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Post by jeremygillespie on Jun 24, 2020 20:15:07 GMT -6
Interesting. How do you keep that phase coherent? Do you measure, eyeball it, listen when flipping polarity? I guess I’m more a less mics the better dude, but that sounds interesting. I guess I’ve never been more than two mics on the snare and usually just a 201 off the shell. But now I’m wondering what I’ve been missing. Love to hear about approaches I have no experience with! Cheers, Geoff The modern way is to simply nudge the tracks in the daw until they line up in time, and then flip polarity as needed. Boom. In phase and time aligned. Wouldn’t that be frequency dependent? I try to take the time to get it as close as possible by ear. And sometimes it just sounds better when it’s not absolutely visually perfect. |
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Post by jeremygillespie on Jun 24, 2020 17:56:15 GMT -6
i5 on top, generally nothing on bottom but if I have some spare inputs I’ll put a 441 down there then usually wind up not using it come mix time.
I got a pair of 201’s in that sale a few months ago but haven’t tracked drums since to try them out on snare.
Generally really happy with the i5 though!
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Post by jeremygillespie on Jun 24, 2020 17:51:47 GMT -6
50% to book the time. Non-refundable don’t even ask not going to happen it’s in the contract. The rest paid day of etc etc etc. You don’t get files or hard drives until I’m paid. No you don’t get a rough until you’ve paid. No I can’t spend an hour running mix passes after you’ve handed me a check for the time we’ve spent. No my hard drive space isn’t free and I won’t hold onto your files for 5 years. Oh you didn’t want to pay for stems and now you want me to do them but you can’t come up with the money for an hourly rate - sorry not going to do it. I’ve gotten screwed so many times over the years for being nice that I’ve found I’ve had to take these positions. It’s good to be on the same page with everybody from the outset. You seem upset.  Haha only when people don’t view what we do as a job that we use to pay bills. Like somebody else said, I’ve had people not like my mix rate, and at the time it was pretty low, then turn around and use my tracking rough from the end of the night when I’m totally shot after 14 hours, and send that to mastering... Then release the song and have the nerve to say I mixed the track in the video notes that they threw up all over Facebook. Look at the comments to see people saying “damn great song but your engineer blew the mix!” Not fun |
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Post by jeremygillespie on Jun 23, 2020 21:03:54 GMT -6
50% to book the time. Non-refundable don’t even ask not going to happen it’s in the contract.
The rest paid day of etc etc etc.
You don’t get files or hard drives until I’m paid. No you don’t get a rough until you’ve paid. No I can’t spend an hour running mix passes after you’ve handed me a check for the time we’ve spent. No my hard drive space isn’t free and I won’t hold onto your files for 5 years. Oh you didn’t want to pay for stems and now you want me to do them but you can’t come up with the money for an hourly rate - sorry not going to do it.
I’ve gotten screwed so many times over the years for being nice that I’ve found I’ve had to take these positions. It’s good to be on the same page with everybody from the outset.
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Post by jeremygillespie on Jun 23, 2020 20:52:41 GMT -6
Eh 4 Auxes and 4 Groups. That's pretty good. An SSL Duality only has 4 Auxes and 1 stereo cue send... Plus some other cool features. I think it's a strong contender for a nice console with plenty of options. But again, I'd go for the JCF one personally. That JCF is going to be $150k though. That's a pretty substantial difference. I feel like I must be the only dinosaur these days that still does headphone mixes on the console. I'd love to have a board with 6-8 stereo auxes. If this Looptrotter was half the price though, I'd probably already have one in my studio. If given the choice I’d rather throw direct outs to a private cue or aviom system. Maybe it’s because I always had the luxury of doing that, but making cue mixes for picky musicians is the WORST. And I’ve been on both sides of the glass haha |
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Post by jeremygillespie on Jun 23, 2020 20:46:03 GMT -6
Ok, that was educational. Thanks man! So, sample libraries aside, let’s assume that the CPU in my 2012 Mac Mini isn’t actually getting maxed out, even though my usage meter hits red, and I get error messages that my DAW has run out of processing power. Are there system tweaks I can make that will give me more buffering, given that my CPU still has headroom? More RAM? I have 16 GB now. Apparently 16GB is the max you can put in a 2012 Mini. Yes. But - you can get 64 in the new mini!! I’m close to pulling the trigger on one myself but can’t figure out if my next upgrade is going to involve going HDX. |
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Post by jeremygillespie on Jun 17, 2020 14:45:41 GMT -6
I’d caution against oiling it too often or using too much. It can cause a sloppy mess if you’ve put too much in.
I’ve gone a year or more without turning mine on while it was In storage and it fired up just fine.
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Post by jeremygillespie on Jun 13, 2020 15:07:50 GMT -6
No but I’m gonna go back mine up right now. That’s a scary thought to lose that stuff. Sorry man!
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Post by jeremygillespie on Jun 7, 2020 18:32:09 GMT -6
You know - I don’t handle that aspect of things so I called my buddy that I play with who does handle it. I always thought he had a pr person that got him on playlists but apparently it was way more organic than that - somebody heard one of his tunes someplace and liked it and put it on their playlist that gets tons of listens. |
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Post by jeremygillespie on Jun 7, 2020 17:39:18 GMT -6
Never had a problem in 15+ years with ilok.
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Post by jeremygillespie on Jun 7, 2020 9:11:11 GMT -6
I know some of you might think I’m crazy, but streaming services are your friend. Keeping your music off Spotify and Apple Music isn’t going to help your cause.
Get your music on the digital platforms, then use a playlisting service to get your music on playlists with similar artists. It’s really the only way to get new listens with the current situation of not being able to play shows (here anyway)
At that point you need to have a website setup with cds, vinyl, tshirts, etc etc etc with an EASY checkout system on the front page for people to give you money. Livestream a show once a week for an hour on instagram. Live-streams pop up first for your followers on their “stories” which is what people generally click on first. You can see what people are writing to you and interact with them. That’s what fans want. Personal interaction and then the easiest way possible to listen to the music - Like a link to a Spotify playlist that you’ve made of your 5 most well received songs. Links to YouTube videos, etc.
You’ve got to make it as easy as possible on as many platforms available to you, because the general public is lazy and they aren’t going to dig for your music. If There is the slightest little difficulty in making a purchase you’ll lose out.
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Post by jeremygillespie on Jun 7, 2020 7:25:58 GMT -6
Mickey Most demanded that I "duck the cymbals" when I was recording Jeff Beck. All we had at Motown were Neumann KM-86s and a couple of 67s I didn't want to take the time to set up. The only thing I could think of was to set the overhead 86 to figure-8 and line it up with the edges of Cozy Powell's cymbals. The result sounded so spectacular that I've always used a figure-8 or two since. Ribbons can be pretty good too but in recent times I've used 67s. Curious. And I just remembered the last time I used a spaced pair on overheads, for Canadian band Two Guitars Clash. Made the drums sound fantastic but wasn't as kind to cymbals. But sounded great on sirius xm! (that was a giggle . . . nothing sounds great on sirius xm) It’s amazing how awful Sirius sounds. Can’t stand listening to it! |
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Post by jeremygillespie on Jun 6, 2020 16:47:41 GMT -6
You can easily clip it out; it’s not in the audio path. I did not get a manual with it. Can you explain the clip it Part? Is this reversable when i go to sell it to upgrade to the redd at some stage? Just clip one leg of the LED and bend it out of the way. If you go to sell it just bend it back and solder it together. |
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Post by jeremygillespie on Jun 5, 2020 19:27:25 GMT -6
Hey fellas, don't forget the OP's specified budget! Recently in a dead room I’ve been using a mono fathead with Lundhal transformer in it and love it for my OH. The other of my stereo pair goes on kick and that’s great as well. That would run like half the budget if you got them used. Spot mic cymbals and toms and you still get a decent stereo image if you need it. |
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Post by jeremygillespie on Jun 4, 2020 11:32:04 GMT -6
I wish I could get along with my 160’s as overheads but I just don’t like them In that application. They are fantastic on toms though.
Are you set on small diaphragm for overheads?
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Post by jeremygillespie on Jun 3, 2020 18:33:28 GMT -6
Just ordered the Chandler TG mic. Hoping to cover lots of bases since I’ve got no access to the mics I’ve used for the past 15 years at the moment and need to get some tracking done at home for a project.
Can’t wait to try it out!
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Post by jeremygillespie on Jun 3, 2020 11:46:20 GMT -6
Some of the tasty amps that I'll be recording with the REDD mic and (?) compressor......all amps are loaded with wonderful NOS tubes....Amperex,Telefunken, Mullard, RCA.....Oh my!  View AttachmentKiller collection there! |
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Post by jeremygillespie on Jun 3, 2020 6:08:30 GMT -6
Has something like this been used on recordings made by singer/songwriters like Ryan Adams, Jason Isbell, Mark Knopfler or Lyle Lovette ? I’d venture to say no. Isbel’s engineers are decidedly old school - minimal mics on those kits. Ryan has gone through so many producers and engineers it’s sort of hard to say but drums on his records don’t generally sound like they have a sub kick going. Ethan Johns and Glyn generally have an old school D12 or D20 on kick from what I’ve seen and read. Can’t really speak for Tom Schick. His last engineer Charlie didn’t seem to have anything other than the normal mics from any pictures I’d seen on Instagram and the like. No clue on Knopfler or Lyle, but that sound doesn’t seem to suit their productions. Questlove usually has one on his Kick drum for the live taping of The Tonight Show with Jimmy Fallon, but you j the studio for The Roots, D’angelo, and Common, his engineer uses a D12 and a FET47. Aaron Sterling had one on his kick drum for the last 2 John Mayer tours, haven’t seen one on his tracking setups though. |
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Post by jeremygillespie on Jun 2, 2020 15:29:09 GMT -6
Can we get the stand separately? You could easily modify a snare stand for sure! |
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Post by jeremygillespie on Jun 1, 2020 15:41:28 GMT -6
Picking up where Yamaha left off when they stopped selling the sub-kick. Cool.
I never got on with these things myself. Even made my own with an NS-10 driver thinking it would make a cool addition to my “mics”
Problem is - those drivers only go so low, so you work the speaker in reverse and you’re only going to get the opposite of how low a “10” speaker can reproduce.
I’ve tracked a few drum sessions using one and realized come mix time it wasn’t really a very usable channel for me. Something like a punchy inside mic combined with a FET47 outside makes WAY more sense to me.
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Post by jeremygillespie on May 26, 2020 12:59:27 GMT -6
You can just change the name after you burn the file from wherever you send your bounces to. Pro tools doesn’t allow you to put metadata in wav files anyway - only the MP3’s (as far as I know)
When I send files to clients they get a master folder, then inside they get 3 seperate folders. One with the full res file size, one with 44.1/16, and a third with high quality MP3’s or whatever else they ask for along with instrumentals etc etc etc. That way it’s all neatly organized and nobody has a question as to which one they are using.
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Post by jeremygillespie on May 26, 2020 9:42:39 GMT -6
Okay I’m out haha. Nobody wants to hear my voice for 3 hours. My wife does this stuff a lot for corporate clients so let me know if you ever need a female voice. |
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Post by jeremygillespie on May 26, 2020 9:33:15 GMT -6
Male or female voice?
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Post by jeremygillespie on May 21, 2020 15:33:26 GMT -6
Guess I'm still in the stone ages, manually cutting and dragging all this stuff around, looking for zero crossings with matching shapes for crossfade points. I’m right there with you. The top end artifacts always sounded awful for me doing it the time stretch way. |
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Post by jeremygillespie on May 18, 2020 9:10:34 GMT -6
Going one step further, I always look at whether to get an SM7b this month, and i always push it to next month. I just did my regular check, and lo and behold, there are no sm7bs available. I think everyone and their mother are doing home broadcasts, and saw Dave Matthews (and others) early on with the SM7b. That'll sell a lot of mics. Only one available for almost 700 bucks on reverb, no used at all. Ha! Check eBay - there are a bunch up right now for about $350 |
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