| Forum: Whatever Works |
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| Topic: James Page; biological researcher, Epson |
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| Re: James Page; biological researcher, Epson [message #376850 is a reply to message #376718 ] |
Mon, 06 October 2008 02:30 |
Edvaard
Messages: 262
Registered: April 2008
Location: Atlanta |
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| wwittman wrote on Sun, 05 October 2008 10:56 |
everyone should be required to build a musical instrument.
or a drum
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Actually, I get your point now.
Student:
"I'm sorry, I've messed this guitar thing up so terribly."
Teacher:
"Not to worry! We can still make a drum out of it!"
Again, all good experience.
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| Topic: 3g iphone interference? |
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| Re: 3g iphone interference? [message #376869 is a reply to message #376833 ] |
Mon, 06 October 2008 07:22 |
 Tom L
Messages: 361
Registered: December 2007
Location: Huntington, NY |
Active Member |
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Interesting to note, rampant cellphone/blackberry interference in conference systems drove manufacturers for the installed sound market to add RF blocking components to those mics. I don't think that is something I'd want to see in a studio grade mic.
I usually remind people when entering the live room, "you might want to turn your cell off." Aside from potential interference, it's a distraction. I'll leave it at that and spare the rant.
http://www.kaleidoscopesoundworks.com
http://www.knockoutdrops.com
"Re-examine all that you have been told... dismiss that which insults your soul." Walt Whitman
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| Topic: Wow, Inara George |
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| Re: Wow, Inara George [message #376891 is a reply to message #371796 ] |
Mon, 06 October 2008 09:37 |
Edvaard
Messages: 262
Registered: April 2008
Location: Atlanta |
Active Member |
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I guess my ears are just 'different' or something, but I don't hear any Billie Holiday at all here.
I do hear a good bit of someone in her own voice, to quite good effect.
What I like about this song ...
http://uk.youtube.com/watch?v=GK8gGwhd9fM
is the use of acoustic guitar (@ ~ 2:14) as, essentially, a percussive instrument.
(I hate the toy drums, but her singing is so good, I can still listen to it. My hope is that she achieves success that allows her to hire a drummer for further efforts)
Toy drums fit well in a dumpster, but don't fit well in any mix.
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| Topic: Favorite Compressors for Tracking |
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| Re: Favorite Compressors for Tracking [message #376900 is a reply to message #336837 ] |
Mon, 06 October 2008 10:06 |
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I don't have much in the outboard compression department, but I use my DBX 160X frequently when tracking. It's a great compressor for things like bass, kick, snare, and acoustic guitars on the way in. The attack and release functions have a very musical way of reacting to the level of whatever you put into it. It almost always sounds very transparent to me unless I choose to really nail things with it. Great on vocals as well.
I recently picked up a Distressor, and have tracked a few things through it with good results. Still getting the hang of it though. Wasn't really thrilled when trying it on vocals on the way in, but I'm not giving up on the idea.
My FMR RNLA sounds really nice on ac. guitar and OH's going in. Adds a nice sparkle to the high end to my ears.
Ryan Slowey
Albany, NY
Me: http://www.myspace.com/bubba_joan
Music page: http://www.myspace.com/hangmanslowly
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| Topic: HERE WE GO AGAIN (gear group buys) |
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| Re: HERE WE GO AGAIN (gear group buys) [message #376848 is a reply to message #226785 ] |
Mon, 06 October 2008 01:45 |
groundhog
Messages: 1411
Registered: January 2006
Location: organica studio , st . pa... |
Platinum Member |
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| compasspnt wrote on Sun, 05 October 2008 19:15 |
The Gear is Here.
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wahoo !
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| Topic: Melcor Console? |
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| Re: Melcor Console? [message #376865 is a reply to message #376759 ] |
Mon, 06 October 2008 07:13 |
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Silvertone
Messages: 498
Registered: March 2007
Location: Saratoga Springs, NY |
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| Neal Ward wrote on Sun, 05 October 2008 13:40 |
Hi Larry. I actually have a pair of the AE-20's that I have been trying to get hooked up but have been hitting the same "lack of documentation" wall that you mentioned earlier in this thread. Is there any chance you could post some of the AE-20 info? Especially the pin-out assignments. Any info you can provide would be greatly appreciated.
Is that an output trim and a DI input you have wired up in the box next to your modules? What is the "sep" switch?
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Hi Neal,
I'll look today and see if I had Ken make a copy of the specs for me (I usually do, especially on the rare beasts). If not I can give you Kens number down at Water Music in NJ and I'm sure he'd fax them to you.
The sep switch is so that I can use the mic pre-amps separately from the EQ section. So I can be mixing using the EQ's and still use the pre-amps to cut. Also this takes the EQ section out of the picture for a cleaner path if I want.
Yes, that output trim sort of replaces the fader and I put Cinemag DI transformers in the box as well (as I do with all my boxes). As DI's these are some of my best along with the Edyne 201A tube pre-amps. In fact I ended up getting rid of all my DI boxes because these things sound better IMHO.
The face plates will be getting etched soon so I can get rid of the ugly stickers!!!
I'll see what I can find today.
best regards,
Larry
Larry DeVivo
Silvertone Mastering, Inc.
PO Box 4582
Saratoga Springs, NY 12866
www.silvertonemastering.com
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| Re: Melcor Console? [message #376928 is a reply to message #352948 ] |
Mon, 06 October 2008 11:31 |
iCombs
Messages: 418
Registered: March 2006
Location: Minneapollis |
Active Member |
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| seedyunderbelly.com wrote on Sun, 29 June 2008 12:09 |
| zmix wrote on Fri, 27 June 2008 08:06 |
John,
Thanks!.. You are right about the look.. the brushed aluminum anodized faceplate, concentric frequency selector switches (incorporated in the API using concentric extruded knobs) and beveled knobs look very much like an electrodyne.
what was the 'tripod shelf thingey' you mentioned??
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Oops! the Op amp, A bad White Mountains reference noting my inexperience with electronics.
j
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OH. MY. GOD.
I thought I was the only kid who ever read that stuff. I had forgotten it completely.
Now I'm experiencing Deja Vu all the way back to 7th grade.
Ian Combs
Producer/Engineer
Lightspeed Group, Inc.
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"Mista apareeatah... can I have maar beass at all frequencies?"
----------------------
I'm utterly baffled at the general opinion regarding smoking. I don't smoke, but it's a bar, for God's sake. That's what your supposed to expect. It's a den of iniquity where people are going to indulge in all of the minor vices and sins denied to them during their mundane workdays. You can wreck your liver, ruin your hearing, get into a fight, and pick up an STD, but somehow smoking is unacceptable? Sheesh. We've turned into a nation of entitled whiners.
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| Topic: Dance mix |
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| Dance mix [message #376909] |
Mon, 06 October 2008 10:36 |
Andres Gonzalez
Messages: 223
Registered: October 2004
Location: Central New Jersey |
Active Member |
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If this has been discussed to death already please forgive me.
A client is sending his ProTools session of his dance-type tune to me for mixing. Apparently, most of the tracks are using virtual instruments that come stock with PT LE.
Most of my experience is in the Metal/Rock/Pop/Jazz/Classical vein so this is going to be my first dance mix. Consequently, I have some questions about this style.
My biggest concern is the low kick/bass sound that is typical of dance mixes. Is there a "template" for that sound? By "template" I mean what is the predominant frequency range of the low end, a particular synth patch typically used, etc.
Given my limited exposure to dance music, most of the dance tunes I have heard seem to be very similar in the low end. That is why I am wondering if there is a "formula" or "template" for that particular low end.
Thanks,
-Andres
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| Re: Dance mix [message #376916 is a reply to message #376909 ] |
Mon, 06 October 2008 11:03 |
marcel
Messages: 595
Registered: May 2005
Location: vancouver |
Gold Member |
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Hi Andres:
I have mixed a lot of this stuff, although it's been a while, currently. I know that dance music, especially in the last decade or so, has developed a lot of very specific genres, and the sounds associated with those genres vary widely. Maybe have the client bring in a few examples of professionally produced tracks that he feels are close to his own. Studying these will take you a long ways to figuring out what you need to know.
Other than that, the same general rules WRT kick and bass apply with dance as they do with other pop genres. Make sure kick and bass sounds are absolutely mono compatible (ideally they should be strictly mono), make sure that they are working together rather than fighting each other. In particular, make sure that 'other' synth sounds (beyond the bassline) are filtered so as not to compete with the bass (synths can have a lot of nearly undetectable sub components). Using sidechain gating and ducking to tighten up the low end is also common in many dance genres. And mixing with a sub (I don't know if you normally do, I don't often with pop and rock) is an advantage to hearing what you would not hear on nearfields.
Ultimately, it will probably be a lot of fun. This type of track is cool, as there are often less 'rules' than there are with rock and pop (both in terms of arrangement and of sonics), and you can get the opportunity to do things that are really 'over the top' in whatever way.
Good luck.
Best, Marcel
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| Re: Dance mix [message #376931 is a reply to message #376909 ] |
Mon, 06 October 2008 12:15 |
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 p.mento
Messages: 112
Registered: January 2007 |
Active Member |
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what you hear as a typical 'template' kik sound is probably something like a roland 909 style kik drum, used in one form or the other on gazillions of dance records. (and maybe a roland 303 bass as well)
frequency range? all the way down..! but generally, 60Hz is man's best friend and more or less the resonance of the human chest.
make the kik the loudest element* in the mix for a start. if you take it down later, make shure it is still predominant over other bass instruments below say 100Hz. i'd say it's better to clean up and cut everything else than to blow up the kik too much, it's still got to be tight and punchy.
* yeah i know, i know...
Fi Real!
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| Re: Dance mix [message #376935 is a reply to message #376909 ] |
Mon, 06 October 2008 12:27 |
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Tomas Danko
Messages: 3605
Registered: May 2004
Location: Stockholm, Sweden |
Platinum Member |
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As always, if it sounds wrong tweak it until it sounds right. Instead of forcing, say, the bass drum to behave a certain way (ie pronouncing certain frequencies etc) it's better to listen to the sound and find out what it wants to be. And then mix accordingly.
One "trick" that is very common however, is to HPF everything above 300 Hz besides the bass drum and bass instrument. That way, those two can become huge and very separated in the mix without things cluttering up.
It is very efficient, although I don't default to that myself. Sometimes I check to see if, say, a synth pad sound needs to be HPF and then I find the sweet spot. Instead of HPFing everything for the hell of it.
Also, although it's probably quite obvious, the bass drum can be way louder/more energetic than in most other genres.
"T(Z)= (n1+n2*Z^-1+n2*Z^-2)/(1+d1*z^-1+d2*z^-2)" - Mr. Dan Lavry
"Shaw baa laa raaw, sidle' yaa doot in dee splaa" . Mr Shooby Taylor
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| Topic: Shipping ribbon material |
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| Shipping ribbon material [message #376867] |
Mon, 06 October 2008 07:17 |
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CHANCE
Messages: 3900
Registered: June 2005
Location: Ontario California |
Platinum Member |
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Soon I will be shipping some replacement mic ribbon material. My first thought was to put them between two pieces of cardboard, but that would flatten the corrugations/creases. Anyone have any ideas how I can do this?
Chance Pataki
The Musicians Workshop
musicians.workshop@gte.net
http://www.the-musicians-workshop.com
A person is a biological signal processor--EQ mag
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| Re: Shipping ribbon material [message #376878 is a reply to message #376867 ] |
Mon, 06 October 2008 07:59 |
MDM,
Messages: 800
Registered: January 2008 |
Gold Member |
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a small box.. like a jeweller's box for rings etc.
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