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Post by tonycamphd on Feb 11, 2014 16:16:25 GMT -6
I figured a thread focused on tips and tricks that help evoke great performances, would be as useful as anything else we talk about here?
So here's a few of the things I've done over the years.
on pre producion practice or learning mixes, I always roll off too much bottom and dull the top end a bit, so when a singer or player comes back in to track, they are re envigorated by a big shiny headphone mix, in comparison to the boring practice mix they've been beating to death, it excites them all over again.
i also use time of day and lighting to match the vibe of a tune if possible.
volume of instrument or vocal track in a headphone mix can evoke more aggression or subtlety from a performer.
these are a just a few tips you may or may not know, I hope u find them useful? And please share any you may know?
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Post by svart on Feb 11, 2014 16:27:53 GMT -6
Almost always put some thick short reverb on vocal returns for the singer's headphones. They tend to do a lot better when they can sort-of harmonize with themselves. Think of why people sound better in the shower..
Secondly, if a person is really nervous about recording, I'll tell them that we are going to do a number of "practice" run-throughs. The trick is that I'll be recording them the whole time. Once I tell them I recorded them and they sound fine, they'll settle down and I can do good tracks. Periodically I get my best performances in those "practice" tries..
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Post by adogg4629 on Feb 11, 2014 19:22:07 GMT -6
I once worked for a feature film mixer who would let an OCD director or producer write a fader move every once in a while to get them to stop nitpicking the timings of random transitions they get their panties in a bunch over. The Director would get so happy that they'd move on and we would finish the day. I've also seen an editor and post supervisor conspire to give an annoying producer with delusions of timing a 9 split to choose shots from.
The bad part of all of this is that these creative types walk out of these sessions thinking they can edit and mix.
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Post by svart on Feb 11, 2014 19:28:01 GMT -6
I once worked for a feature film mixer who would let an OCD director or producer write a fader move every once in a while to get them to stop nitpicking the timings of random transitions they get their panties in a bunch over. The Director would get so happy that they'd move on and we would finish the day. I've also seen an editor and post supervisor conspire to give an annoying producer with delusions of timing a 9 split to choose shots from. The bad part of all of this is that these creative types walk out of these sessions thinking they can edit and mix. I've given overzealous band members non-active channels on the board to move faders on. They want "just a little" EQ or level adjustment, so they do a tweak and are happy to hear the difference, although nothing has actually changed. This is usually because they start reaching over me, and although I generally only have to ask once not to do that unless we agree that they can or will do any adjustment of their own, some continue to do so. So to keep from creating a tense situation, I've done this a couple times. The placebo effect is very strong in cases where people hand their art over to someone else and then micromanage it. |
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Post by henge on Feb 11, 2014 20:35:13 GMT -6
What great idea! Have to try this. |
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Post by WKG on Feb 11, 2014 22:56:31 GMT -6
Some good tips here.
I'll work the vocalist's headphone volume to "nudge" them closer to their sweet spot or encourage them to push when needed or vice versa. I've got dimmable, color adjustable LEDs that do the lighting adjustment for mood pretty well. Reverb to the headphone mix here too.
I'll always have them do a run through "just to check levels" at the beginning and nearly every time it ends up being the best take as they are relaxed and not thinking about "recording".
I always like to take some time to talk with people and get to know them a little. It's much easier to record some one once I've been able to connect with them and I like to think they relax a bit more as well.
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Post by Ward on Feb 13, 2014 9:05:59 GMT -6
One of the oldest tricks in dealing with drummers is to make louder in their cans anything they hit too hard so they back off, and conversely to make quieter anything they hit too softly.
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Post by jazznoise on Feb 14, 2014 3:35:24 GMT -6
For recording people, or working in live sound with people, who are green I find the easiest way to make them relaxed is to be relaxed. Don't ever make a problem out to be a big deal, have some silly jokes prepared, whatever. If it takes a singer hearing my god awful Bill Cosby impersonation to stop worrying whose judging him, then fine. I just want them to go for it, and I don't want them to worry about embarrassing themselves.
I did a school talent show recently, 30 young acts who couldn't follow our stage order. Needless to say as we went from solo singer + piano to 5 piece band to Vocalist+iPad looper sampling the vocals I was moving my mic stands plenty. 3 acts in with some insanely nervous adolescents hovering around I accidentally trip on the riser and nearly faceplant the stage. I quickly turned around, bowed to the audience and carried on whilst laughing at myself.
Needless to say the 15 year old about to play his favorite song on guitar whilst singing for the first time in public went from shitting himself to laughing at me. I mic'd him up, told him to go for it. The mood for the night was lightened and all of a sudden they were playing in front of their friends again, and not some wall of judgmental executioners.
Of course with more serious artists, playing the goof-ball can be a bad thing. You just gotta read who you're working with.
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