Another Kind of Blue - the Latin Side of Miles Davis - Page 4

**Remoteness** · 7th May 2006

Wow, thanks so much...

Here's the link to the Blue Note Gift Shop where Half Note Recordings has their titles listed and available. You can go directly to the Conrad Herwig selection by clicking on his name. The item number at the website is 51663> cannot find the catalog number at this time.

I recorded, engineered and mix most of the selections listed. I believe we have done over 27 records for Half Note Records. All Music gave this recording four stars out of five and it was up for a Grammy.

Jim Easton · 9th May 2006

Conrad Herwigs CD entitled
Live at the Blue Note -- Another Kind of Blue -- The Latin Side of Miles Davis.

This is the finest live recording (bar none) of live jazz heard anywhere-!!

Amazing, recording Mr. Remote.

~2db

**Remoteness** · 27th January 2007

What can I said? You are too kind.

I really appreciate all the thoughtful things you have declared.

I’m not sure if I agree but, I’m very grateful of your sentiment and positive opinion about this recording.

Like I’ve said numerous times before, “An engineer is only as good as the musicians they keep.”

It was a privilege and an honor to part of this live recording session from start to finish.
IMHO, I’m a very fortunate recording engineer/mixer.

It looks like we shall be doing another live Conrad record in March 2007 and the "Sketches of Spain y Mas: The Latin Side of Miles Davis" from this session is already out in the stores.

I haven't heard the "Skectches" record yet -- I cannot wait to hear how it came out.

If anyone wants to come by the March date, please PM or email me when we get closer to March.

Farfensound · 12th February 2007

Listening to the full CD today for the first time and Kicking myself for waiting so long to purchase it.

Thanks for such a beautifuly done recording.

**Remoteness** · 12th February 2007

Have you also listened to "Sketches of Spain y Mas: The Latin Side of Miles Davis" from the same session? It's in stores or online now.

**Remoteness** · 27th February 2007

We're doing another "Latin side of..." recording

This show is called "THE LATIN SIDE OF WAYNE SHORTER" featuring EDDIE PALMIERI, CONRAD HERWIG, BRIAN LYNCH & OTHERS

If anyone wants to come to this March 2007 live performance recording session, PM or email me ASAP.

If applicable, I do not want to have too many folks hanging at one time unless we create a schedule.

Keep in mind, I will need to know who wants to come by sooner than later.

Blatboy · 5th March 2007

I'm coming to this thread fairly late in the game...

I'm a little biased I suppose, being a professional trombone player (and a big fan of Conrad's) and I have been dabbling in recording (I have a project studio to produce demos for a TV show I compose for)

The Conrad recording is really fabulous. Hell yeah. What a great thing to be a part of! Congrats!

**Remoteness** · 27th May 2007

Thanks a lot Blatboy.

What's the title of the TV show?

MattJazz · 27th June 2007

Steve,
Are you using gates on Snare and percussion?(post recording I assume)
Probably stupid question.
I am trying to figure how you got the drums so clean.
I have played at the blue note a lot , I know drums are dry there live. Especially with a good size audience.

What frequencies did you pull back on the bass?

As always I understand if these things are not usually talked about.(trade secrets?)

Drummer has dry cymbal sound as well, did that help? When I listen to Good night good luck c.d.(live at Capitol LA. I think) you can hear much wider cymbals. I am currently having problems with that sound.
Any recommendations?

mp

**Remoteness** · 27th June 2007

No gates were harmed in the making of this recording or mix!

We did mute tracks (in ProTools) that were not playing, but the drums did not have any gates on them.

IMO, it's all about how you mic and position everything on stage.
And the relationship between the monitor (and amplifier) speakers to the mics placed.

It's hard to remember which frequencies I pulled since we mixed this record a few years ago, but I always sweep around and find the right pocket to pull out.
It's kind of a standard thing for me to do.
I use my ears and turn the knobs until I find the right freq; Sometime I don't even look at what frequency I pulled or pushed. As long as it sounds good to my ears I'm golden.

No trade secrets held back here my friend.
I don't have a problem explaining my techniques.
I've noticed that others do and, I don't blam them.
I'm a functioning knucklehead, so I'm cool with it.

Explain your "dry cymbal" sound again...

Thank you for your input!

MattJazz · 23rd July 2007

Steve,

Sorry it took so long to answer back.

I was thinking of the difference between some one like Jack Dejohnette -Dry and say Elvin Jones- very wet.
After reading this post several times I am beginning to appreciate your mic to onstage monitor relationships as well. Or at least I'm trying.

My problem is I am not happy with my OH's. So I am going to get two M160's.
I also want to start using Ribbons more - are these also good on Clarinet and softer woodwinds? I just finished a session with M160's as OH's and I just loved them!
Warm but clear. Some how they seemed to clean up that washy sizzle( upper mids) I am having trouble with. Pre- amp???????? I am considering the two solo true's. However I wold really like to keep it a two pre-amp one rack unit. Do you have any suggestions? Do you think a ULN2 would be enough gain? I have one but it was busy. I could always stand another one, I love the new MIO connect.
Also, do the M160's need to be matched? The ones we used were not.
But I could not tell. They were the same age as far as I know.

Sorry to ramble.

Again thanks for your kindness, I am sure we all appreciate it.

mp

**Remoteness** · 12th August 2007

Matt,

Hey, it's no problem since we've been super busy this (2007) summer.

So, how's the mic to onstage monitor relationships coming along for you?

You said you're not happy with your OHs. Have you played around with the positioning?

I love ribbons on clarinet and softer woodwinds, but you need a very good preamp that has plenty of gain before noise.

I'm happy (and not surprised) that you loved them those M160s.
It's been my secret weapon for decades.

Our M160s are not matched.

All the best and great success to you and your beyer M160s.

RCButler · 8th March 2008

Im Very Impressed! Sounds Amazing!!!!!

**Remoteness** · 15th March 2008

Thanks so much!

Eli Resnick · 9th March 2011

Great sounds! I want to echo your opinion that upright bass takes multiple mics. It's one of those instruments that, when you play it properly, you move it around a bit, so it really does take an array of mics nearby and attached to get it right.

Even for unrecorded, live performance, I favor an SM57 suspended from my bridge with clothesline and duck tape. For studio tracks, I just throw my entire mic cabinet at the beast, all over, all at once and see what sticks.

Hanging a Neumann with just rubber bands, though... that's the gutsiest part of the whole show. I'd have been sweating.

I've heard this album on the radio on WPFW and loved it, and it's really exciting to hear some of the methods and choices that went into forming the sound. Thank you so much for being here and teaching us.

**Remoteness** · 9th March 2011

Thanks Eli,

I appreciate your comments very much.

It's true, you can never use enough mics on the bass during a live concert performance.

That Neumann was safe and sound; the rubber bands held the mic in place just fine.

We do this a lot and feel completely comfortable with the practice.

This album translates well on FM radio.

Thanks again Eli.

7th May 2006	#91
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	Wow, thanks so much... Here's the link to the Blue Note Gift Shop where Half Note Recordings has their titles listed and available. You can go directly to the Conrad Herwig selection by clicking on his name. The item number at the website is 51663> cannot find the catalog number at this time. I recorded, engineered and mix most of the selections listed. I believe we have done over 27 records for Half Note Records. All Music gave this recording four stars out of five and it was up for a Grammy. __________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network What about my Facebook Profile? Remoteness on Myspace

9th May 2006	#92
Jim Easton Gear maniac Joined: Sep 2005 Location: Central Pa Posts: 150	Conrad Herwigs CD entitled Live at the Blue Note -- Another Kind of Blue -- The Latin Side of Miles Davis. This is the finest live recording (bar none) of live jazz heard anywhere-!! Amazing, recording Mr. Remote. ~2db __________________ Abbeyville Road http://mysite.verizon.net/jiminyrecords1/ Last edited by Jim Easton; 9th May 2006 at 11:48 PM..

12th February 2007	#94
Farfensound Gear nut Joined: Oct 2005 Location: Minerva Park, Ohio Posts: 98	Waited to long but now I've come to terms with my procrastination Listening to the full CD today for the first time and Kicking myself for waiting so long to purchase it. Thanks for such a beautifuly done recording. __________________ Karl (A.K.A. Fahrvergnugen) Farfensound Productions

27th June 2007	#99
MattJazz Gear nut Joined: Oct 2006 Posts: 92	Gate used? Steve, Are you using gates on Snare and percussion?(post recording I assume) Probably stupid question. I am trying to figure how you got the drums so clean. I have played at the blue note a lot , I know drums are dry there live. Especially with a good size audience. What frequencies did you pull back on the bass? As always I understand if these things are not usually talked about.(trade secrets?) Drummer has dry cymbal sound as well, did that help? When I listen to Good night good luck c.d.(live at Capitol LA. I think) you can hear much wider cymbals. I am currently having problems with that sound. Any recommendations? mp

Thread Tools	Search this Thread
Show Printable Version Email this Page	Search this Thread: Advanced Search

27th January 2007	#93
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	What can I said? You are too kind. I really appreciate all the thoughtful things you have declared. I’m not sure if I agree but, I’m very grateful of your sentiment and positive opinion about this recording. Like I’ve said numerous times before, “An engineer is only as good as the musicians they keep.” It was a privilege and an honor to part of this live recording session from start to finish. IMHO, I’m a very fortunate recording engineer/mixer. It looks like we shall be doing another live Conrad record in March 2007 and the "Sketches of Spain y Mas: The Latin Side of Miles Davis" from this session is already out in the stores. I haven't heard the "Skectches" record yet -- I cannot wait to hear how it came out. If anyone wants to come by the March date, please PM or email me when we get closer to March.

27th February 2007	#96
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	We're doing another "Latin side of..." recording This show is called "THE LATIN SIDE OF WAYNE SHORTER" featuring EDDIE PALMIERI, CONRAD HERWIG, BRIAN LYNCH & OTHERS If anyone wants to come to this March 2007 live performance recording session, PM or email me ASAP. If applicable, I do not want to have too many folks hanging at one time unless we create a schedule. Keep in mind, I will need to know who wants to come by sooner than later.

5th March 2007	#97
Blatboy Gear Head Joined: May 2005 Location: NYC Posts: 56	I'm coming to this thread fairly late in the game... I'm a little biased I suppose, being a professional trombone player (and a big fan of Conrad's) and I have been dabbling in recording (I have a project studio to produce demos for a TV show I compose for) The Conrad recording is really fabulous. Hell yeah. What a great thing to be a part of! Congrats!

27th May 2007	#98
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	Thanks a lot Blatboy. What's the title of the TV show?

27th June 2007	#100
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	No gates were harmed in the making of this recording or mix! We did mute tracks (in ProTools) that were not playing, but the drums did not have any gates on them. IMO, it's all about how you mic and position everything on stage. And the relationship between the monitor (and amplifier) speakers to the mics placed. It's hard to remember which frequencies I pulled since we mixed this record a few years ago, but I always sweep around and find the right pocket to pull out. It's kind of a standard thing for me to do. I use my ears and turn the knobs until I find the right freq; Sometime I don't even look at what frequency I pulled or pushed. As long as it sounds good to my ears I'm golden. No trade secrets held back here my friend. I don't have a problem explaining my techniques. I've noticed that others do and, I don't blam them. I'm a functioning knucklehead, so I'm cool with it. Explain your "dry cymbal" sound again... Thank you for your input!

23rd July 2007	#101
MattJazz Gear nut Joined: Oct 2006 Posts: 92	Steve, Sorry it took so long to answer back. I was thinking of the difference between some one like Jack Dejohnette -Dry and say Elvin Jones- very wet. After reading this post several times I am beginning to appreciate your mic to onstage monitor relationships as well. Or at least I'm trying. My problem is I am not happy with my OH's. So I am going to get two M160's. I also want to start using Ribbons more - are these also good on Clarinet and softer woodwinds? I just finished a session with M160's as OH's and I just loved them! Warm but clear. Some how they seemed to clean up that washy sizzle( upper mids) I am having trouble with. Pre- amp???????? I am considering the two solo true's. However I wold really like to keep it a two pre-amp one rack unit. Do you have any suggestions? Do you think a ULN2 would be enough gain? I have one but it was busy. I could always stand another one, I love the new MIO connect. Also, do the M160's need to be matched? The ones we used were not. But I could not tell. They were the same age as far as I know. Sorry to ramble. Again thanks for your kindness, I am sure we all appreciate it. mp

12th August 2007	#102
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	Matt, Hey, it's no problem since we've been super busy this (2007) summer. So, how's the mic to onstage monitor relationships coming along for you? You said you're not happy with your OHs. Have you played around with the positioning? I love ribbons on clarinet and softer woodwinds, but you need a very good preamp that has plenty of gain before noise. I'm happy (and not surprised) that you loved them those M160s. It's been my secret weapon for decades. Our M160s are not matched. All the best and great success to you and your beyer M160s.

8th March 2008	#103
RCButler Gear interested Joined: Feb 2008 Posts: 5	Im Very Impressed! Sounds Amazing!!!!!

15th March 2008	#104
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	Thanks so much!

9th March 2011	#105
Eli Resnick Gear maniac Joined: Mar 2011 Posts: 286	Great sounds! I want to echo your opinion that upright bass takes multiple mics. It's one of those instruments that, when you play it properly, you move it around a bit, so it really does take an array of mics nearby and attached to get it right. Even for unrecorded, live performance, I favor an SM57 suspended from my bridge with clothesline and duck tape. For studio tracks, I just throw my entire mic cabinet at the beast, all over, all at once and see what sticks. Hanging a Neumann with just rubber bands, though... that's the gutsiest part of the whole show. I'd have been sweating. I've heard this album on the radio on WPFW and loved it, and it's really exciting to hear some of the methods and choices that went into forming the sound. Thank you so much for being here and teaching us.

Similar Threads
Thread	Thread starter	Forum	Replies	Last Post
Another Kind of Blue - the Latin Side of Miles Davis / The Remotester's thread	Remoteness	Remote Possibilities in Acoustic Music & Location Recording	114	27th October 2009 02:12 PM
Chandler, Wunder, Focusrite, Vintech, Side by Side Test at Deaf DOg Music	John Ovnik	High end	43	22nd March 2008 06:47 PM
Portico 5012 Vs. Brent Averill 1272,1073 side by side....	mikecorleone	So much gear, so little time!	14	8th November 2005 07:49 AM
Betty Davis Blows my mind.	littledoodler	The Good News Channel	0	30th August 2005 10:03 PM
Very hot AD converters side by side in Rack?	Kris	So much gear, so little time!	6	28th April 2005 09:09 PM

9th March 2011	#106
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405 Thread Starter	Thanks Eli, I appreciate your comments very much. It's true, you can never use enough mics on the bass during a live concert performance. That Neumann was safe and sound; the rubber bands held the mic in place just fine. We do this a lot and feel completely comfortable with the practice. This album translates well on FM radio. Thanks again Eli.