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Post by noah shain on May 2, 2016 0:35:39 GMT -6
Craziest part was...no outside clients. The owner's music only. You guys are gonna think I'm making this up but it's true. He had been on the same record for years...and all they were doing, in 2 different SSL rooms was comping vocals. 2 full time, 8 hour a day, engineers and 2 assistants. Comping vocals on the same dozen songs...FOR YEARS!!!! Oh, so you visited where they cut that Guns N Roses record Axl spent 10 years on, eh? A BUNCH of my friends worked on that record. Playing and teching. My buddy Gersh was drum tech for years. Built a strong company off that paycheck. The record I was talking about was this crazy Japanese dude Yoshiki from X Japan. I don't know if they ever even finished it.
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ericn
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Balance Engineer
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Post by ericn on May 2, 2016 10:50:10 GMT -6
Oh, so you visited where they cut that Guns N Roses record Axl spent 10 years on, eh? A BUNCH of my friends worked on that record. Playing and teching. My buddy Gersh was drum tech for years. Built a strong company off that paycheck. The record I was talking about was this crazy Japanese dude Yoshiki from X Japan. I don't know if they ever even finished it. There was a period in the early 90's where guys with way more money than brains seamed to keep the old fashioned studio model going ! For the most part they all either lost their fortunes or got bitch slapped by their accountants! But every now and then you hear about a new one, not as cool as the old rooms, but people with money have always wanted to be around the cool and famous !
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Post by noah shain on May 2, 2016 11:05:28 GMT -6
A BUNCH of my friends worked on that record. Playing and teching. My buddy Gersh was drum tech for years. Built a strong company off that paycheck. The record I was talking about was this crazy Japanese dude Yoshiki from X Japan. I don't know if they ever even finished it. There was a period in the early 90's where guys with way more money than brains seamed to keep the old fashioned studio model going ! For the most part they all either lost their fortunes or got bitch slapped by their accountants! But every now and then you hear about a new one, not as cool as the old rooms, but people with money have always wanted to be around the cool and famous ! My pal Kato Kwandala just moved in to a producer room in a new facility called Sphere here in LA. It was Royal Tone for years then it was Linda Perry's place, Kung Foo Garden. The A and B rooms of the main facility are ASTOUNDING. It's so well equipped and networked it makes me feel like I'm using a pop up book version of a studio at my place. It's a HOLY S__T facility top to bottom. spherestudios.com
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Post by svart on May 2, 2016 11:08:23 GMT -6
noah shainI gotta say, your info you've posted in this thread and others has helped me immensely. Keep it up! Any tips, tricks or suggestions for pretty much anything is very welcome..
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Post by indiehouse on May 2, 2016 13:06:19 GMT -6
noah shain I gotta say, your info you've posted in this thread and others has helped me immensely. Keep it up! Any tips, tricks or suggestions for pretty much anything is very welcome.. I second this sentiment.
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Post by noah shain on May 2, 2016 14:14:28 GMT -6
noah shainI gotta say, your info you've posted in this thread and others has helped me immensely. Keep it up! Any tips, tricks or suggestions for pretty much anything is very welcome.. Hell yes! You too man! You're a damned Guru! I like the open sharing that happens on this site. It's so good. Feels like the hallway/lounge discussions from back in the day! A million thanks to you guys and John K.
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Post by jazznoise on May 2, 2016 14:55:24 GMT -6
I also appreciate all the info shared. More importantly I think the reasons you do what you do are just as interesting.
Also the 700Hz on toms thing saved my ass this week.
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ericn
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Post by ericn on May 2, 2016 19:29:57 GMT -6
I have learned something new from everybody here or at least found a different way of tackling a problem. The only thing better than being with this group online is getting to meet in person. You guys should have seen the guy at the Post Office when I sent Noah his DI! Guy is a huge Dead Sara Fan ! Kept asking if I knew who he is!
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Post by noah shain on May 2, 2016 20:44:59 GMT -6
I have learned something new from everybody here or at least found a different way of tackling a problem. The only thing better than being with this group online is getting to meet in person. You guys should have seen the guy at the Post Office when I sent Noah his DI! Guy is a huge Dead Sara Fan ! Kept asking if I knew who he is! HAHAHAHA! No way!
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ericn
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Post by ericn on May 2, 2016 20:49:35 GMT -6
I have learned something new from everybody here or at least found a different way of tackling a problem. The only thing better than being with this group online is getting to meet in person. You guys should have seen the guy at the Post Office when I sent Noah his DI! Guy is a huge Dead Sara Fan ! Kept asking if I knew who he is! HAHAHAHA! No way! WAY! It was almost as bad as the time in Madison 1/2 the people in line wanted MY autograph, yes I live a very interesting life!
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Post by Martin John Butler on May 2, 2016 22:09:16 GMT -6
Anyone have an idea why my reverb sounds louder after bouncing? Let's say I'm listening for the verbs in a mix and they sound great, there, but not there. Then I run the bounce, playback on iTunes, and the reverb's much more obvious.
This also happened with shakers and tambourines, so I purposely mix them lower.
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Post by NoFilterChuck on May 3, 2016 20:09:34 GMT -6
don't playback with iTunes. play it back using Quicktime 7 or Quicktime X (or directly in Finder)
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Post by jazznoise on May 4, 2016 7:32:28 GMT -6
It's just that when you concentrate on a DAW, you'll generally keep going "yeah but I can't hear the FX" like you do when you solo them. It's not till you switch that part of your brain off, listening to a bounce, will you notice the actual level. Anyone who has recorded a guitar part "with a little chorus" only to listen back on playback and hear Robert Smith swimming through the speakers at them has had the same feel. It's about modes of listening.
I don't solo my FX sends unless somethings really off these days, or I'm trying to imitate a specific verb from a room mic or something.
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Post by Martin John Butler on May 4, 2016 7:48:52 GMT -6
don't playback with iTunes. play it back using Quicktime 7 or Quicktime X (or directly in Finder) Thanks Chuck. Why is that?
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Post by svart on May 4, 2016 8:01:22 GMT -6
don't playback with iTunes. play it back using Quicktime 7 or Quicktime X (or directly in Finder) Thanks Chuck. Why is that? I believe I read once that Itunes had some kind of effect, maybe enhancement, turned on by default or something. I don't use apple products, so I can't say that's the case for sure, but I'm pretty sure I've read this multiple places.
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Post by jcoutu1 on May 4, 2016 8:12:48 GMT -6
I would bet the majority of users are listening through iTunes, so maybe we should be checking there.
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Post by Martin John Butler on May 4, 2016 8:37:24 GMT -6
I have all the enhancements in the iTunes settings page turned off.
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Post by svart on May 4, 2016 8:49:47 GMT -6
IIRC there was a huge thread at the purple site where people figured out that it was not a matter of settings, but Itunes itself sounded different. Something about the audio subsystem mucking about.
Anyway, I found a link to the thread at purple site in an Itunes complaint thread, but the link doesn't work for some reason..
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Post by jazznoise on May 4, 2016 10:03:40 GMT -6
Regardless it's not changing the reverb balance per se. If it's adding some upward compression or something then it's just bringing up everything down there. Checking mixes with a limiter (and I think many of you do put things on yr 2bus) should reveal if that's going to be an issue.
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Post by henge on May 4, 2016 10:14:52 GMT -6
I just wanted to point out that the Exponential reverbs have wide,lite,dark and narrow versions of each preset. What I find myself doing is finding the right space for the drums and then copy that instance of R2 for all the other instruments, including vox. Then it's very easy to use the variations of the drum room to move stuff around in the chosen space. For instance guits and keys will feed the "wide" version of the space or maybe the dark version depending on the mix. Vox will get the light version etc. Excellent glue with very little fooling around. Also most delays will feed into the different R2 or Phoenix versions.
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Post by Martin John Butler on May 4, 2016 12:34:53 GMT -6
If I was starting over again, I'd just buy the Exponential and forget about the others. My Relab 480-XL is excellent, but the Exponential seemed the closest plug to to the clean and real Bricasti, if memory serves.
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