"Discovered" at the Dell Lounge... What a Spectacle!

[Remoteness]

During the course of this ground-breaking 13-episode music and talk TV series called “Spectacle: Elvis Costello with …” Sundance Channel and co-sponsor DELL (PRODUCT) RED present two minute vignettes called "DISCOVERED" emerging artist series profiling established and up and coming artists and musicians.

Each music piece can be viewed online at Dell Lounge | DISCOVERED as they broadcast it on the Sundance Channel each week. The first artist featured from this 13 episode set is “PT Walkley”.
I encourage you to check out each "Discovered" piece and let me know what you think.

This awesome music and interview TV series airs tonight (12/03/08) at 9PM EST on Sundance Channel.

We are honored to part of these awesome two minute pieces. We were brought in by Pickerel Pie Entertainment to handle the music recording and production for their project with Sundance Channel.

The really cool thing about this live video shoot was the fact that we mixed the music right after the shoot was finished. As the crew started to strike the set and set-up for the band/artist interviews, D'Uva and I started working on the final mixes. We were usually finished mixing by the time the crew was done with their strike.
Whenever possible we brought in the band for their thoughts and enlightenment.

The musicians and artists profiled in the "DISCOVERED" series are as follows in the order of their appearance:

PT Walkley --- 12/03/08 --- already aired

Matt White --- 12/10/08 --- already aired

Solange Knowles --- 12/17/08 --- already aired

Richard Julian --- 12/24/08 --- already aired

Forro in the Dark --- 12/31/08 --- already aired

The Virgins --- 01/07/09 --- already aired

Colin Munroe --- 01/14/09 --- already aired

Erin McCarley --- 01/21/09 --- already aired

Charlotte Sometimes --- 01/28/09 --- already aired

Department of Eagles --- 02/04/09 --- already aired

K'naan --- 02/11/09 --- already aired

Salt & Samovar --- 02/18/09 --- already aired

Thao --- 02/25/09 --- already aired

The next post will include the crew information.
We really had a blast working with these fine folks.

Over the course of this 13 week run I shall be putting up a weekly gig report for each and every artist/musician. It will include photos, input lists and anything else that may be of interest to you folks.

[Remoteness]

SVP, Creative Services --- Sarah Barnett

Sr. Director of Creative Services --- Mark Williams

Sr. Producer --- Monique Frumberg

Producer Creative Services --- Jordan Kreisler

Director --- Dewey Thompson

Producer --- Chris Torella

Coordinator --- Geri Cole

Director of Photography / A-Camera --- Ed David

Video / C Camera / Editor --- Anthony Ellison

B-Camera --- Dan Lane

B-Camera --- Hillary Spera

Assitant Camera --- Pete M.

Swing --- Julius Benschop

Swing --- Woody Litman

Gaffer --- Eric Vaterlaus

Best Boy --- Dan Katz

Key Grip --- TBA

Recording Engineer/Producer --- Steve Remote

Music Audio A2 --- Robert Carvell

Music Audio A2 --- Jon D’Uva

Music Audio A2 --- Kaz Noda

Music Audio A2 --- Robert Anderson

Music Audio A2 --- Randy Taber

Music Audio A2 --- Thomas Bishop

Music Audio A2 --- Larry Hammel

Music Audio Utility --- Shashi Panday

Music Audio Utility --- David Moench

ENG Sound --- Matt Sutton

Makeup --- Roxanne Manzano

PA --- Sam Stout

PA --- Gintuas Norvila

PA --- Elliott Thompson

Here are some photos of just few of us during the wrap party at Pickerel Pie.

[NorseHorse]

Hey, is "Thao", Thao Nguyen?

[Remoteness]

PT Walkley - Episode One

PT Walkley is a multitasking musician from New York City. As a film composer, he has scored several full-length features, including three for award-winning actor/director Ed Burns. He also fronts NYC rock band The Blue Jackets, who recently opened for Coldplay. The 2007 release of PT Walkley and The Adventures of Track Rabbit caught plenty of attention, leading to a Dewars Whisky commercial featuring the album's ultra-catchy 'Up The Walls.' On January 27, 2009, Walkley will release his debut solo album, Mr. Macy Wakes Alone, a collection of interconnecting story-songs that delivers a lush, cover-to-cover listening experience.

This particular video shoot was captured live on the Pickerel Pie Entertainment's Pie Factory Studios rooftop on a sunny August (2008) day.

The YouTube clip below is in mono, but at least you can get an idea of what the episode looked like if you don't have time to click on the "Dell Lounge" link.



Jon D’Uva, Robert Carvell, Robert Anderson and I were on hand for this production venture.

Here's PT's input list:

01 -- FOOT -- M88
02 -- SNARE -- TLM103
03 -- KIT -- TLM103
04 -- SR OH < -- M160
05 -- SL OH > -- M160

06 -- BASS GTR -- LBB100

08 -- AGTR -- LBB100
09 -- EGTR -- MD409

10 -- PIANO LO -- DC96B
11 -- PIANO HI -- DC96B

12 -- FRENCH HORN -- KM140
13 -- FRENCH HORN -- KM140

14 -- VIOLIN -- DI
15 -- VIOLIN -- DI
16 -- CELLO -- SM98
17 -- VIOLA -- DI

18 -- VOCAL 1 -- KMS105
19 -- VOCAL 2 -- KMS105
20 -- VOCAL 3 -- KMS105
21 -- VOCAL 4 -- KMS105
22 -- VOCAL 5 -- KMS105

[Remoteness]

Originally Posted by NorseHorse

Hey, is "Thao", Thao Nguyen?

Yes, indeed -- Thao with The Get Down Stay Down


They were the first band with captured.

[NorseHorse]

Awesome. Now I can say I've recorded someone that Mr. Steve has as well!

I also have taken pictures for her at another show. She's good stuff.

[Remoteness]

Thao is a fascinating artist with a very unique sound.

[ctorella]

Hey Steve

thanks for posting this - if anyone has any work flow questions on how we posted the show let me know.

we shot 3 different HD cameras during the shoot and often at the same time!

VIDEO POST WAS ALL FINAL CUT PRO - AND AUDIO POST WAS PT LE

CHRIS

[Jay-]

Remoteness or ctorella, can you please tell me the brand or model of the cam?
You say its co sponsored by RED so those must be RED cam?

kthanks.

[Remoteness]

Originally Posted by ctorella

Hey Steve

thanks for posting this - if anyone has any work flow questions on how we posted the show let me know.

we shot 3 different HD cameras during the shoot and often at the same time!

VIDEO POST WAS ALL FINAL CUT PRO - AND AUDIO POST WAS PT LE

CHRIS

Chris,

It was my pleasure to start this thread.
I enjoy posting about awesome experiences like this.

Originally Posted by Jay-

Remoteness or ctorella, can you please tell me the brand or model of the cam?
You say its co sponsored by RED so those must be RED cam?

kthanks.

I believe that Chris and the Pickerel Pie gang (for the most part) used Sony cameras.
I'm sure Chris will chime in with the exact model numbers and type of lenses they used.

DELL (product) RED was the co-sponsor of the series teleproduction.
As many of us already know DELL makes computers and sells monitors, cameras, printers and accessories.
They did not supply the production gear for this venture.

Sony cameras and Sennheiser, Neumann, Beyer, Milab microphones were some of the brands used on the set.


The performances were mixed in TBM on location directly after the video shoot.
This final mix data files were then handed of to the Chris for sync and final audio post processing.

[RobAnderson]

I have to say, that PT Walkley gig was such an incredible vibe - sitting out there in the sun enjoying some good music - a great way to spend an August afternoon. It was surreal in a way - a rock band with a piano, string quartet and two french horns all sitting out there making really cool music. We were using Mackie powered speakers (450's I think?) as overall monitors - which ended up being a great sounding light PA system combined with the direct sound out on the roof top.

It stands out as one of the most memorable sessions I have ever been a part of.

[ctorella]

Originally Posted by Jay-

Remoteness or ctorella, can you please tell me the brand or model of the cam?
You say its co sponsored by RED so those must be RED cam?

kthanks.

hey jay

A Camera: Sony EX1 with Letus 35 mm lens adaptor and Nikon 35 lens
B Camera: Panasonic HVX200
C Camera: Sony V1U

No RED on this shoot

[Remoteness]

So, what is DELL (PRODUCT) RED all about anyway?

Dell and Microsoft Launch (PRODUCT) RED Branded Products to Help Eliminate AIDS in Africa

[Jay-]

Sorry my bad on "RED" confusion. (not RED CAM)

[Mick@itc]

Great to see the set-up in action.

In picture 5995, the splitter, what are the units on top of the splitter box?? and what are they for?
Thanks
Mick

[Remoteness]

Originally Posted by Mick@itc

Great to see the set-up in action.

In picture 5995, the splitter, what are the units on top of the splitter box?? and what are they for?
Thanks
Mick

Ah yes, picture 5995....

They are three Klark Teknik 1/3 octave equalisers.
Two mono units and a stereo unit.
We were primary audio, so we also handled the band monitors.
We used three monitor mixes for PT's particular shoot.

We actually did not use the splitter to split to a second desk since we handled the band monitor mixes from the remote truck.

The line level return feeds ran down the same snake we used for the mics.
The three individual monitor mixes fed the K/T EQs that fed the active sMackie SR450s plus two stereo returns that fed our music mix to the cameras and the holding room.
A hardwired comm also ran down the same snake just because we can with no issues.

[Mick@itc]

Thanks Steve. I just love seeing these kind of pictures because of all the stuff I can learn from them. I hope you don't mind me asking some other questions??

They look like passive splitters? and I'm guessing there is a fair distance between the splitter and the truck? What would the main factors be for you to decide to use a passive or active splitter OR going for Pres next to stage box and sending back line level signals?

Thanks in advance.
Mick

[Remoteness]

Mick,

Yeah, I totally understand where you’re coming from.
When I started out I did the same thing.
I learned a lot with a loupe and pictures from the other remote recording facilities and such.
As the years went on, I eventually purchased a large magnifying glass and lamp both on a goosenecks for that sort of examination and assessment.

Yes, that stage box is a non-isolated passive splitter…
No transformers were harmed in the making of this production!

Like I mentioned before, we didn’t need to use a splitter since we did not split to any other console, so our 58 channel non-isolated splitter was the perfect choice for this shoot. We used a 150’ snake to/from the truck and no real need for an active splitter.

I like to use our active splitters when we have long cable runs or when I need to feed multiple desks the same quality signal without the "passive splitter" multiple load, different console input and/or long cable run issues that may happen.
Microphones can encounter unpredictable very low impedance loads.
Parallel connections can degrade the quality (or level) of the signal and we don't like that too much.

.

[Remoteness]

Matt White - Episode Two:

Tonight's episode, Matt White is matched up with Lou Reed and Julian Schnabel.
I'm looking forward to tonight's broadcast on Sundance Channel at 9PM EST.

You can view each and every music piece online at the Dell Lounge.

Matt White Bio:
Matt White's 2007 debut album, Best Days, marked the arrival of a gifted songwriter who draws from his own experience. In the vein of Elton John, Jeff Buckley, and Coldplay, White's songs are highly relatable and deeply melodic. White, who plays piano and guitar, began his performing career in his native New York City, graduating from public parks to intimate clubs like Joe's Pub. As his following grew, he signed with Geffen Records, which released the EP Bleecker Street Stories in 2006. White's songs have been featured in several films and television series, including Shrek the Third, 'The Hills' and 'Men in Trees.'

This particular video shoot was captured in the Pickerel Pie Entertainment's Pie Factory Studios on an August (2008) day.

Jon D’Uva, Robert Carvell, Kaz Noda and I were on hand for this video shoot.


Matt White's input list only consisted of eight channels...

01 --- FOOT --- M88
02 --- SNARE --- TLM103
04 --- SR OH < --- M160
05 --- SL OH > --- M160

06 --- BASS GTR --- LBB100

07 --- EGTR --- MD409

08 --- AGTR --- LBB100

17 --- MATT --- KMS105




Sometimes we don't get a chance to take enough technical pictures.
Here's what we have for your review...

[Mick@itc]

Oh...this is gold...

[Remoteness]

Solange Knowles - Episode Three

Solange Knowles recently released her sophomore album, SoL-AngeL and the Hadley St. Dreams, a highly personal effort with lyrics that pull no punches. The album reflects her affinity for the classic melodies and messages of 60s and 70s soul, while incorporating subtle electronic influences that she has absorbed while living and working in Europe. Joining Knowles on the album are such acclaimed producers and artists as Cee-Lo, Pharrell, Mark Ronson and Motown legend Lamont Dozier. She was 16 when she released her debut album, Solo Star. The younger sister of Beyonce Knowles (Destiny's Child), Knowles has written numerous songs for the group and its individual members.

Normally we shot two performances in a day; a morning and an afternoon capture.
This video clip was from one of three shoots we secured on that beautiful August day.
Matt White and Charlotte Sometimes were the other two bands we recorded that day.
Needless to say that was a long day for us.

Solange was scheduled (pretty early) as the first shoot of the day because she had to be at the Ed Sullivan Theater for a David Letterman Show taping later that afternoon.
Their crew was split up with a two identical backline setups to handle this task.

Tonight's episode, Solange was matched up with President Bill Clinton.

You will notice, that (for the most part) we have used the same techniques, equipment and mic placement for each and every artist or band in this series, but each clip has its own sound and blend to it.
Like I’ve stated many times in the past, “It’s about the “ear” and not the gear.

For this performance clip I went for a 60s Motown sound.
Can you hear the difference in the sound of three productions so far?

Jon D’Uva, Robert Carvell, Kaz Noda and I were on for this three band performance shoot.

Solange’s input list was as follows…

01 --- FOOT --- M88
02 --- SNARE --- TLM103
03 --- KIT --- TLM103
04 --- SR OH < --- M160
05 --- SL OH > --- M160

06 --- BASS GTR --- LBB100

07 --- EGTR --- MD409

09 --- ROLAND L --- LBB100
10 --- ROLAND R --- LBB100
11 --- MOTIF 8 L --- LBB100
12 --- MOTIF 8 R --- LBB100

15 --- HD24 TRK L --- XLR
16 --- HD24 TRK R --- XLR

17 --- SOLANGE --- SENNHEISER RF HH

18 --- BGV 1 --- KMS105
19 --- BGV 2 --- KMS105
20 --- EGTR VOC --- KMS105

21 --- HD24 BGV L --- XLR
22 --- HD24 BGV R --- XLR
24 --- HD24 CLICK

[fifthcircle]

Notice you're mixing on the M7CL here... I remember that you had some minor sonic concerns with the console early on. Have you supplemented your rig with outboard gear? Either pres, comps, efx, etc...

--Ben

[Mick@itc]

Hi

Where can I find the audio clips for the discovered sessions?. I can only find one on the site called Somebody which is not live.

Mick

[Remoteness]

Originally Posted by fifthcircle

Notice you're mixing on the M7CL here... I remember that you had some minor sonic concerns with the console early on. Have you supplemented your rig with outboard gear? Either pres, comps, efx, etc...

--Ben

Yes, I've been mixing on the M7CL a lot more since this past summer.
We added a Brainstorm DCD-8 word clock Distripalyzer with the VSG-4 card for the Newport Folk and Newport Jazz Festivals and never looked back since.

Once we installed the DCD-8 as the external work clock source (rather than using a Yamaha variety clock) the sound improved dramatically.

We do not use the head amps in the desk...
IMO, they do not have enough headroom and sound ugly when you push them too hard.

The only outboard gear we're using for this series are external mic pres that feed our dual set of X48s.
One X48 feeds the M7CL (inputs) digitally and the second X48 is available via its analog outputs patched directly to our TT patch bay. We also have an outboard SSL stereo buss compressor on the 2mix.

I find the sound of the type II EQs in the M7CL rather good.
They are much more musical sounding than their type I EQs.
I've been using the on-board compressors and FXs.
To my ears, the lighter you process the better they sound.

I also tend to mix a lot less 'verb when using the on-board FX.
I only use their "X" series verbs...
They sound much better than the other stuff available on that desk.

So, what do you folks think about the sound of this series?

FYI, the Herbie Hancock mixes I did for NPR's JazzSet series were mixed with that same system.

Originally Posted by Mick@itc

Hi

Where can I find the audio clips for the discovered sessions?. I can only find one on the site called Somebody which is not live.

Mick

If you click on Dell Lounge | DISCOVERED it will bring you to the Dell Lounge "Discovered" page.

Each week a new artist is added as each new show airs.
Click on the artist you want to checkout and you'll be able to look and listen to the clips.

I included a YouTube clip for PT's piece (in the PT Walkley post above)...
Keep in mind that the YouTube audio sounds a bit different than the original.

[fifthcircle]

Makes complete sense... The weakest points of the console are the pres and the clock. An external clock takes care of the later part and going in digitally solves the analog issues with that board.

What you are finding with respect to the effects is pretty much on par with what I've done with those consoles. I usually bring my own verb (usually my Lex 300)when using the board, especially in situations where a lot of verb is needed in the mix.

Just out of curiosity, which set of pres did you bring for these dates? How did you get to line level for the Tascam recorders?

Looking at the Dell discovered line- looks like there will be some really fun gigs. I like the 3 that you've done so far and only wish that there was more material up online. Just the 2 minute sample with the interview doesn't do the groups justice. I can only listen here on my office computer which isn't hooked up to the big sound system, but on my crappy little setup, it sounds great. Each group has its own sonic footprint and distinctive style. I especially liked the PT Walkley song- the string and brass writing was just lush.

Thanks for bringing this up on the forum. You're absolutely right- it isn't just the gear that makes the sound. Of course, we all use what we have, but you can pretty much get your sound easily by using your ears and positioning your mics in the right place. There are of course my favorites, but I'll get pretty much the same sound regardless of what I use because the sound is set in my mind before I get started.

Good stuff Steve. Just wish I could listen on a better sound system and to more of it...

--Ben

[Jim vanBergen]

Excellent thread, Steve!

Glad you are doing a couple of specific things-
1) clocking the M7CL externally,
2) using outboard pre's (which ones? I'm dying to know!) and
3) the SSL comp, which is my personal buss favorite for 'glue'.

Each of these makes a big difference individually, so I bet the three together are providing a wonderful solution for tracking and mixdown.

* Are you clocking the M7CL at 96k?*

Great job! Any pics from the mix POV?

JvB

[fifthcircle]

Originally Posted by Jim vanBergen

* Are you clocking the M7CL at 96k?*

M7CL is a 44.1.48K console. Doesn't work at 96K.

--Ben

[Remoteness]

Yes indeed, I was very pleased with the sound of the desk once we installed the (DCD-8) external work clock. Avoiding the head-amps and going in digitally was another serious plus.

We were clocking the M7CL and X48s at 48k.

I will look for some shots inside Tne Bread Mobile (TBM) with the M7CL set-up, but keep in mind that early on a few of the shoots were annexed with TBM with an analog mix set-up plus Jethro was brought in for four of the 13 shoots when we were double booked on other locations.

Now-a-days, I rarely use a lot of reverb, so I can get away with the signal processors in the M7CL.
If I need a lot more (digital) reverb in the mix I would bring along my Sony SDRES777 with all the bells & whistles. I love the sound of that box.

TBM has 48 channels of True System Precision8s as standard which were patched directly to the analog inputs of the Tascam X48s.

Since we already captured all the artists/bands, I can tell you that it was a lot of fun working on this 13 episode series.

Yes, I wish I can post the full length version of these tunes.
I could ask the client, but I already know the answer due to the publishing deal they struck with the acts and their record labels.

I too enjoyed the PT Walkley clip. I love the arrangement and sounds they produced.
Recording their tune outside helped a lot – I do not believe I could have attained the same timbre or quality recording them inside the studio since it was not designed for sound recording.

Ah yes, using our ears and the right mic positioning will do it for us every time.
Ben, I like what you said, “There are of course my favorites, but I'll get pretty much the same sound regardless of what I use because the sound is set in my mind before I get started.”

I totally understand that dynamic and completely identify with your mindset.

Very strong words!

[videoteque]

I also think the idea of mixing just after the fact, makes you more focused on the event and the music, than mixing it two weeks later...thumbsup

[Remoteness]

Yes, it's like one stop shopping.

Everyone is there; you can ask the band what they think; you get instant approval or a chance to modify the mix with no time wasted; everything is fresh in your mind.

...And, the mix is done on the same "dime".
No need to schedule another date -- it's a win win situation for everyone involved.