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Post by jeremygillespie on Aug 17, 2020 8:31:55 GMT -6
notneeson, do you use a Silver Bullet in your record making? Also, do you use a passive/analog summer before sending your mixes through to the 73's or just use line on the 73s with ITB summing? One more question, are you able to mix into this setup and actively monitor with the preamp color live on your mixes as your mixing? I don’t have an SB, but I’ve spent some time with Brad and heard it in action/tried it out. On my own rig I use an active summing amp (D-Box) but it doesn’t have much of a sound on its own. I take that line level output and send it to my bus comp and then the 73 clones. And yes, I monitor in real time listening to the output of the 73s printed back to PT and then AES out to the D-box. In short, the main reason I have the d-box is monitoring flexibility, less so the summing. Same here - do you have the newer one or the older silver faced version. I traded up to the newer one and the extra features and slight sonic upgrade were welcomed. |
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Post by jeremygillespie on Aug 17, 2020 8:10:52 GMT -6
For me, when gear is reviewed with just one style of music, and that music is really high tempo rock or metal with no breathing room, it’s really hard for me to gauge how useful the gear is going to be for me. Same thing when people just slam the heck out of a compressor with a fast attack and release. Just makes the review completely useless.
Give us something with breathing room, use the full feature set of controls so we can actually hear how the piece of gear reacts to transients from different instruments. Maybe show it being used in context instead of just solo’ed out.
Maybe have one or two songs or instrumentals that you always use in your review of the gear so we have some sort of known base to judge from. Hey here is the mix with what gear I have. On this version you can hear so and so gear on the electric bass. That sort of thing
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Post by jeremygillespie on Aug 17, 2020 8:04:47 GMT -6
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Post by jeremygillespie on Aug 16, 2020 17:57:26 GMT -6
Hey Martin, when you unplug everything from your amp and turn it on, that will be the quietest you will get it. If it’s still making noise, try a ground lift on the amp - the little grey thing that only has the 2 prongs on it. The older ones are nice cause you can flip them upside down and that sometimes helps with the noise. Move the amp around the room to find where it is the most quiet.
After that plug in just your guitar. Depending on pickups and the types of lights in your room/environment, moving around the room or turning in your chair may change the amount of noise you get.
Things get complicated when you add a pedal board using wall power, a di that is plugged into a mic preamp that is then plugged into a compressor, into an interface, into a computer, and so on and so on.
Start slowly adding equipment and carefully checking the ground noise until things are quiet.
I’ve spent hours getting a guitar signal quiet in the studio and having the guitarist blame my equipment before realizing it was a loose input jack on one of his boutique pedals (that didn’t sound all that good in the first place). It can be aggravating but there is always a solution to get rid of the noise. If it’s not a blaring loud thing, it’s generally not going to be the cable.
I generally use those Diaddario ones myself and get them on sale when I can.
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Post by jeremygillespie on Aug 9, 2020 20:42:39 GMT -6
Can you get it with a B-bender and reversed controls? You can reverse the controls in about 10 mins with a few screwdrivers and an open end wrench. B-bender... not so much!! |
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Post by jeremygillespie on Aug 4, 2020 21:33:34 GMT -6
IMHO before anyone pulls the trigger on a Multi-Pattern "Workhorse"... It'd be smart to contact Heiserman, regarding status of the Type 19. Honestly, I preferred the voicing, over the brighter/competing Austrian Audio's and Lewitt's. FWIW the only Lewitt's that work well, with my sibilant voice, are the 840 Tube-and 940 (cause it's both SS/Tube). Chris What’s this type 19? I must have missed something. |
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Post by jeremygillespie on Aug 4, 2020 13:04:45 GMT -6
I know it’s a sort of Love/Hate mic, but the Chandler TG mic I picked up a few months ago has sounded frigin GREAT on everything I put it in front of. Before that I was using 414’s and.... yeah they are “meh”
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Post by jeremygillespie on Aug 3, 2020 10:57:23 GMT -6
Being comfortable and getting the best performance beats everything else imo. Glad you‘ve found what works!
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Post by jeremygillespie on Aug 1, 2020 20:02:47 GMT -6
So...
I set up a reissue Princeton Reverb in the control room to plug a bass into so I could show a bass player some ideas while the real bass amp was setup in the booth. It was the only available amp I could find quickly in the studio so I figured what the hell.
It sounded GREAT as a bass amp at lower volume. Sort of changed my whole outlook on only using bass amps as bass amps.
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Post by jeremygillespie on Jul 30, 2020 20:07:08 GMT -6
This is a classic bad internet joke of a thread where the joker doesn't even know that folks are laughing..... That said, the Alctron mic could actually be decent. Stranger things have happened. I put up their ACM 1200 branded mic (Apex 460 / Avantone variant) with the stock tube against a k_l_A_u_s modded U47 and a classic stock M49 and a MJ modded 460 - male and female vox. The stocker held it's own quite well. k_l_A_u_s was pissed that the 1200 was getting more votes in the poll, and truth be told said the mic had been modded after he had seen it last - ***and that may be true, but it was one of the FAVORITES at a Hollywood rental company***. Often requested by big name artists. So there ya go..... Might actually be a decent mic. Hey - sometimes the underdog has no problems beating out the big dogs in the race on a certain vocalist or instrument. I think we’ve all come across that phenomenon. But for the most part, the tried and trusted known variant will win the race. ::most of the time:: |
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Post by jeremygillespie on Jul 30, 2020 15:36:10 GMT -6
They are great - I’ve used one a bunch, and was about to purchase one from The guy that builds them (Robert Derby) and ran into a money situation when I was about to pull the trigger on it years ago.
He has some great mods that he did to one of the units I tried out.
Great as a bus comp - I know lots of theater guys running FOH would use a bunch of them on their busses like 15 years ago or so.
Nice pick!
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Post by jeremygillespie on Jul 29, 2020 17:50:25 GMT -6
This somehow keeps getting better and better.
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Post by jeremygillespie on Jul 27, 2020 21:16:56 GMT -6
🤦🏻♂️
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Post by jeremygillespie on Jul 25, 2020 19:51:21 GMT -6
Those prices are nuts.
You can get a brand new pair of Distressors for just under 3k
Why would you pay $700 more than that for a used pair?
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Post by jeremygillespie on Jul 23, 2020 8:34:28 GMT -6
Hey wiz,
Check out the Collective Soul record “Blood”
I’d say about 3/4 of the guitars on that record are dussie’s through small combo amps - no pedals. Actually no pedals on that record at all it’s all just plugged right in.
They are great playing and great feelings guitars that sound magical in the right hands. See if you can try one out if possible.
Also their lap steel with the funky bender bridge is badassssss
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Post by jeremygillespie on Jul 20, 2020 15:48:26 GMT -6
I’ve worked on a bunch of SSL’s. From the J , K, AWS and Duality. All of them with perfectly functioning automation systems, the duality and aws with upgradable systems If you get an older one.
Only thing I’ve had to deal with are the chips that control the Stereo Cue send and the Dynamics section. Which are getting harder to find.
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Post by jeremygillespie on Jul 13, 2020 12:04:06 GMT -6
I used to do LCR. I think it's great for simpler arrangements and I typically still locate the core elements of the band that way. The caveat has always been the toms. I can never get wide panned toms to sit right. I always do my best to match the close tom mics to their position in the OH mics. Typically, it ends up being like 30-60% left for the rack and 70-80% right for the floor tom. Sometimes tighter than that. The rack in one ear, floor in the other sounds great on some records that I love, but for the life of me, I've never gotten it to work that way myself. I can’t get on with the wide tom spread myself. I can’t deal with the sound of toms being wider than they are when I’m sitting at the kit. |
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Post by jeremygillespie on Jul 7, 2020 21:27:51 GMT -6
I do think the at-home bubble has burst a bit with the downturn of the music biz. You would think so wouldn’t you? Of course think of all the unemployed / under employed waiters and baristas who suddenly have all that time on their hands to record that album😎 Some of them might have something to say, or a new way of saying it that we haven’t seen. I’m all for hearing what’s out there! From what I can see, any “legitimate” form of the music biz isn’t really going to be around in 20 years (or 10?). I’m excited for the future and to (hopefully) be a part of it. Lord knows grasping at the old model won’t get any of us anywhere. |
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Post by jeremygillespie on Jul 6, 2020 21:16:45 GMT -6
Have you considered a mini split system?
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Post by jeremygillespie on Jul 6, 2020 16:17:41 GMT -6
He will probably get bored with the handful of plugin compressors that don’t suck. Most of them fail horribly at converting sound pressure energy into harmonic energy. Most of them alias. Most plugin compressors simply make your track smaller and shittier. There are quite a few badasses that seem to have figured it out and mix great sounding records without the need of outboard. |
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Post by jeremygillespie on Jul 6, 2020 10:42:43 GMT -6
My understanding about the Brauer thing it's not just instrument group / busses with compression. It's a parallel FX send to one or more of four or so parallel compressors, for different tones and effects. donr I think people talk about that John Mayer Continuum album mixed by Brauer, I remember hearing that and being impressed with the sonics. I'm sure there are more, I just don't know them. That’s pretty much it. He would insert a comp/eq combo on the A,B,C,D stereo busses on the ssl. Then he could pick which bus, including the main stereo bus, to send each channel into, sometimes sending a channel to multiple busses. That combined with parallel processing is his “thing”. Super easy to setup and use on the SSL desks. Not so easy to master haha. |
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Post by jeremygillespie on Jul 5, 2020 7:34:40 GMT -6
Did a lot of work on Studers at 15ips with Dolby SR back in the 90's (a lot of times 2 Lynxed together). That seemed to be a popular way to do basics then bounce to a 3348 for the rest of the overdubs. At mix we'd Lynx the drum 2" up with the Sony. I do not miss any of that! Best answer so far. God, tape wasn't fun and didn't sound great and still doesn't. Tape choice for me was always 499 or 996 as fast as possible and noise reduction as much as possible. And pray to God, you got back close to what you were hearing when tracking. And by the time mixing came around? More EQ necessary than not to overcome the limitations of tape. I don't get the obsession or hype with tape any longer. Maybe wire recorders will make a comeback. I think a lot of the love of a tape machine was the workflow. You had to listen and not look. You had to plan things out instead of having a million options. While I never enjoyed lynx-ing two machines together, an 827 in good working order was as close to a “digital” modern sound as you could get with a tape machine. And that machine is just an absolute joy to work on, maintain, punch in/out, align, etc. It’s amazing how many reels of 456 we get in for transfers that are just absolute junk. We don’t even bother putting them on the machine until they are baked. The 250 always holds up though for some reason. GP9 too. |
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Post by jeremygillespie on Jul 2, 2020 17:35:28 GMT -6
Hey Ragan, what’s with the “custom, vintage” labeling on your inputs on that Deluxe?
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Post by jeremygillespie on Jul 2, 2020 17:26:44 GMT -6
Did you track Mick Portnoy? --- I have a 32 I/O unit, but only have 24 channels hooked up. I've been considering redoing my snakes, and if I do, I'll have them all at the ready. For tracking dates, 16 is around average. Ha! No. The drummer's name is Jason Rullo. For this project, he was playing in a band called "3 Rules". His normal gig is in a band called Symphony X. Wow small world - I was an assistant on a session years ago that Russell came in to sing on. Nice dude! |
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Post by jeremygillespie on Jun 25, 2020 6:15:30 GMT -6
Greetings. Like the subject line says: which non-57 mics are you using on snare? Where (top/bottom/shell) and why do you like said mic for that application? Many thanks, -09 First, I'm not a fan of 57s on snare. The sound is OK but not great and, contrary to the common ignorant opinion they are fragile - one hit to the front section of the mic and you'll probably need a new cartridge.
The mics I like on snare are:
KM 84 on the side of the drum, where it won't get hit. C451ED, same position M201 RE10
Electro-Voice 664, if you you're got a sloppy, heavy handed drummer who's a danger to the microphone.
I’m gladly past the point of having to worry about drummers hitting microphones thankfully. That was a problem when I had to take any gig I could get, And was split on worrying more about a mic getting hit and how painful it was going to be to edit the horrid playing 😂 |
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