#16
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When I was younger I knew none of that and assumed none of that stuff went on.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#17
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Yup. And the forty five minute Miles Davis album *****es Brew was edited down from what was later released as The Complete *****es Brew Sessions. Which if I remember right was four seventy minute CDs... Killer record -both of them
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#18
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Quote:
A band is rehearsing in a room. Full drum-kit. A keyboard. A singer. An acoustic guitar. Put a microphone in the middle - what do you think will be on your recording? An awfully-roomy-sounding drumkit and some background noise. The sound of pop-music is artificial in its essence. A singer is never louder than a rock-drumkit and nevertheless we find it more pleasing if it is recorded and presented to us that way. Live and on recordings, by the way
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Taylor 914e Taylor T5 Pro Yamaha AC3R |
#19
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Quote:
Around that time I also did some work with the producer of Frampton Comes Alive, who had some interesting things to say about that record that I signed an NDA about. And if you have a chance to see the '94 director's cut of "Woodstock," CSN's vocals seem to have remarkably improved. I was pretty surprised, also, when I learned that in the recording of Live at Leeds, Townshend's and Entwistle's vocals didn't make it onto the tape for some reason. They were added later. For that matter, the overall vibe of that record is pretty remarkable, considering that the room it was recorded in is basically a big college cafeteria. |
#20
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Good stuff here. Thanks for sharing.
Some things have come together for me lately. I fully retired. I watched some discussions by the recording techs from Sgt. Peppers and started playing around with my recording gear again. I took the point from the Pepper discussions where they made their choices and moved on. They trusted or didn't question their choices. To many choices has been a problem for me. I can see clearly now.
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Waterloo WL-S, K & K mini Waterloo WL-S Deluxe, K & K mini Iris OG, 12 fret, slot head, K & K mini Follow The Yellow Brick Road |
#21
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I don't think it is rocket science but when recording at home it is best to train and rely on your ears. For example, this is how I do most sessions.
I do all the track recording first off with no processing (well perhaps a little on the guitar). Never record using reverb on the voice; it may sound exciting but it encourages people to sing off pitch. There is no short cut for getting to the point where you can accept your own voice! Before mixing I do think about backing vocals, doubling tracks or simply double tracking the vocals to emphasise key words or phrases — an old technique that can male a big difference. I also record vocals separately to the guitar which tends to be better for quality control purposes (but it takes some practice) I only start mixing when I have finished recording. In mixing watch carefully for clipping. I master/finish in a different session using the final stereo file print. I tend to give myself a day or two space to come back to it and fine tune. In all of this getting to know your room is pretty critical. My room was very resonant when I moved in and I treated it with acoustic treatment. Experience has shown be two things. Firstly, I now know the sweet spot for recording guitar — in some places the rooms now too dead. Secondly, I know that my system tends to suck out a little of the high frequencies and I can compensate for that now, I always try and print my files to a sensible LUFS value 9of you don't have a LUFS meter you should have). I then listen to them on various playback media. I'll use my stereo hifi and streamer which can stream 24 bit files, but I rarely use this to listen to music on a regular basis. I'll import into iTunes to listen on my computer and on my phone. Most reliable is exporting to the SONOS system I use and ensure that this sounds OK — it's a mon system and probably the one I actually listen to most. Car stereos are another obvious one. What does the file sound like on the systems you actually listen to your music on? Finally, if you want to play back more than one song (say as an EP or album) spend some time setting consisted volume. This is how I do it. I start a new project and important each song to a separate stereo track — a 4 song EP means 4 stereo tracks. Each of these songs will have bene mixed and mastered to satisfaction and now I just want a consistent volume. I'll sol the first track and get this to a decent LUFS level. Then I'll solo track 2 and take it to the same level and then I'll toggle between the two to ensure that the volumes are consistent — meters can be different to perceptions of volume. And I'll go through the other tracks according. You can then listen to all four in sequence paying attention to the finish and start of songs. And finally, finally. You are learning all the time. Feel free to re-record songs. I find myself quite often putting new vocals down after time. As Bob says the more you do this the more confident you will be, not least as you understand your geat and your room better! And remember — it is supposed to be fun!
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------ AJ Lucas Pavilion Sweep fan fret Santa Cruz OM/E (European Pre War) Martin J40 |
#22
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I'm curious if the other folks who are recording in a professional capacity agree with this. I've always felt I got a more inspired vocal from people if I put a bit of verb in the cans (not committing to it, just having a bit in the headphones).
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#23
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I've never been in a music session where vocalists did not have some reverb in their monitor mix.
I've seen a couple sessions where an engineer forgot to setup any reverb and the vocalist had a tough time getting a take, until reverb was added in the headphones - bingo, problem solved.
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-Gordon 1978 Larrivee L-26 cutaway 1988 Larrivee L-28 cutaway 2006 Larrivee L03-R 2009 Larrivee LV03-R 2016 Irvin SJ cutaway 2020 Irvin SJ cutaway (build thread) K+K, Dazzo, Schatten/ToneDexter Notable Journey website Facebook page Where the spirit does not work with the hand, there is no art. - Leonardo Da Vinci |
#24
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My vocal overdub preset for the console at the studio includes reverb in the cans. Most of my clients want it... but tastes vary, thou knowest.
Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' " Frodo Baggins to Gildor Inglorion, The Fellowship of the Ring THE MUSICIAN'S ROOM (my website) |
#25
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As far as reverb for myself I record dry. I guess I just got in the habit from when PT LE had no delay compensation.
But I think I may give it a try.
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Enjoy the Journey.... Kev... KevWind at Soundcloud KevWind at YouYube https://www.youtube.com/playlist?lis...EZxkPKyieOTgRD System : Studio system Avid Carbon interface , PT Ultimate 2023.12 -Mid 2020 iMac 27" 3.8GHz 8-core i7 10th Gen ,, Ventura 13.2.1 Mobile MBP M1 Pro , PT Ultimate 2023.12 Sonoma 14.4 |
#26
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From my own personal experience the very, very best vocalist I’ve ever recorded (and I’ve had 2 or 3 in my career) do not want reverb in their send. I think they’re so enormously focused on pitch and tone they don’t want a reverb “wash” to give them a false sense of security. I can’t think of a single time in my former life in Nashville where anyone wanted verb.
But there are clearly those that need it (or think they need it) and if that’s the case so be it. I can’t do much to change those scenarios albeit I don’t deal with that type of recording environment much these days I’m with others here. Totally depends. |
#27
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John Cuniberti's 'One Mic Series:'
San Geronimo (at 25th Street Recording, Oakland): Cedric Burnside (at Sun Studio, Memphis): |
#28
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Interesting. It seems like there really is a split on the reverb thing. I do it because the pro who taught me most of what I know does it unless the talent wants it gone. And he does it because that's how he was taught.
I think this, like so many other things we do, has no right nor wrong. We just do what we do.
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |
#29
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When I'm tracking my own vocals I usually do it with speakers, not headphones. I keep it dry to avoid bleed, not because I don't like reverb.
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#30
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How do you do that? Do you keep the volume really low and only use cardioid or tighter mics?
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Jim 2023 Iris ND-200 maple/adi 2017 Circle Strings 00 bastogne walnut/sinker redwood 2015 Circle Strings Parlor shedua/western red cedar 2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce 2004 Taylor XXX-RS indian rosewood/sitka spruce 1988 Martin D-16 mahogany/sitka spruce along with some electrics, zouks, dulcimers, and banjos. YouTube |