any finesse/automation, etc but it really did have that loud in your face CLA thing. Tried adding L1 to every track but should have done that first like he does Sounded like a (poorly mixed) CLA record and when bypassed sounded like what it was - an unmixed 8 track demo. Definitely something to his way if you're looking for that. Wished I would have taken a bounce of it - was at a buddy's place. Give it a shot Heck, it's worth knowing how he does it. And he's telling you. |
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Post by donr on Feb 19, 2016 22:49:43 GMT -6
I haven't seen the vid, but evidently, it's possible to get an acceptable pop mix out of anybody's badly recorded multitrack. And for the ace mixers, I bet that's becomimg more and more the job.
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Post by ragan on Feb 19, 2016 23:26:19 GMT -6
The idea of these courses is great, it's just that I couldn't possibly want this particular guy's secrets any less. He's successful and great at what he does (and hell, maybe even a nice guy) but man do I hate the sound of what he does.
Give me one of these with Tchad Blake and I'd pay 5x the price.
Slate's aesthetic is all SoCal pop-punk, Hot Topic though so I'm not holding my breath.
I bet he's selling a boatload though.
....man do I hate that 500db of 6k on everything....
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Post by ragan on Feb 20, 2016 0:26:38 GMT -6
The idea of these courses is great, it's just that I couldn't possibly want this particular guy's secrets any less. He's successful and great at what he does (and hell, maybe even a nice guy) but man do I hate the sound of what he does. Give me one of these with Tchad Blake and I'd pay 5x the price. Slate's aesthetic is all SoCal pop-punk, Hot Topic though so I'm not holding my breath. I bet he's selling a boatload though. ....man do I hate that 500db of 6k on everything.... He's also a touch too much Ed Hardy for me  I agree with you for sure. I like and own some slate stuff but my purchases were definitely NOT based on his demo songs. One really valid criticism of this video is that CLA is NOT an ITB mixer - some guys have really mastered that - those would be more useful probably but I still want to see it... Don't know about $97 and, apparently that's 40% off what it's going to cost!?! Ed Hardy! That's the one I couldn't think of. Yes. I honestly think Steven is a cool guy. He's got a great sense of humor about himself and I enjoy his spectacle, even if we don't have the same taste. |
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Post by Ward on Feb 20, 2016 7:11:32 GMT -6
Which Green Day song is this? No one has answered my question yet. |
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Post by swurveman on Feb 20, 2016 8:49:38 GMT -6
What does this say about that GS thread "The Reason Most ITB Mixes...." that is now 255 pages long? CLA is the king of analog and it seems to me he's breaking every rule that that thread says is important about how to mix itb.
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Post by RicFoxx on Feb 20, 2016 9:16:49 GMT -6
I watched the videos and it's cool to have the session to look at what's going on. The drums are the best part. Lots of stems...had his assistant take 180 tracks to 48. non existent guitar processing. The song is pretty good for tutorial purposes. The levels are insane and breaks all the rules especially the gearputz thread. He uses the trimmer plug a lot though.
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Post by RicFoxx on Feb 20, 2016 9:22:53 GMT -6
I was actually surprised how he didn't drive most channels with VCC. Only a couple of channels were overdriven for effect... He als used VTM a lot and used VCC and VTM on Aux channels. When I bypassed the plugs on master channel the levels were pinned and I believe backed off the levels with both VTM and VBC Red. I watched this video (not the paid one) the other day plus read the GS thread where some techniques are revealed so I thought I'd try it. Took a demo a friend sent me (programmed drums, bass DI, 2 guitars and a scratch vox) all done on his mBox 3 Put VMR with VCC, FG-S and FG-116 on each track VMR with VCC BUSS, FG-RED and VMR on master 1. Cranked VCC close to/in to distortion on every track 2. Put FG-Red on CLA Mix Preset 3. Cranked VCC on 2buss 4. Channel by channel cranked HF/LF and comp Spent no more than 10 minutes. Sounded like CLA - honestly. Sure it was nowhere near polished and lacked any finesse/automation, etc but it really did have that loud in your face CLA thing. Tried adding L1 to every track but should have done that first like he does Sounded like a (poorly mixed) CLA record and when bypassed sounded like what it was - an unmixed 8 track demo. Definitely something to his way if you're looking for that. Wished I would have taken a bounce of it - was at a buddy's place. Give it a shot |
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Post by RicFoxx on Feb 20, 2016 13:03:04 GMT -6
It could have been way more better for the price!
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Post by swurveman on Feb 20, 2016 13:42:10 GMT -6
Which Green Day song is this? It's not a Green Day song, it's a generic pop/rock song. |
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Post by swurveman on Feb 20, 2016 13:42:26 GMT -6
I bought it out of curiosity. A few things:
His sends are all the same level. -5 dB in Cubase. Even when there's no sends, they are set at -5dB. So, he must have set up a template with every send set at -5dB.
He has no group/aux channels (you know Drums/Guitars etc). He does have all the drums sent to a "Crusher" Channel for parallel compression which he sends all the drums to. He has one VCA for the vocal. Most of his automation is done on the vocal.
He uses the Neve VCC and pegs it for every channel.
He uses a combination of the SSL EQ and filters for boosting/cutting and presence.
For FX he has a mono slap delay and a stereo 8th delay with feedback. He uses the Cubase delays. He has a 480L Room and a 480L plate. They forgot to insert the plate on my Cubase channel. LOL.
He has some already processed pianos and guitars. He does the 8th not chunk guitar thing, one with a less distorted guitar and the other with a more distorted one. It's that same boring guitar combination you've heard a thousand times. The guitars sound like they're a stem of close and room mics.
His bass is a combo di and high endy/fizzy either amp or some kind of emulation. He makes it even more fizzy with a presence filter boost.
No desssing. No gates.
The song sucks, but you can hear and see how he gains depth through compression by the compressors bringing out the room. He compresses everything but the guitars. I don't recall any compressor having a ratio higher than 4-1 and he's not radically compressing anything, though he often uses a combination of the FG Bomber and Slate's 1176.
I haven't got to the mix bus.
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Post by matt555 on Feb 20, 2016 13:47:24 GMT -6
I watched the Youtube video above and found it interesting.
What really caught my attention was the phasing issues brought about by having CLA's voice/lapel mic picking up the speaker and room sound verses the computer captured sound.
If the whole course/video is like this thats a pretty poor choice imo, considering how easy it would have been to avoid this! Why is it that in the majority of these tutorials given by audio experts they have issues recording the audio/video?
Thanks, Matt
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Post by Ward on Feb 20, 2016 15:51:24 GMT -6
Which Green Day song is this? It's not a Green Day song, it's a generic pop/rock song. So, it's every Green Day song? |
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Post by swurveman on Feb 20, 2016 17:57:30 GMT -6
It's not a Green Day song, it's a generic pop/rock song. So, it's every Green Day song? Yep, very generic middle of the road stuff. Nevertheless, judging from the work he did in 2015 he's still very much in demand. |
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Post by Ward on Feb 20, 2016 21:19:47 GMT -6
And still very much buying into his own hype. I still enjoy thinking about how I punked him, NAMM 2015,
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Post by mhbunch on Feb 20, 2016 22:49:43 GMT -6
And still very much buying into his own hype. I still enjoy thinking about how I punked him, NAMM 2015, Please tell |
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Post by sozocaps on Feb 20, 2016 23:21:45 GMT -6
It's tracked like shi*.. wow
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Post by Ward on Feb 21, 2016 16:39:11 GMT -6
And still very much buying into his own hype. I still enjoy thinking about how I punked him, NAMM 2015, Please tell I was speaking with the SSL guys about a possible buy... in walks CLA as if he owns the place, perhaps he does, but I wasn't expecting The Sire of the realm. Hello Mr. Lord Alge. No responce... so in the presence of the SSL staff, some colleagues and friends ".... Mr. All-Gay!" And he turned blood red and proceeded to tell me how to pronounce al-gee. With everyone laughing, and me almost buckled over, he got it. |
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Post by sean on Mar 8, 2016 21:47:33 GMT -6
This video cracked me up..."another big shocker...ONE HUNDRED FIFTY TWO milliseconds predelay on the vocal reverb...I have never seen that...that is insane..."
Shocking!!! Amazeballs!!!
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Post by donr on Mar 8, 2016 22:54:31 GMT -6
This video cracked me up..."another big shocker...ONE HUNDRED FIFTY TWO milliseconds predelay on the vocal reverb...I have never seen that...that is insane..." Shocking!!! Amazeballs!!! Ha. It IS a bit longer than typical. Tape pre-delay into a plate was typically 115 ms, if I recall. We would use a Vari-speed on the tape slap machine to get the rhythm groove right. In the clip, 152ms doesn't sound that hip by itself, but it does work in the mix. CLA is a character and his persona leaves himself open to some goofing, but in the day, Bob Clearmountain and the Lord-Alge brothers were pioneering today's techniques of stunning rock mixing. They were Lewis and Clark, bro. Vasco da Gama. Ponce de Leon. |
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