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Post by jin167 on Mar 8, 2016 23:33:26 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. Some people sidechain their verbs to the vocal so that reverb would stay out of the way when the vocal is in then have the reverb follow immediately after so that vocal would remain clean without being drawn in the reverb. Classic trick and I think that's what the CLA reverb trick is doing as well (or something close) without using a sidechain.
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Post by Martin John Butler on Mar 8, 2016 23:42:52 GMT -6
Do tell Ward.
At AES in 2013, I was in a room with Steven Slate, Alex Oana, and Alan Sides, (of Ocean Way Studios). Slate had their new touch screen mixer there, Focusrite had their entire line there, and Alan Sides had his wonderful HR3 monitors there. We were listening to some of my mixes, and it was fun hearing my early ITB recordings through all that sweet gear. CLA came in with the kind of energy rock stars save for their entrance to a party where the press is hanging. I wasn't very familiar with his work, and so didn't care either way if he was there or not, so I wasn't part of the genuflecting.
He starts playing a song he'd just remixed, and after cranking the shit out of it, sat around basking in his own glory. Now, he might very well turn out to be a good guy, and the mix he played was impressive in the sense that it was clearly done by major league players, but I thought the sound sucked. My little home studio recording was more pleasant to listen to. Maybe some of the hype surrounding him is really that the musicians he's fortunate enough to work with are simply nailing it.
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Post by Deleted on Mar 9, 2016 1:24:08 GMT -6
Which Green Day song is this? No one has answered my question yet. Screaming At Demons - Our Time Definitely not a Green Day song, definitely NOT a socal pop punk sound whatsoever as someone else here put it. If this was a Green Day song this would have been worth buying. Almost immediate regret after going through the vids.
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Post by Deleted on Mar 9, 2016 1:35:57 GMT -6
I bought the course, I do regret it but I'm glad I found out. The song is FAR from being well tracked. Pretty flat sounding considering it's from NRG. I am actually surprised by that much leaning on the snare sample. A song with even a tiny bit more complexity in the drumming and he wouldn't have gotten away with that. Bomber is a waste of time, the custom EQs... actually never mind. VMR for me is a waste of time. I don't want to scroll through the modules, give me the waves SSL channel where I have everything from trim to output fader and everything between. I don't even care if the Slate stuff imparts a bit more this or that it takes me forever to move around in it and that sucks. Bass is heavily augmented with stereo keyboard bass. Very surprised the vocal double is just a single mono double. I've always gone with left and right doubles panned hard right and left for choruses and I still prefer that. Song is major balls, CLA's voice is annoying, Slate and CLA are two hype machines that are kind of made for each other. Between the two they'll be responsible for more methane emissions than farmed agriculture and travel combined. Personally. I think his best work is a few years behind him, I don't know how he got those sounds but Green Day's American Idiot, Paramore's Brand New Eyes and The Maine's Can't Stop are all classic examples of his sound that I think in recent years he's gotten away from a bit.
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Post by swurveman on Mar 9, 2016 17:07:13 GMT -6
I bought the course, I do regret it but I'm glad I found out. The song is FAR from being well tracked. Pretty flat sounding considering it's from NRG. I am actually surprised by that much leaning on the snare sample. A song with even a tiny bit more complexity in the drumming and he wouldn't have gotten away with that. Bomber is a waste of time, the custom EQs... actually never mind. VMR for me is a waste of time. I don't want to scroll through the modules, give me the waves SSL channel where I have everything from trim to output fader and everything between. I don't even care if the Slate stuff imparts a bit more this or that it takes me forever to move around in it and that sucks. Bass is heavily augmented with stereo keyboard bass. Very surprised the vocal double is just a single mono double. I've always gone with left and right doubles panned hard right and left for choruses and I still prefer that. Song is major balls, CLA's voice is annoying, Slate and CLA are two hype machines that are kind of made for each other. Between the two they'll be responsible for more methane emissions than farmed agriculture and travel combined. Personally. I think his best work is a few years behind him, I don't know how he got those sounds but Green Day's American Idiot, Paramore's Brand New Eyes and The Maine's Can't Stop are all classic examples of his sound that I think in recent years he's gotten away from a bit. I don't regret buying the course, as it was interesting seeing how and where he boosted the EQ on his room reverb, what his vocal FX are, how he deals with OH's, how much he boosts his kick and why, his lack of room reverb on electric guitars etc. etc. For me, it was an interesting peek into what he does. That being said, it reinforced my belief that you have to develop your own style based on your own ears. I do agree that Slate did not bring anything new to the table for me regarding plugins. I can see how somebody who has no plugins and is starting out would be influenced by this Slate/CLA alliance to buy Slate.
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Post by kcatthedog on Mar 9, 2016 17:48:46 GMT -6
Well this is all part of the subscription agenda. To a new user, who has invested little if anything in plugs, its very attractive, low outlay and a good toolkit.
Over time, we will see whether that new user still embraces the sub model as their cumulative costs never stop increasing and you in effect lose all your sessions, other than raw tracks and non slate plugs every month.
And what happens when slate inevitably starts to raise prices ? It won't be pretty.
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