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Post by Johnkenn on Aug 14, 2016 10:31:48 GMT -6
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Post by thehightenor on Aug 14, 2016 12:50:46 GMT -6
Gifted musicians making great music.
Sadly, I'm not sure the current state of the music industry would allow four similar young talents to thrive these days!
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Post by swurveman on Aug 14, 2016 19:15:07 GMT -6
What, no vocal booth?  |
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Post by Ward on Aug 15, 2016 12:58:01 GMT -6
Aha, that's why that record sounds so good:
Genius, talent and perfection.
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Post by NoFilterChuck on Aug 15, 2016 14:15:55 GMT -6
No pop filter either!
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Post by sozocaps on Aug 15, 2016 14:47:31 GMT -6
wow.... a band playing as a band in the studio !.... Rehearsed group vocals, no guitar iso with a 57 shoved up against a v30 or worse yet a kemper (with everyone on the internet's tones) Shall I go on ? |
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Post by joseph on Aug 15, 2016 15:22:07 GMT -6
wow.... a band playing as a band in the studio !.... Rehearsed group vocals, no guitar iso with a 57 shoved up against a v30 or worse yet a kemper (with everyone on the internet's tones) Shall I go on ? Yes please! |
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Post by joseph on Aug 15, 2016 15:31:28 GMT -6
As Bob likes to point out, 67/87s are more resistant to plosives. |
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Post by Ward on Aug 16, 2016 5:48:20 GMT -6
As Bob likes to point out, 67/87s are more resistant to plosives. True, but hit one JUST right with a big plosive, and you're waiting about 2 seconds for the microphone to recover as it acts all punch-drunk. So if you're singing tnto a Neumann U series (any of them) without a pop filter. Stay at least 12" away and 18+ is better. |
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Post by kilroyrock on Aug 16, 2016 7:12:04 GMT -6
Live recordings, all amps on one side, nothing stereo positioned. So the drum take would have the guitar and bass off center, then they could spread the guitar elsewhere in the mix? Would that be the logic there? Or is there enough separation that the guitars would come out centered as they mix in the center of the room? really great video.
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Post by Ward on Aug 16, 2016 7:29:38 GMT -6
Live recordings, all amps on one side, nothing stereo positioned. So the drum take would have the guitar and bass off center, then they could spread the guitar elsewhere in the mix? Would that be the logic there? Or is there enough separation that the guitars would come out centered as they mix in the center of the room? really great video. If you listen to enough queen, you'll hear vocals, guitar and keys coming from everywhere! Bass and drums tend to stay centered and always sound like "Damn, that sounds perfect". Mr. Taylor's tom-toms are always perfect. |
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Post by kilroyrock on Aug 16, 2016 7:33:58 GMT -6
Live recordings, all amps on one side, nothing stereo positioned. So the drum take would have the guitar and bass off center, then they could spread the guitar elsewhere in the mix? Would that be the logic there? Or is there enough separation that the guitars would come out centered as they mix in the center of the room? really great video. If you listen to enough queen, you'll hear vocals, guitar and keys coming from everywhere! Bass and drums tend to stay centered and always sound like "Damn, that sounds perfect". Mr. Taylor's tom-toms are always perfect. I'm a huge Queen fan, one of the reasons why I stack huge part harmonies on a lot of my songs. I've never actually looked up to how they set up to record. I'm gonna use this as inspiration on the next EP. It gives me confidence that I'm not doing it wrong! |
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Post by Guitar on Aug 16, 2016 9:06:31 GMT -6
Wow. This is how music should be.
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Post by Martin John Butler on Aug 16, 2016 9:12:38 GMT -6
uh, wow..
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Post by jsteiger on Aug 16, 2016 9:17:12 GMT -6
.....Mr. Taylor's tom-toms are always perfect. Possibly the best tom sounds every recorded. Period. |
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Post by Ward on Aug 16, 2016 10:14:51 GMT -6
.....Mr. Taylor's tom-toms are always perfect. Possibly the best tom sounds every recorded. Period. I can't remember how many of their records were recorded this way, but I was told the engineer used 421a in position 2 on the bass roll-off and nothing else was needed besides the desk and some limiting. (P.S. I realize they're using U47FETs in this session and wonder also if they used the bass roll-off on them as well. Also, really interesting mic positioning) |
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Post by joseph on Aug 16, 2016 12:06:27 GMT -6
As Bob likes to point out, 67/87s are more resistant to plosives. True, but hit one JUST right with a big plosive, and you're waiting about 2 seconds for the microphone to recover as it acts all punch-drunk. So if you're singing tnto a Neumann U series (any of them) without a pop filter. Stay at least 12" away and 18+ is better. For me, this happens so rarely with 87, only when singer really eats mic. Spit shutting down mic is more the reason I'd resort to a pop filter, or on an sdc. I've found u87 with patented wedge much more resistant to pops than my Flea 47 or most condensers. No filter not only sounds better, but I think is more inspiring/less awkward for singer, speaking for myself now too. I'd rather remove pops with spectral editor or if a singer is super aggressive/has no technique, use an RE20. |
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Post by joseph on Aug 16, 2016 12:12:06 GMT -6
What I'd most like to see is a shoot out of popular mics, evaluating how they handle pops, sibilance, and whether a 67, 87, or C37 with some 16khz sounds smoother on average than a brighter condenser.
My guess is the Josephson C715 would come out on top, followed by the U67, then the 87 and C716. And CK12 with traditional headbasket, especially unfiltered K67 types would fair the worst. 47 being in between.
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Post by Martin John Butler on Aug 16, 2016 14:12:36 GMT -6
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