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#31
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by ev33 View Post
For the tracking the whole band was setup playing together, although I was mostly only going for capturing the drums. The bass and guitars were all just DIs into amp simulators in the computer. It makes it so things go quickly and I don't have to deal with blaring guitar amps while focusing on drums. It also makes it easier to keep one of the bass or guitar performances if there is a magic moment. I have the DI available to run through whatever would be the final amp sound for that song.
Hey Eric,

Great read so far. Really dig your work flow of doing short vocal gaps to reserve the singers voice. In my later years of being an engineer I realized that our jobs are simply to cater to the band in any way possible to get the best record. Gear and sonic technics should come second to the vibe and energy of the band.

Now here's me question:

Can you go into further detail about your approach for DI scratch tracking? Signal chain, preferred amp simulator plug-in's. What do you do in cases where the player requires a dirty & clean tone? I know this question isn't as significant as many of the others in this post but it is significant to me.

Thanks,

Keith Moore
#32
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by bwrecordings View Post
Thanks so much!

57 #7? is it modded or just special? Can you talk about the placement of the two sets of room mics and really about all of it!
Yes. SM57#7 is modded. It is transformerless. It seems to mostly just make the high end a little clearer on the 57. The other way I describe it is that it makes a 57 sound a little bit mor like a condenser mic. That mod I think is well documented on GS if any are not familiar with it. Its relatively easy to do and worth trying for sure if you have a few SM57s hanging around.

I use 2 pairs of room mics. One pair in the large room that the drums are set up in and one pair in a separate room reverb chamber that is off to the left of the drum kit. The reverb chamber has a door that can be opened or closed. I use the door to control how bright/diffused the chamber is. In the big room the pair of 451s were about 15 feet out in front of the drum kit facing away from the drums and are about 3 feet apart from each other. The mics are pointing towards the corners of the room opposite the end the drums are setup. I usually prefer pointing room mics away from the drums, especially when close mics are being used. It is a more diffused thicker sound that makes the room seem bigger than it really is. I feel like they tend to blend better with the close mic while having less chance of undesirable phasing issues.

The chamber mics are set up in a similar way. They pointed away from the drums about 4 feet inside the chamber room in an X/Y type config. The chamber mics are usually used as a hovering ambience in the final mix. It has a similar quality to a bright digital reverb set to about 2.5 seconds. I usually blend it in a little as a hovering ambience that glues things together. It can also be gated via keying to be a more phil collins-esque effect.

EV
#33
13th July 2011
Old 13th July 2011
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Eric Valentine and New Taking Back Sunday self titled

Thanks again man!!!

When you are compressing stuff what ratios and gain reduction amounts are you looking for on kick snare, drum buss, vox, bass and the master?

Thanks alot for explaining the drum chamber and your room mics! I'm going to implement some of that today!

Would you please go a little more in depth on your guitar room mic?

When you use multiple amps do you use an active splitter and if so, which one?

- Rick
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#34
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by fooman View Post
Such a generous offering of your experiences with a great band!
Thanks

How do you keep your excitement, as the engineer, who doesn't get the emotional and physical breaks that the band gets through a 12+ hour day?
It surely can be exhausting trying to keep your mind straight focusing on so many things within a day. I assume experience and instinct plays a large role!

Thanks again for this, I am really enjoying reading this thread.
For some reason that has not been especially difficult for me over the years. I still maintain that I have not actually worked a day in my life... Its just too much fun. There is a small physical issue of ear fatigue but I think the psychological issues are more significant. From project to project, it is important for me to experiment with different things either in the engineering or production part of it so I can feel like I am moving forward and not just doing the same things over and over again.

I addressed this issue in a more significant way, when in 2007 I took an entire year off from making records. I used the the time to try and develop some new tools to bring to the process. I felt like I had milked as much as I could out of the skill set I had. I spent that year studying music theory and working on the console building project. My thought was at the end of that year I would have a deeper understanding of music composition and a new console that would be really inspiring to work with. I was definitely very naive about the realities of building a console from scratch. It took another 2 years of work after that to finally get it done.

Ultimately it has been a really positive thing. The theory study and new console have been very inspiring for me. On the engineering side the console has had a very powerful psychological effect. I have invested so much effort in developing and building a console, that in theory is supposed to be the ultimate no compromises version of an analog console, that I am strongly compelled to prove it... at least to myself. I feel like I have some powerful new tools that will give me a better chance of making records that I believe are better in one way or another than things I have done in the past. If I honestly felt like my best records were all behind me, it would be hard for me to get excited about coming in every day.

Great question!!

EV
#35
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by ev33 View Post
For some reason that has not been especially difficult for me over the years. I still maintain that I have not actually worked a day in my life... Its just too much fun. There is a small physical issue of ear fatigue but I think the psychological issues are more significant. From project to project, it is important for me to experiment with different things either in the engineering or production part of it so I can feel like I am moving forward and not just doing the same things over and over again.

I addressed this issue in a more significant way, when in 2007 I took an entire year off from making records. I used the the time to try and develop some new tools to bring to the process. I felt like I had milked as much as I could out of the skill set I had. I spent that year studying music theory and working on the console building project. My thought was at the end of that year I would have a deeper understanding of music composition and a new console that would be really inspiring to work with. I was definitely very naive about the realities of building a console from scratch. It took another 2 years of work after that to finally get it done.

Ultimately it has been a really positive thing. The theory study and new console have been very inspiring for me. On the engineering side the console has had a very powerful psychological effect. I have invested so much effort in developing and building a console, that in theory is supposed to be the ultimate no compromises version of an analog console, that I am strongly compelled to prove it... at least to myself. I feel like I have some powerful new tools that will give me a better chance of making records that I believe are better in one way or another than things I have done in the past. If I honestly felt like my best records were all behind me, it would be hard for me to get excited about coming in every day.

Great question!!

EV
Thanks for the fantastic answer!

I'd like to add to the conversation by asking if you are ever taken out of the session psychologically by something seeming 'wrong' on your newly built console... or perhaps it didn't respond or sound the way you expected it to and it throws you off. You are personally tied to it, obviously!

I just would be so into a personally-built piece of gear (let alone the heart of my control room) that if something where to happen that seemed out-of-place it'd take my mind off of the work I was doing with the artist!

Thanks for your insights.
- Erik
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#36
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by Keith Moore View Post
Hey Eric,

Great read so far. Really dig your work flow of doing short vocal gaps to reserve the singers voice. In my later years of being an engineer I realized that our jobs are simply to cater to the band in any way possible to get the best record. Gear and sonic technics should come second to the vibe and energy of the band.

Now here's me question:

Can you go into further detail about your approach for DI scratch tracking? Signal chain, preferred amp simulator plug-in's. What do you do in cases where the player requires a dirty & clean tone? I know this question isn't as significant as many of the others in this post but it is significant to me.

Thanks,

Keith Moore
Funny how threads like this can make you feel like that fat kid that no one will dance with at prom when your questions don't get answered

;P
#37
13th July 2011
Old 13th July 2011
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lol give the busy man some time!
He seems very generous with his time and knowledge, so perhaps time is of the essence
#38
13th July 2011
Old 13th July 2011
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Nice thread riding Eric
Your console looks gorgeous ! Any other patent waiting or alternative use for the porous metal ?

Hadn't heard the record yet, but I bet it rocks.

Best

Seb Riou
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#39
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by fooman View Post
lol give the busy man some time!
He seems very generous with his time and knowledge, so perhaps time is of the essence
Ha ha I was kidding. I'm just glad dudes like him share even 2% of their tricks. After reading about his bussing during mix down my head was spinning. I guess I'm simply "under doing it"
#40
13th July 2011
Old 13th July 2011
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Thanks so much again for answering my questions Eric! I'm gonna have to re-read that bussing situation u have on the drums. Can't wait to try it. Also can't wait to try your "facing away from the kit" room micing.

Really cool with the room mics on the vocals! I've been listening to the record again, and i can hear them a little bit now.

Just had to give a shout out on these elements -

Snare on Faith is HUGE and sooo punchy - love it
Piccolo snare thing on the intro to This Is All Now is very cool.
Guitar intro on Falling!!!!!! that tone is super rad, any word on that?

-kp
#41
13th July 2011
Old 13th July 2011
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Quote:
Originally Posted by Keith Moore View Post
Funny how threads like this can make you feel like that fat kid that no one will dance with at prom when your questions don't get answered

;P
LOL! that is pretty hilarious. I am trying answer questions in the order they were posted. I will definitely answer your question about the DI stuff. The approach I use is one of those things that has become a permanent fixture in my tracking process and I feel like it has been an improvement for me with both the workflow and sonic results. I think there is some useful info there.

I'm working my way up to it!

I'll do more tomorrow morning.

Thanks for your patience!

EV
#42
13th July 2011
Old 13th July 2011
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Hey Eric, don't forget my questions.. It's more about the philosophy when making a record and how you approach the bands and labels. Would like to know a bit more about the mindset and vision you have when tackling a project. I just took Wombats and Taking back sunday as an example because those were your latest releases and so diverse in how the were produced(making an album with tons of different producers and still fit it to an album format. and one band who you once produced so they'd be recognized in mainstream media and now are returning to their roots. I want to know how that process was different. I hope you can decipher my poorly worded questions =) And don't forget about the guitar tone in 1996 with The Wombats. I'll quote my original post:


Quote:
Originally Posted by LinusWendel View Post
Thanks for the descriptive answers Eric! Love that you talk about your work in detail and share with us, it truly means a lot.

Did you use some cool pedals you want to shed a light on?
(Off topic: But the guitar tone in 1996 by The Wombats that comes in around 3.06 is truly amazing. I'd like to know everything about how you captured that tone from guitar to amp to micing.)

I'd like to ask a few non gear related questions that revolve around your role as a producer.

I've read in an interview with Fred that the goal with Louder Now was to make a 500.000 selling record. How much was that pressure from the label vs the band? How had this changed to this time around. I like both albums but Louder Now has a more instant mainstream appeal while the selftitled one took me a few more listens to win me over and it's now on repeat. I guess what I'm asking is: What was your goal and vision to bring out of the band contra the last time you worked with them. What was their goal? How has the band and chemistry changed?

"This modern glitch" with The Wombats was produced by you, Jacknife Lee, Rich Costly and Butch Walker. When working on an album with several producers how do you approach that task? Do you speak to the other producers? Or do you let the band do their thing? The album is really solid and I think it flows really well, given so many people has been involved. That's why I'm asking.

Thanks for answering our questions!
Keep up the amazing work!
Also, you said that you changed the drums for this project as you had used more or less the same stuff for many years. What was your go to snares in those sessions? What snare did you use this time around?? Thank you very much. As you notice I'm like a kid in a candy story trying to take everything in.
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#43
13th July 2011
Old 13th July 2011
  #43
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Thanks Eric, really appreciate your time and detail with this!
Now about this robot...
All the best,
J
#44
13th July 2011
Old 13th July 2011
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I think we should petition the mods to do a Q&A with Eric. I really appreciate you always being open and available when people want to ask you questions, but I think a Q&A with you is long overdue! It's perfect timing with this new record also.

I've been listening to a lot of your stuff and advise for a current project I'm working on and find myself searching around for your posts. Might as well try and put them in one spot. Anyone agree?
#45
14th July 2011
Old 14th July 2011
  #45
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If Eric is up for it - I am
#46
14th July 2011
Old 14th July 2011
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Quote:
Originally Posted by Jules View Post
If Eric is up for it - I am
Jules,

If it makes more sense to put this stuff in a Q&A I'm fine with it. Let me know if I need to do anything to help that transition.

Thanks

EV
#47
14th July 2011
Old 14th July 2011
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Quote:
Originally Posted by bwrecordings View Post
Thanks so much Eric!

Did you use anything on the master buss, if so did you mix through it or add it to suit the song?
Yes. I would say it is more common for me to have compression on the mix buss than not. My favorite devices for that have been the Alan Smart C2, Summit Audio DCL-200 and the Crane Song STC-8. I typically start the mix without any compression on the mix buss and then start auditioning those 3 devices as soon as I have a good basic starting point. From that point I will mix through the compression. As far as settings... the C2 is the easiest to describe. Ratio is either 2:1 or 3:1. Attack is either 3ms or 10ms. Release most of the time is on Auto although sometimes a linear release time will happen to mach up well with the tempo of a particular song, it usually will end up either .3 or .6. I think the C2 starts to sound unflattering if it is metering more than 4db of gain reduction on a mix.

I don't do any side chaining on the mix buss compression. I have played with that in the past and it has never really worked for me. I feel like it was simply changing the response of compressor to accommodate problems in the low end and when I would check the mix on less forgiving systems (car, boom box etc) the low end would cause those systems to crap out. I think regular old full band compression can be a great way to confirm that every thing is balanced and voiced correctly. In my experience when a mix is really EQ'd right, you can compress the crap out of it and it will still sound good… very compressed but good. If the mix buss compressor is grabbing too much on the kick drum, for me, it means the kick drum sound isn't right not that you need to side chain the compressor.

There is one other compression scheme I use when working on more pop/radio type stuff. A lot of times people want the vocals so loud on that style of music that I have to create a separate buss for the vocals from the instrumentation. That way I can compress the overall band mix and get some nice pumping/glue without the vocals interfering. The vocals go to their own buss, maybe with their own buss compression and then those 2 stereo pairs are summed together for the final mix output.

EV
#48
14th July 2011
Old 14th July 2011
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Eric Valentine and New Taking Back Sunday self titled

Thanks again!
#49
14th July 2011
Old 14th July 2011
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I just heard the single "Faith" the other day, incredible song and and incredible tones. Congrats on bringing TBS back to making really good music again. This is probably their best stuff since "Tell All Your Friends". My question, which snare was used for "Faith" and is there any sampling happening on that track?
#50
14th July 2011
Old 14th July 2011
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Quote:
Originally Posted by LinusWendel View Post
Thanks for the descriptive answers Eric! Love that you talk about your work in detail and share with us, it truly means a lot.

Did you use some cool pedals you want to shed a light on?
(Off topic: But the guitar tone in 1996 by The Wombats that comes in around 3.06 is truly amazing. I'd like to know everything about how you captured that tone from guitar to amp to micing.)

I'd like to ask a few non gear related questions that revolve around your role as a producer.

I've read in an interview with Fred that the goal with Louder Now was to make a 500.000 selling record. How much was that pressure from the label vs the band? How had this changed to this time around. I like both albums but Louder Now has a more instant mainstream appeal while the selftitled one took me a few more listens to win me over and it's now on repeat. I guess what I'm asking is: What was your goal and vision to bring out of the band contra the last time you worked with them. What was their goal? How has the band and chemistry changed?

"This modern glitch" with The Wombats was produced by you, Jacknife Lee, Rich Costly and Butch Walker. When working on an album with several producers how do you approach that task? Do you speak to the other producers? Or do you let the band do their thing? The album is really solid and I think it flows really well, given so many people has been involved. That's why I'm asking.

Thanks for answering our questions!
Keep up the amazing work!
There are some new pedals I have been enjoying. I really like the Way Huge 'Pork Loin' and 'Angry Troll'. they are more subtle gain enhancers instead of full distortion or fuzz. I have also been EQing the DI signal in Pro Tools. I used to use a Boss Parametric EQ pedal but the computer has been achieving the same effect with less noise.

The pressure to sell records I think comes from both. Certainly Warner Brothers is in the business of selling lots of records… as many records as humanly possible and even the hippest of hipster bands wants to sell a lot of records deep down inside. They just want to do it without feeling like they had to accommodate conventions in popular music. On the early TBS records I think they were more like young vikings setting out to conqeur the world with lots of screaming and loud guitars. Now they have matured and have families and adult responsibilities… Still lots of screaming and loud guitars but It wouldn't make sense for them to approach their lives or careers with the same kind of recklessness they did when they were teenagers. There was some discussion of the importance of having a successful record/tour cycle, but not in the wanting to be a rich famous rock star driving a ferrari context, more in the I want to be able to provide for my family context. This time around there was a sense that the band had lost some momentum on the previous album commercially and they wanted to get some of that momentum back. I think they felt it was important for the bands future with Warners. If one signs their band to a major label like Warner Brothers Records you are definitely expected to sell lots of records. If you don't, the results are kind of obvious… you won't be on Warner Brothers Records anymore. That is a strong motivator.

I think the difference between the 2 records is more a reflection of the difference of the line ups. On Louder Now I would say Fred in general contributed the most to the song writing. the difference you here in the writing is probably mostly due to his absence. I think both records have their strengths. Louder Now's high points are really really great and I think the new one is just very strong throughout. I think the new one is the strongest collection of songs the band has put on one record.

The big difference with the band this time around is how well the band members were all getting a long. On Louder now there was some serious tension between Fred/Mark and Fred/Ed. This time everyone was genuinely excited to be playing music together, hanging together and contributing to the music. I think all the members felt much more comfortable throwing out ideas, contributing and having the song really be the result of their collective tastes, styles, instincts etc. I think this version of the band has some very real chemistry that allows the individual members to just play what they feel and things tend to just fall in to place. This time I wanted the record to reflect that more directly. Focus more on the songs themselves and less on dressing them up. Let the arrangements be more literal ala John playing guitar on one side, Ed playing guitar on the other side, Mark beating the crap out of his drums in the middle, a solid bass line that supports the song and 2 guys screaming their brains out on top. We did indulge some extra stuff when the song was really asking for it.

My experience with multi producer records is that typically the different producers don't communicate with each other throughout the process. On the wombats project there were only 2 occasions where I was in contact with the guys. On the song '1996' The band and I had completely racked our brains trying to come up with ideas to improve the chorus in a way that would satisfy the very hands on A&R guy on the project. he felt the chorus could be better and I think we just couldn't see past the original vision for the part. They were also working on some songs with Butch Walker and decided to see if he could come up with some ideas to help solve the puzzle. I think they were all hesitant to ask for a copy of the session for them to work on with Butch because some folks can be very territorial about there stuff. I honestly have no problem collaborating with other people and am always up for an opportunity to make things better weather I have the answer or not. At the end of the day, I really don't have the right to tell the band and the label what they can and can't do with the their song that they are paying for. Any objections would only come across as being an insecure, problematic pain in the ass. When I am involved with a project I always want the experience to be easier, more enjoyable, better results, less drama and NOT more problems, more complicated, more drama etc. It can be hard to maintain when a group of very passionate people are trying to collaborate but I think it is exceedingly important to always strive for that when considering the long term health of one's career. Butch and I had a moment to speak after they sent back the session with the new lyric and melody on the chorus. I told him how much I liked the new chorus and how much I appreciated him helping take the song to a new level. There was also an idea to change the arrangement of the bridge that I felt really wasn't working. I strongly suggested that the original arrangement really felt like it flowed much better. After everyone had a chance to hear it both ways and compare, they agreed and we stuck closer to the original approach. If they all still really liked the new bridge approach after comparing them, I absolutely would have done it that way. I only make suggestions and let the chips fall where they may… I never tell bands they have to do something or not on their music.

EV
#51
14th July 2011
Old 14th July 2011
  #51
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Quote:
Originally Posted by Keith Moore View Post
Hey Eric,

Great read so far. Really dig your work flow of doing short vocal gaps to reserve the singers voice. In my later years of being an engineer I realized that our jobs are simply to cater to the band in any way possible to get the best record. Gear and sonic technics should come second to the vibe and energy of the band.

Now here's me question:

Can you go into further detail about your approach for DI scratch tracking? Signal chain, preferred amp simulator plug-in's. What do you do in cases where the player requires a dirty & clean tone? I know this question isn't as significant as many of the others in this post but it is significant to me.

Thanks,

Keith Moore
I am really enjoying this approach of capturing performances as DIs and then feeding the amps from Pro Tools with Reamps. The setup is Guitar -> DI -> Pro Tools -> Amp sim (while tracking basics) or Reamps (while doing final guitar overdubs) -> amps. I use the Avalon U5 DI Line Out directly into the computer. A while back a did the shoot out and the Avalon won hands down for me. I think it is mostly the absense of transformers and the 3Mohm input impedance that makes it so transparent. I use a custom Reamp that Larry Jasper built for me. I have 5 of them. On the TBS record I used digi Eleven for John and Ed to hear while they were tracking. They used their usual pedals before the DI input so they could have some tonal control at their feet. Typically i try to set up the amp sim so it will get distorted enough when they hit a pedal and clean up when they back off their volume either on the guitar or with a volume pedal. It is really just trying to emulate the response of their live setup. for players that use 2 amps live I will use 2 DIs and have 2 amp sims that they can switch between with an A/B switcher pedal. The cool thing is that if there really is an exceptional performance moment while tracking basics I have a much better chance of keeping it. I can simply send that DI signal to what ever the final amp setup ended up being and the tone will match the rest of the guitar they end up playing on the song.

When doing final overdubs, the first advantage to this setup is not wearing out the player while I'm getting the sound. Once we have settled on a particular guitar to use, I can have them play a section once and then go chill out while I go on the tone hunt auditioning amps, pedals, speakers, mics, EQ, compression etc. Sometimes that can take a while and expecting someone to play a part over and over when its not being kept can definitely cause a loss of enthusiasm. When they come back in after the tone tweaking, theoretically, the tone has improved and they are fresh and excited to play the part with the dialed in tone.

this is also the best way to split up the guitar signal for multiple amps. I actually mult the signal in Pro Tools by sending the DI track to multiple outputs and each output feeds its own Reamp. That makes it easy to isolate grounding between the amps, eliminate any unpredictable interaction or loading between the amps and use different pedals on different amps.

I like to run the guitars through an analog tape machine on the way into the computer. Once I have the DI performance all comp'd I simply run the final guitar pass into the computer through a tape machine on repro and nudge the track forward in Pro Tools so it is in time. Pretty much all of the guitars on this record went through a Studer J37 on the way into the computer.

I then also have the option of reamping a guitar part later on if it ends up not fitting into the puzzle quite right. A good example was the main riff sound on 'Falling'. i really struggled with that damn guitar sound. I had a multi amp sound I thought was great when we tracked it that ultimately wasn't quite right. I then reamp'd it later on in the overdub process and still wasn't happy with it when mixing, So I reamp'd it again when the song was being mixed and I think finally got it to sit right. I think someone mentioned on here that they liked that guitar sound... thank god! cause it was a pain in the ass! If I had to have Ed replay that part everytime I wanted to replace a sound that I screwed up, He would have justifiably given me a lot of shit for it.

EV
#52
14th July 2011
Old 14th July 2011
  #52
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Thanks Eric for your time and sharing this information.

The Q and A will be great, i would love to know some things about your work specially with Qotsa.
#53
15th July 2011
Old 15th July 2011
  #53
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I had the pleasure of stopping by Eric's studio last week and meeting him. I've been a big fan of his work and loved being able to talk shop with him for few minutes. It's truly amazing and absolutely inspiring what him and his team are doing over there. An awesome place filled with awesome people Eric, thanks for your openness and honesty... it's a breath of fresh air!!!

C.

PS: Thanks to Michael W. for having me come by
#54
15th July 2011
Old 15th July 2011
  #54
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Eric Valentine and New Taking Back Sunday self titled

Quote:
Originally Posted by ev33

I am really enjoying this approach of capturing performances as DIs and then feeding the amps from Pro Tools with Reamps. The setup is Guitar -> DI -> Pro Tools -> Amp sim (while tracking basics) or Reamps (while doing final guitar overdubs) -> amps. I use the Avalon U5 DI Line Out directly into the computer. A while back a did the shoot out and the Avalon won hands down for me. I think it is mostly the absense of transformers and the 3Mohm input impedance that makes it so transparent. I use a custom Reamp that Larry Jasper built for me. I have 5 of them. On the TBS record I used digi Eleven for John and Ed to hear while they were tracking. They used their usual pedals before the DI input so they could have some tonal control at their feet. Typically i try to set up the amp sim so it will get distorted enough when they hit a pedal and clean up when they back off their volume either on the guitar or with a volume pedal. It is really just trying to emulate the response of their live setup. for players that use 2 amps live I will use 2 DIs and have 2 amp sims that they can switch between with an A/B switcher pedal. The cool thing is that if there really is an exceptional performance moment while tracking basics I have a much better chance of keeping it. I can simply send that DI signal to what ever the final amp setup ended up being and the tone will match the rest of the guitar they end up playing on the song.

When doing final overdubs, the first advantage to this setup is not wearing out the player while I'm getting the sound. Once we have settled on a particular guitar to use, I can have them play a section once and then go chill out while I go on the tone hunt auditioning amps, pedals, speakers, mics, EQ, compression etc. Sometimes that can take a while and expecting someone to play a part over and over when its being kept can definitely cause a loss of enthusiasm. When they come back in after the tone tweaking, theoretically, the tone has improved and they are fresh and excited to play the part with the dialed in tone.

this is also the best way to split up the guitar signal for multiple amps. I actually mult the signal in Pro Tools by sending the DI track to multiple outputs and each output feeds its own Reamp. That makes it easy to isolate grounding between the amps, eliminate any unpredictable interaction or loading between the amps and use different pedals on different amps.

I like to run the guitars through an analog tape machine on the way into the computer. Once I have the DI performance all comp'd I simply run the final guitar pass into the computer through a tape machine on repro and nudge the track forward in Pro Tools so it is in time. Pretty much all of the guitars on this record went through a Studer J37 on the way into the computer.

I then also have the option of reamping a guitar part later on if it ends up not fitting into the puzzle quite right. A good example was the main riff sound on 'Falling'. i really struggled with that damn guitar sound. I had a multi amp sound I thought was great when we tracked it that ultimately wasn't quite right. I then reamp'd it later on in the overdub process and still wasn't happy with it when mixing, So I reamp'd it again when the song was being mixed and I think finally got it to sit right. I think someone mentioned on here that they liked that guitar sound... thank god! cause it was a pain in the ass! If I had to have Ed replay that part everytime I wanted to replace a sound that I screwed up, He would have justifiably given me a lot of shit for it.

EV
This is the greatest thing I have ever heard as far as improving overall flow of a session!
#55
15th July 2011
Old 15th July 2011
  #55
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Thumbs up

Holly Cow!!

I see we have here an amazing and brilliant Producer and Mixer/Rec Eng. that is not only willing to share his knowledge and experience in such a beutiful way..but also have zero ego, and is so humble and giving.

Wish you much more success and happiness!

Thanks for your kindness and amazing info( there is so much great info between the lines!) ...I can see you really love what you do and u get it in every way!
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#56
15th July 2011
Old 15th July 2011
  #56
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Quote:
Originally Posted by trevvahhh View Post
hell yeah, thanks Eric. really cool of you
Word! Thanks for sharing this info!
#57
15th July 2011
Old 15th July 2011
  #57
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How often did you use the room mics versus artificial reverb? Also, what kinds of reverbs did you use on different elements of the mixes?

Album sounds great by the way!
#58
16th July 2011
Old 16th July 2011
  #58
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Quote:
Originally Posted by ev33 View Post
Jules,

If it makes more sense to put this stuff in a Q&A I'm fine with it. Let me know if I need to do anything to help that transition.

Thanks

EV
Let's hook it up next week.
#59
16th July 2011
Old 16th July 2011
  #59
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Quote:
Originally Posted by Jules View Post
Let's hook it up next week.
Awesome! Thanks guys, looking forward to it! Eric, I've tried two stores trying to get the new TBS album and they have not had it, can't wait to listen to it.
#60
17th July 2011
Old 17th July 2011
  #60
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just picked up the CD after reading this thread! love reading about how everything was put together. thanks so much eric!
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