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#91
24th July 2011
Old 24th July 2011
  #91
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Quote:
Originally Posted by bcgood View Post


Beautiful.....
I never heard that before today.
#92
24th July 2011
Old 24th July 2011
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Here are some pics:

These are pics of the main setup used on songs like "El Paso", "You Got Me", "Best Place..." or "This Is All Now"




Here is a close up of the Kick drum micing. You can see me inability to choose between the D30 and the D20



EV
#93
24th July 2011
Old 24th July 2011
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This is the crazy Trixon drum kit that was used for the verses of Falling and This is All Now. It is hard to see in this picture but the kick drum is not round. It has an odd oblong shape to it. The floor tom has a slight cone shape to it. The top head is bigger than the bottom head.



This picture shows the placement of the Beyer 160 that is 80% of the drum sound in the verses of those songs.



EV
#94
24th July 2011
Old 24th July 2011
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This picture shows the placement of the Beyer 160 that is 80% of the drum sound in the verses of those songs.



EV[/QUOTE]

YES! i just listened to that track. I think thats my fav change on the whole record. Love the way it goes from that cool huge intro into that totally vibe-ey' verse with the delayed guitars.

If the beyer was 80% of the verse sound on the drums, what other mics were in the mix as well? LOVE the snr "snap" on that section! is that mostly from the beyer being completely perpendicular to the snare closer to the rim like that in the pic? ....it's actually a little hard to tell where it's pointed from the pic...


.....did i just hear the room mic on the Verse vox of "You Got Me"? So cool, i just noticed it!
#95
25th July 2011
Old 25th July 2011
  #95
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Quote:
Originally Posted by axlepaas View Post
This picture shows the placement of the Beyer 160 that is 80% of the drum sound in the verses of those songs.

EV

YES! i just listened to that track. I think thats my fav change on the whole record. Love the way it goes from that cool huge intro into that totally vibe-ey' verse with the delayed guitars.

If the beyer was 80% of the verse sound on the drums, what other mics were in the mix as well? LOVE the snr "snap" on that section! is that mostly from the beyer being completely perpendicular to the snare closer to the rim like that in the pic? ....it's actually a little hard to tell where it's pointed from the pic...
There was also a left and right underhead "kit" mics (coles 4038s). There was a pair of KM84s in the chamber and mono room mic (U87) that was used as low end for the kick drum. The beyer 160 is pretty much pointing straight down at the kick drum pedal. The idea is to get an equal balance of the kick and snare in the beyer 160. Then have the low end for the kick come from the U87. The coles 4038s are only added a tiny bit just to pull the hi hat a little to the left and the ride a little to right. The chamber mics are really quiet just create a subtle environment for the close mics to live in. The snap on the snr is more due to the expander/compression trick described in one of the other threads. i also added some of the Orban stereo spring reverb to the overall drum mix as well.

EV
#96
25th July 2011
Old 25th July 2011
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Some question about the vocals I hope you can answer.

When you're tracking vocals do you compress a lot on the way in and compress less when mixing or the other way around?

How do you set your 1176 when tracking and how much GR?

How did you mix the lead vocals?
EQ and Comp wise?
Delays, Reverbs, any Pitch-Shift spread and so on?
Do you use one track or multiple tracks for different processing?

Also do you automate the vocals pre, post or both?
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#97
25th July 2011
Old 25th July 2011
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Eric,

Thank you for being so candid with your answers and details, absolutely brilliant resource, and a great read!

Just had a listen to El Paso while going through the drum notes and photos on this thread.

Am I right in thinking you just used 1 transformer-less 57 on top snare, nothing underneath etc?

Also, Do you usually have your kick mics that far from the resonant head? The amount of attack on the kick is perfect, but I've never been able to get that kind of punch without having a mic closer. Whats your secret? haha

Thanks again!

Oz

Last edited by Ozzy; 25th July 2011 at 03:13 PM.. Reason: sp
#98
25th July 2011
Old 25th July 2011
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Quote:
Originally Posted by Ozzy View Post
Eric,

Thank you for being so candid with your answers and details, absolutely brilliant recourse, and a great read!

Just had a listen to El Paso while going through the drum notes and photos on this thread.

Am I right in thinking you just used 1 transformer-less 57 on top snare, nothing underneath etc?

Also, Do you usually have your kick mics that far from the resonant head? The amount of attack on the kick is perfect, but I've never been able to get that kind of punch without having a mic closer. Whats your secret? haha

Thanks again!

Oz
+1!
#99
8th August 2011
Old 8th August 2011
  #99
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Quote:
Originally Posted by pearldrum944 View Post
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!
I always try to start by mostly using room mics. On the drums there are 5 different room mics I have to play with. There is the main stereo room mics in the big room (AKG 451 EB), a pair of mics (KM184s) in a reverb chamber off to the left of the drums and a mono room mic (SM81) that is really setup as a talkback mic for the band but gets used in the mix as well. The mono room mic is usually gated to open only when the snr drum is played hard. On El Paso the mono room mic was blended into the snr close mic in pro tools and printed to the same track on the analog tape machine (Studer A800). There is a pair of Roland SRE-555 Chorus Echos on the frames as well. They are set to have an 1/16th note delay that is swimming in a lot of spring verb. They are only blended in the drm mix a little bit.

The guitars are mostly room mics with delay on them. there is also an Eventide patch used to enhance the room sound It is described in more detail here - Mixing the 'Memory man ' album by Aqualung

The vocals were all recorded with 2 mics (close and room). Actually now that I think of it, on El Paso Adams vocals were recorded in the bath room. An SM7 up close and a condenser mic in the hall way outside of the bath room. At the end of the song you can hear Adam flush the toilet. We all thought that was pretty funny so we left it in the final mix. There are 3 other reverb sources on the vocals in the song. There is a Roland SRE555 Chorus echo and a little bit of Ursa Major Space Station on the vocals in the verses. In the choruses I tried to open up the vocal sound a little more with a longer reverb. I used a ReVibe patch that I came up with a while ago that I quite like. It is based on the "Large Natural Plate" IR. It is about 4.0 sec has lots of pre delay (100ms) and the chorus is turned on. I also typically like digital reverbs that have less diffusion. So the diffusion is set at -50.

Thats a pretty good example of how I typically approach reverbs on most rock type stuff.

EV
#100
8th August 2011
Old 8th August 2011
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Quote:
Originally Posted by superburtm View Post
Hello Eric,
Wouldn't foot pedals interact differently with an amp simulator than the eventual chosen AMP? It would seem that you would not have had an optimum environment to dial in the pedal. Or is the pedal thing going to a separate track than the straight up DI used for Reamping?

Thanks for sharing!
You are absolutely right about that. There are trade offs with everything. I guess what I am going for with the DI/reamp approach while tracking the band is the best possible chance of being able to keep something, but the pedals can potentially cause a problem. Without the pedals the guitar sounds tend to be not dynamic or malleable enough for the players and can be uninspiring. I have found that when we get around to recording the final guitars that there is a better chance of keeping an earlier DI performance even if there is a different pedal on there than the stuff being recorded in the overdub session. Where as if a actually commit to an amp/micing setup while doing the initial recording, the chances of that sound matching the final amp sound while overdubbing are almost impossible and render the earlier pass unusable. Typically what i am trying to keep from the band pass are specific events and not entire song performances. It is usually a particular noise, or pick scrape or incidental improvised moment that will never be performed exactly the same. those moments are easy to just feed in to the final amp setup, even with some different pedal settings and have it match close enough to not stand out in a weird way.

Quote:
bwrecordings

Yeah can we talk a little more about the pedal use before the amp sim. I get why, but I feel like I could make mistakes on the pedals an not get them perfect. Care to indulge which tone setting your u5 was on for guitars and bass?
I don't use any of the tone settings on the U5 when doing reamping. I have only used that occasionally when I am intending to use the actual DI signal itself.
#101
8th August 2011
Old 8th August 2011
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Quote:
Originally Posted by axlepaas View Post
That was me asking about the tone in "FALLING". LOVED that tone. Really stuck out to me, was really "ripping" sounding....like the amp was right on the edge ...was it a smaller combo? Also, i'm wondering if i understand this right. Did u say that u run the guitar into the Avalon U5 Di, and then right into your converters? No mic pre first? Would love to be able to get the cleanest possible DI sound without any color....



Thanks again for answering all these questions. really appreciate it!

kp
I had to check my notes to see which setup ended up being the keeper. I tried so many different things on that sound. In this case the simple approach ended up winning. Just a Soldano SLO100 into a Marshall 4x12 cab with 57 on it. The first setup I tried was an overly complicated extravaganza of 3 or 4 different amps running at the same time blended together to create a totally unusable crappy sound!

Yes the U5 has a +4 Line level out on it that can go straight into the converter. It is the cleanest one I have heard yet. Soon I will be testing the final version of the UTA channel strip. It will have a DI input on it. It can be run with or without the input/output transformers. When using it transformerless it should sound very similar to the U5. It is a similar approach (All class A with a super high impedance Jfet input stage). It should be another great option for getting a very very clean DI signal.

EV
#102
8th August 2011
Old 8th August 2011
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Quote:
Originally Posted by LinusWendel View Post
The guitar sounds on this record is huge I have a few more questions about that. Where do you often place your mics, a bit off axis since your guitar tones are never harsh? I've never heard seen anyone micing an amp with a 451, was that with the ck1 capsule? Ultimate guitar recently did an interview with tbs, and they talk very highly of you, adam even says he want you to do all of their records, so congrats on doing a great job getting the right atmosphere and vibe in the studio. John says you used tons of pedals on the record, which pedals did you often use? was the rythmsounds(ed) mostly straight to the amp and johns lead stuff pedals to amp?

Here's the interview if you'd like to read it yourself =)
Taking Back Sunday's Guitarist: 'I Went To UG To See Tabs For TBS Songs' | Interviews @ Ultimate-Guitar.Com
The mic positioning varies quite a bit depending on what the source sound is, what the amp is, what role the part is playing in the mix. I use this mic positioning robot so I have the luxury of essentially being able to "EQ" the sound by moving around the mic position while sitting in the control room. I just move the mic around in front of the speaker until it sounds balanced and not harsh. Ed was definitely the more straight forward big rock sound and john was the more textural sound. Ed was typically high can amps (Marshall, Soldano, Orange etc.) going into a 4x12 cab and John was the more pedals going into a combo type thing. I have a particular Vox AC30 cab that I really like. The majority of Johns guars were recorded through that cab with a pair of Neumann M-582s on it. One mic on the front and one mic on the back of the cab. There is also a pair of room mics being recorded all the time. On the song falling, I was struggling with getting separation between the 2 guitar parts (Ed's Riff and John's big open chords). I ended up using only room mics for John's open chords and only a close mic on Ed's riff part.

I used the AKG 451 on Ed's stuff occasionally. There is only one version of the 451 that works for electric guitar for me. it is the black 451EB with a CK1 capsule. The original silver 451s are great mics but don't seem to work for electric guitar for me.

With pedals I used some of the new "Way huge" pedals. The Pork Loin and Angry Troll. I also still occasionally use the boss parametric EQ pedal. John did use some Fuzz stuff on a few things. We used a Fuzz Factory, an old "Hendrix Experience" pedal and a Lovetone "Big Cheese".

EV
#103
9th August 2011
Old 9th August 2011
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Quote:
Originally Posted by chrisjones View Post
Some question about the vocals I hope you can answer.

When you're tracking vocals do you compress a lot on the way in and compress less when mixing or the other way around?

How do you set your 1176 when tracking and how much GR?

How did you mix the lead vocals?
EQ and Comp wise?
Delays, Reverbs, any Pitch-Shift spread and so on?
Do you use one track or multiple tracks for different processing?

Also do you automate the vocals pre, post or both?
I do compress a lot on the way in. On the TBS record I was actually using two compressors in series. My fav 1176LN into the UTA UnFairchild. The 1176 is doing the majority of the heavy compression and the UnFairchild is just smoothing things out a bit. The 1176 is set with a 4:1 ratio, slowish attack (1-2) and a fastish release (6-7). It is compressing a lot. When Adam/John is singing loud the GR meter is pinned all the way to the left of the scale. The 1176 is one of those devices that gets thicker sounding when it compresses a lot. It is almost impossible to set it wrong. The UnFairchild is set at the equivalent of the "2" position on a real fairchild. It is a bit faster than the 1176 so it catches some of the spiky moments and just smoothes a little. Typically only compressing 3 or 4 dB. I like compressing while recording because it affects how the singers will sing. They can be more dynamic and expressive when the compressor is always pulling the sound out of their throat. If a singer is struggling to hear themselves whenever they sing softer they tend to avoid doing it and the performance starts to sound mono dynamic.

In the mix I only do very subtle compression if any at all. It is typically just enough to glue the vocals together with whatever reverb or fx are put on them. Usually a ratio of 2:1 and only 2 or 3 dB of compression. I pretty much always automate post processing (especially compression). I don't want the amount of compression to be changing when I simply need the vocal to be a little louder or softer. For me that means automating with a moving fader on the console because I prefer using hardware compression for pretty much everything. I like to use an odd custom compressor that supposedly came from Decca studios in England on vocals while mixing. I was told it was designed to be a mastering compressor. It has no markings or model number on it but became known as the "You Don't Have This" compressor back in the 90s because of a pretty hilarious exchange I had with Tom Lord Algae. Tom Lord Algae started the process of mixing the first 3EB record. Stephan went out with the tapes and hung out while the mixing was being done for the first week. After about a week Stephan asked me to go out to Miami and listen to how things were going. I went out there to listen and give my 2 cents. While Tom was mixing I was mostly just hanging out and had time to check out some his outboard. I noticed that he had a pair of compressors on the lead vocals that were these same odd custom compressors that I was told were from Decca studios. i thought hey thats cool Tom has this same weird compressor and he also likes it on vocals. Just to make some polite conversation while he was rewinding I mentioned the coincidence. The exchange went something like this:

EV: "Hey that's cool I have some of these same weird Decca compressors and I like to use them on the vocals too!"

(tom glances over at the rack I'm pointing at)

Tom: "No you don't have that. That's a custom compressor that was racked up for me by this guy I know"

EV: "Yeah I think I have the exact same thing… All the controls are the same even this weird "Voice Over" control.. I got this same thing and its really great on vocals"

Tom: "No you don't… you don't have that"

EV: "Yeah… Yeah I do, it's just like it"

Tom: "No you don't"

EV: "Yes i do"

Tom: "No you don't"

EV: "…OK"

The conversation pretty much ended there. It was super funny. Although only 3 of Tom's mixes were used on the record, it was really fun and interesting meeting him and seeing how he worked. Ever since then, that compressor has been known as the "You Don't Have This" compressor because apparently according to TLA I don't actually have them

For EQ in the mix it is usually a matter of high passing or pulling out some lows or low mids. Mostly to keep the vocals out of the way of the guitar. I really love the SRE555 tape delay/spring verb combo on vocals. It is on most all of the lead vocals on the TBS record. There is something about mono reverb that is really great. It just connects better with the original source sound. i do use a little pitch shift spread occasionally, although it is usually very subtle. there is some of that on the El Paso vocals. The only paralleling I do with vocals is for distortion. Typically I send the signal to an 1176 with the compression bypassed. I use that in conjuction with the
line trim on the console to boost a bunch of level and get the channel strip in the console to distort. I then blend it in very little.

EV
#104
9th August 2011
Old 9th August 2011
  #104
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Quote:
Originally Posted by ev33 View Post
Here are some pics:

These are pics of the main setup used on songs like "El Paso", "You Got Me", "Best Place..." or "This Is All Now"




Here is a close up of the Kick drum micing. You can see me inability to choose between the D30 and the D20



EV

Eric:
Thanks for all the great tips you are sharing with folks. It's great to see someone actually answer questions and show how they actually do their thing. Pictures imagine that...I learned my craft by pouring over the old R/EP's where they had real interviews and pictures, etc. and trying everything I read or heard. It's awesome that you are candid enough to help a new generation of engineers out! I get tired of the ones that say, "well everyone uses them same things so I am not going to talk about mic's or outboard gear..." or my other favorite "buy my dvd"...

I couldn't help but notice you were using some sE IRF's on the toms, we have a new re-design of them with a bigger hole, and no gooseneck so you can place it a lot easier and with heavier mic's. Can I send you some to try? We also have some super cool new ribbons... PM or email me if you would like to check them out anytime. Ever try a bigger Reflexion Filter on the kick or around the hat to keep the hat out of the room mic's, also fun on a 4x12? Can be cool as well...

Thanks again for all your insight!

best-
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#105
9th August 2011
Old 9th August 2011
  #105
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Quote:
Originally Posted by Ozzy View Post
Eric,

Thank you for being so candid with your answers and details, absolutely brilliant resource, and a great read!

Just had a listen to El Paso while going through the drum notes and photos on this thread.

Am I right in thinking you just used 1 transformer-less 57 on top snare, nothing underneath etc?

Also, Do you usually have your kick mics that far from the resonant head? The amount of attack on the kick is perfect, but I've never been able to get that kind of punch without having a mic closer. Whats your secret? haha

Thanks again!

Oz
There is no bottom mic on the snare. The is a Kick/Snare mic that may be responsible for what you are hearing. A lot of times I use a U87 underneath the snare drum pointed at the kick drum batter head. On this TBS stuff I used a new to me (vintage) mic I got recently. It is a EV 655 dynamic mic. It is pointing straight down over the kick pedal. It picks up plenty of attack on the kick drum and gets some nice bottom snr stuff as well. It can be blended in to add detail to the kick and snare.

I try to put the kick mics as far from the drum as I can get away with. It is limited by the bleed from the cymbals. My experience is that the kick just sounds more like a kick drum when the mics are farther away. Sometimes I will put a mic 5 to 10 feet away that will be gated to open only when the kick hits. I usually EQ it to emphasis the really cool explosive low end you get from a mic that is that far from the drum. It has a different kind of punch to it than the close mics do. Mics that are put inside a drum have always seemed more like an "effect" mic to me than an actual drum sound mic. no one listens to a kick drum with their head inside the drum. It has always been a very unfamiliar sound to me.

EV
#106
9th August 2011
Old 9th August 2011
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Erik, great to see someone that pulls the kick mic back away from the kit. I agree.. it opens up and you get a great "picture" of the kick. Kinda like pullin the cork off a bottle of wine and letting it breath..


My only problem is that I dont have any gates and I work otb. Any tips for keeping the cymbal bleed down? Last time I tried to place a blanket(tunnel) over the kick and kick Mic it really dulled the sound.

Thanks Eric.
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#107
9th August 2011
Old 9th August 2011
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Quote:
Originally Posted by heyman View Post
Erik, great to see someone that pulls the kick mic back away from the kit. I agree.. it opens up and you get a great "picture" of the kick. Kinda like pullin the cork off a bottle of wine and letting it breath..


My only problem is that I dont have any gates and I work otb. Any tips for keeping the cymbal bleed down? Last time I tried to place a blanket(tunnel) over the kick and kick Mic it really dulled the sound.

Thanks Eric.
Hey,

The tunnel thing has never worked for me either. It changes the sound of the kick drum too much. I put up strategically placed baffles around the drum kit. In the picture of the TBS setup in this thread you can see a baffle setup specifically to keep the ride and right hand crash out of the kick mic.

EV
#108
9th August 2011
Old 9th August 2011
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Thanks Eric! And the "You Don't Have This" compressor story was funny.
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9th August 2011
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Quote:
Originally Posted by ev33 View Post
Hey,

The tunnel thing has never worked for me either. It changes the sound of the kick drum too much. I put up strategically placed baffles around the drum kit. In the picture of the TBS setup in this thread you can see a baffle setup specifically to keep the ride and right hand crash out of the kick mic.

EV
Thanks. I just saw that.. I am going to have to try that. Any tips on what to use?
#110
9th August 2011
Old 9th August 2011
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Quote:
Originally Posted by heyman View Post
Thanks. I just saw that.. I am going to have to try that. Any tips on what to use?
Sure,

What is being used in that picture, is a piece of cardboard sandwiched between two pieces of owens corning 703 (stiff fiber glass panels). Cymbals are very easy to baffle because they are almost entirely high frequencies. The cardboard does the significant part of the attenuation because it is a mostly non-porous material. the two pieces of fiberglass help reduce reflections off of the baffle itself. Having a reflective surface that close to a sound source is not a good thing and can cause weird unwanted comb filtering/resonances.

The 703 crap is a bit of a pain in the ass because it needs to be covered in fabric to prevent you from getting itchy while handling it. You could use regular open cell foam (very common as an egg crate style foam mattress) instead of the fiberglass. It works just as well. Sandwich a piece of cardboard between some of that and you're good to go!

EV
#111
9th August 2011
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Eric, thanks so much.. Way cool of you to take the time out..
#112
10th August 2011
Old 10th August 2011
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Thanks for the info! The more I listen to the new album, the more I absolutely LOVE it.

On "This is all now". What effects are you using on the piano (single notes) in the verses? Is it just room sound? The sound is great, very eerie and helps "make" the verses for me.

Also, what is the effect on the vocal during the bridge? It's kind of leslie sounding, I dig the slight distortion to it. I feel as if this is used in a couple other spots on the album but a little more subtle.
#113
10th August 2011
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Quote:
Originally Posted by ev33 View Post
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
Hey Eric,

Thanks so much for that walloping amount of amazing info. I actually have known Eddie for many many years. We grew up together playing in the "Long Island Hardcore Scene" I'm sure he reminisces about often.

I used to do all my guitars direct but then switched to baffling amps. I've been wanted to go back to the DI setup but wanted to work harder in it to make the players feel at home with their sound and feel. Issue I am having with the volume pedal concept is that once you acquire proper gain staging does the volume pedal being pulled back drop the gain structure out of whack? Or is it minimal?

Also do you ever have a difficult time "selling" the bands on this setup over using their actual amps in a booth?

I'm planning on picking up 2 of these in the future to control the gain on the Eleven plug-in. I wanted to use the IK Multimedia StealthPedal but their software only allows the operation of one pedal per system.

http://www.logidy.com/?pid=1
#114
12th August 2011
Old 12th August 2011
  #114
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suburbansoul is offline
Hey Eric,

The Avalon U5 is great! Out of curiosity, do you ever use the tone shaping settings for guitar or bass? I'm assuming you don't to keep it pure for reamping purposes. Thanks!

CP
#115
12th August 2011
Old 12th August 2011
  #115
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Quote:
Originally Posted by suburbansoul View Post
Hey Eric,

The Avalon U5 is great! Out of curiosity, do you ever use the tone shaping settings for guitar or bass? I'm assuming you don't to keep it pure for reamping purposes. Thanks!

CP
Yes you are right! I don't use any tone shaping when reamping. I have used it occasionally when I am intending to use the actual DI signal.

EV
#116
16th August 2011
Old 16th August 2011
  #116
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Hey Eric,

I was wondering if your a fan of SPL Transient Designer? Also what is the difference between the NS10 speaker and NS10 box on kick drum?

Sent from my Vortex using Gearslutz.com App
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Corey
#117
16th August 2011
Old 16th August 2011
  #117
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Quote:
Originally Posted by Lonnie5 View Post
Hey Eric,

I was wondering if your a fan of SPL Transient Designer? Also what is the difference between the NS10 speaker and NS10 box on kick drum?

Sent from my Vortex using Gearslutz.com App
I have used the SPL transient designer occasionally, I use it on hihat, bass guitar, toms. for some reason it has never really worked for me on kick and snare.

When I do the NS10 as a mic trick, I do it a specific way. I always have 2 of them setup. One is just the NS10 woofer removed from the speaker box and the other is an NS10 with both of the speakers still mounted in the speaker box. NS10 'Speaker' is the stand alone woofer and NS10 'box' is the one where the woofer is still mounted in the box.

When you blend those 2 things together it delivers some of the most perfect low end I have come across for kick drum. the phasing has to be right between the 2 elements. One way sounds hollow and crappy the other way sound really punchy and solid. you can blend between the 2. More of the box and the sound gets punchier, more of the stand along speaker and the sound gets deeper.

EV
#118
17th August 2011
Old 17th August 2011
  #118
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Thanks Eric. Really love The Noises 10 track.
#119
17th August 2011
Old 17th August 2011
  #119
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pilarek is offline
snare snap trick

Quote:
Originally Posted by ev33 View Post
The snap on the snr is more due to the expander/compression trick described in one of the other threads.

EV
I can't find it:(
#120
17th August 2011
Old 17th August 2011
  #120
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Quote:
Originally Posted by pilarek View Post
I can't find it:(
I wasn't able to find it either. I am quite sure I posted a pretty detailed description of that. I can find other people referring to it but can't seem to find the original post.

Maybe someone knows where it is? If its gone I'll type it up again.

EV
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