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Post by mrholmes on May 9, 2016 9:15:21 GMT -6
Cool...
I did like to have the toms bigger than live with a plate reverb.
Everything was nice except that the tail died to early in comparison to the rest of the music.
By mistake I did ad a very short slap delay on the plate verbs return.
Man this sounds so cool - it helps the decay but also the decay gets wide right after the hits.
Learning never stops...
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Post by Ward on May 10, 2016 7:48:03 GMT -6
The only thing about slapback on drums... everything sounds like a flam, which is cool if that's what you're going for.
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Post by Martin John Butler on May 10, 2016 9:13:25 GMT -6
I accidentally moved a drum track that was sent to me forward one bar. Now I kinda like it. I'll probably move it back, but i'll play both and see how I feel.
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Post by Martin John Butler on May 11, 2016 10:54:03 GMT -6
Had to rerun a mix today because it was being mastered, and we discovered a glitch. So, I made a very minor correction to 1/2 second of acoustic guitar volume. Looking around, I see that I left one of the there reverbs I use completely off of this session. I use the Ocean Way plug-in as my "room" sound. Then add Relab's XL-480 for reverb, and then a small pinch of UAD's EMT 140 plate reverb for ambience.
I completely forgot to use the plate on this track, and it was better without it, hmm.. It's been a while, so maybe I just took it off when mixing, but it was clear that less was more this time around.
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Post by mrholmes on May 11, 2016 13:56:06 GMT -6
The only thing about slapback on drums... everything sounds like a flam, which is cool if that's what you're going for. Its an extreme short one it just makes it wider.... |
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Post by Ward on May 12, 2016 5:09:27 GMT -6
The only thing about slapback on drums... everything sounds like a flam, which is cool if that's what you're going for. Its an extreme short one it just makes it wider.... How many milliseconds are we talking here? |
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Post by mrholmes on May 12, 2016 11:07:21 GMT -6
Its an extreme short one it just makes it wider.... How many milliseconds are we talking here?  |
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Post by donr on May 12, 2016 12:14:12 GMT -6
How about the tape accidents that could be disasterous but wind up being musical. Like the print-through pre-echo vocal on Zep's "Whole Lotta Love," and the crinkled stereo master tape on the intro of the Beach Boy's "Good Vibrations."
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ericn
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Balance Engineer
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Post by ericn on May 12, 2016 12:23:32 GMT -6
How about the tape accidents that could be disasterous but wind up being musical. Like the print-through pre-echo vocal on Zep's "Whole Lotta Love," and the crinkled stereo master tape on the intro of the Beach Boy's "Good Vibrations." Part of the problem with digital is the fact that it lets you take out all those little mistakes that give records soul, to easy now to manufacture perfection. |
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Post by jayson on May 13, 2016 6:30:37 GMT -6
Serendipity, random chance - whatever you want to call it - does create some cool by-products sometimes.
Whenever those moments happen I always seem to get one Brian Eno's Oblique Strategies axioms stuck in my head:
Honour thy error as a hidden intention
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Post by kevinnyc on May 13, 2016 6:50:12 GMT -6
As we're from the island of misfit toys we're drawn to artistic imperfection  I't never ceases to amaze me what sticks in my ears as "cool." For me Bonham's squeaky kick drum pedal in "The Ocean" is as important as any other element in creating the track's vibe. Though not a mix mistake per we but interesting what they allowed to make it to tape. |
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Post by Bob Olhsson on May 13, 2016 7:33:47 GMT -6
The nice thing about technical limitations is that people often move well beyond their intentions and concepts of what they are capable of.
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Post by Martin John Butler on May 13, 2016 7:51:20 GMT -6
hmm..'Honour thy error as a hidden intention".. I'd like to try that, but sometimes a mistake is a mistake. Long story short, I recently flew in drum tracks for a song I'm working on. I "accidentally" placed the whole part one measure forward, starting at 1 instead of 0.
It's an unusual song where it's mostly 6/8, but sometimes 9/8, so it seemed like the drums were good, only a little odd in certain measures. It was a world class drummer, so I didn't even think of questioning his intentions, and figured he was taking a jazzy unorthodox approach.
We mastered the track, sent it to the drummer, and he said all the drums are forward a measure. Arrgghh.. the thing is, I'd gotten used to it that way, and sort of liked it. So we ran the mix with the corrected drums, mastered it, and I have to decide which is the "better" version today. I'd love to be cool and say it was a happy accident and keep the first mix, but I'm going to choose whichever one has more emotional impact.
Guys like Eno and Bowie sure have a lot of guts to work the way they do sometimes.
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ericn
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Post by ericn on May 13, 2016 8:06:57 GMT -6
The nice thing about technical limitations is that people often move well beyond their intentions and concepts of what they are capable of. How true! I often tell newbies I am very happy I got started on crap ! If I was starting off today I would relie more on my tools than my talent! The limits my equipment placed on me made me push myself and understand my equipment , the projects and myself! When I reached the level of a Teac model 3 and 70-8 in I thought I was in heaven! Suddenly I learned I had to think. 4-8 tracks & crapy mics taught me one thing, you have to THINK ! Digital is easy, deciding what's a keeper, what to throw away, man if you ever lived through throwing what would be the perfect take away , man digital is easy being able to bring that take back a year later! A pawn shop MXL for $40 trumps any no name POS I could find for $40 in the 80's! Don't kid yourself the basic low end crap we put down everyday is more than capable of producing a hit record. I can't say that about my first cassette deck and RadioShack dynamic ! |
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