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Rob Schnapf Ribbon Microphones
Old 28th October 2010
  #751
Gear Maniac
 
virtualsamana's Avatar
 

Hi Rob,

What was your inspiration for the hamdog?

And what was the chain you used to get that wonderful honky piano sound from "Lost and Found" on Figure 8?
Old 28th October 2010
  #752
Lives for gear
 
rob S's Avatar
the hamdog came about because we had ground beef but no hamburger buns.
hot dog buns but no hot dogs.
a hot fire on the cue at the studio.
the hamdog was born.
necessity is the mother of invention.

lost and found piano sound, hmmmm.
it was a strange experience because that upright piano at abbey road, all on its own, sounded very familiar.
it turns out with good reason. it is/was the very same as used by beatles on penny lane etc and zombies odyssey and the oracle and the likes.
laquered hammer great sounding old upright.
elliott playing it.
so that was where we started.
either a 67 or km 54 cant remember which mic'd across the hammers thru the old emi eq's and compressors.
added tape slap later in mix.
at the beginning of the take you can hear tom over the talk back and me running up the stairs after moving the mic around.

Last edited by rob S; 28th October 2010 at 05:12 AM.. Reason: details
Old 31st October 2010
  #753
Lives for gear
 
rob S's Avatar
Quote:
Originally Posted by Keith Moore View Post
Hey Rob,
And favorite gear in general. Don't need to mention everything just the stuff that makes you feel like a kid in a toy store kind of stuff.
really really like the REDDI.
another excellent tool by pete's place.
its obviously cool on bass but it has other great uses as well.
love it on synths and keyboards.
its great on mellotron.
the current favorite recipe for direct gtrs.
GTR - Fuzzbox - REDDI.

and cant say enough good things about the EM PEQ and the BAC 500.
Old 31st October 2010
  #754
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Keith Moore's Avatar
 

Rob Schnapf

Quote:
Originally Posted by rob S
dont really use the tape any more.
although sometimes mix to it (1/4").
Hey Rob have you tried mixing through the AnaMod ATS-1?
Old 1st November 2010
  #755
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rob S's Avatar
never tried that.
only used it on individual tracks.
Old 2nd November 2010
  #756
Gear Head
 
MikeK's Avatar
 

Quote:
Originally Posted by rob S View Post
hmmm,
microphones were probably a 67 on the gibson J50.
and probably a soundelux U95S for vocals as
that was the vocal mic of choice for figure 8.
compression would have been 1176's or 3A's on the acoustic (cant exactly remember) while tracking and 1176/CL1B combo on vocals.
or something like that.
painstaking care was taken in gettng the two mics to have a nice phase relationship.
and when i say painstaking, i emphasize pain.
hey rob, great to see this thread still going, you still bringing the awesome, etc.

i wondered if you might be so kind as to describe this painstaking process. for those of us who are total hacks and not real engineers, i think the phase thing is a pretty opaque realm. i know i don't really feel confident with it or have any tried and true methods to make sure things are perfectly in phase when going to tape with multiple mics/sources.

forgive me if this is super broad/unanswerable/stupid/whatever

thanks,
mike
Old 2nd November 2010
  #757
Lives for gear
 
Teddy Ray's Avatar
 

Hey Mr. Schnapf,

what is that effect on the doubled electric guitar in A Fond Farewell?

also, don't know if you knew this or not, but Duquette Johnston is doing well solo as well. Great writer.
Old 3rd November 2010
  #758
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rob S's Avatar
Quote:
Originally Posted by Teddy Ray View Post
Hey Mr. Schnapf,

what is that effect on the doubled electric guitar in A Fond Farewell?

also, don't know if you knew this or not, but Duquette Johnston is doing well solo as well. Great writer.

cant remember, either a leslie or a univibe ish type pedal.
and its a tele with a B bender.
Old 3rd November 2010
  #759
Got any pictures of your modded MCI yet?

Would love to see it.



Funny, I love "Everything Is" it's one of my most played records.


I also loved Figure 8 and XO, then i found out that you worked on all of them. No coincidence I feel.

No real questions, just a thumbs up.
Old 3rd November 2010
  #760
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rob S's Avatar
unfortunately, no good pictures of the guts yet.
its all together and working and i been busy.
i dont wanna take it apart to take some pictures and then put it back together and have it not be happy.
but there is some real cool **** in there.
different mic pres (neve class A, neve A/B, API, valley people and improved MCI)
and different iron (marinar, api, jensen, lundahl, utc and stock MCI)
lots of neve/musgrave insert send and return taking up the real estate in the back of the console.
massive ground buss and power distribution.
the two different stereo busses (neve and sunset sound esque jensen 990)
wedged into this console.
there are two more things to do to it.
finish all the eq points and one routing issue.
i dont ever recommend doing this type of overhaul as its full of unforeseen landmines but where we stand now, its pretty cool sounding.
Old 15th December 2010
  #761
Gear Nut
 
bellchilton's Avatar
 

Rob,

If you're still on here - what are your thoughts on the advent of Pro Tools Native?

As an industry professional, do you foresee this as a potentially permanent shift in recording software or do you think the benefits of DSP powered software still far outweigh native's potential?

Cheers
Old 15th December 2010
  #762
Lives for gear
 
rob S's Avatar
Quote:
Originally Posted by bellchilton View Post
Rob,

If you're still on here - what are your thoughts on the advent of Pro Tools Native?

As an industry professional, do you foresee this as a potentially permanent shift in recording software or do you think the benefits of DSP powered software still far outweigh native's potential?

Cheers

no opinion yet. i move slowly on the technology.
wanna make sure it works well and the bugs are ironed out before i try it out.
i wanna work on music not trouble shoot the computer.
i hate that ****.
Old 15th December 2010
  #763
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by rob S View Post
i wanna work on music not trouble shoot the computer.
i hate that ****.
hehheh



thumbsup
Old 15th December 2010
  #764
nice one rob, quote of the week!
Old 19th February 2011
  #765
Lives for gear
 
rob S's Avatar
i learned that the blackface vibro champ doesnt like it when you use a 5V4 rectifier.
it does like when you bypass the tone section, the negative feedback and the vibrato circuit.
Old 19th February 2011
  #766
Lives for gear
 
Alexi's Avatar
 

Hey Rob,

i love the sound of the latest Tokyo police Club record.

Do you happen to remember how you tracked the drums on that one?


cheers

alex
Old 20th February 2011
  #767
Here for the gear
 

Tokyo Beach Club?

It isn't Tokyo Beach Club?
Old 20th February 2011
  #768
Here for the gear
 

Hey Rob
Are you still using the electrodynes with the MCI?
I'm a massive fan of these - Particularly the 711L & 712L - they sound sooo much better than 709's.
The 712L graphic is killer.
Any Electrodyne with the "L " has much better sounding transformers.
And the pre's overloading w/EQ is the closest thing to Helter Scelter Beatles guitar sound - have you tried overloading these pre's? they are the best fuzz box on the planet - the top end of the fuzz/distortion is just insane!
I could never get anything else to distort in such a musical way.
Just hoping that they still get used (and abused).
Regards from Tasmania !!!
Old 21st February 2011
  #769
Lives for gear
 
rob S's Avatar
Quote:
Originally Posted by Alexi View Post
Hey Rob,

i love the sound of the latest Tokyo police Club record.

Do you happen to remember how you tracked the drums on that one?


cheers

alex
Cool

I do remember how we tracked the drums, what do wanna know.
Old 21st February 2011
  #770
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Alexi's Avatar
 

hi rob,

wow thanks for this opportunity.

I found this picture on the tokyo police club site and
would like to know if that was the actual recording setup.

How did you treat the mic that is close to the bass drum rim in the mix?
What did you use inside the kick?
Which room mics did you use and how did you compress them?
How did you treat the snare drum....

I really enjoy the sound of the record.

thank you in advance rob.



cheers
Attached Thumbnails
Rob Schnapf-img_3708.jpg  
Old 21st February 2011
  #771
Lives for gear
 
rob S's Avatar
Yeah that's studio A at Sunset Sound Factory.
d112 inside the kick and a sound delux 195 outside the kick.
Although it could be a fet 47 in this picture.
The mic over the rim of the kick drum is a 67 and it's a general perspective mic.
It has a decent balance of the whole kit provided that the drummer plays with one.
It was compressed during tracking and depending on the song used to taste in mixing.
67 on the floor Tom.
251's overhead.
Tab xfrmr mod 57's top and bottom snare.
Stereo royer and a pair of 414's in x y in the room.
That's the general idea.
Probably was another couple mica out there but more flavors then heavy litters.
Old 21st February 2011
  #772
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Alexi's Avatar
 

thanks so much rob,

did you compress the general perspective mic during tracking?
Old 21st February 2011
  #773
Lives for gear
 

Quote:
Originally Posted by rob S View Post
The mic over the rim of the kick drum is a 67 and it's a general perspective mic.
It has a decent balance of the whole kit provided that the drummer plays with one.
It was compressed during tracking and depending on the song used to taste in mixing.
Ooooh, one of my favorite mic positions - I love what it picks up from the snare drum. Actually it picks up something useful from the bass drum and toms as well! A question about phase on that mic. Are you positioning the OH to phase correctly with the "FOK" mic or are the OHs you main sound and you work your mics around those? Or (I guess I should ask) are you HPF your OHs and using them primarily for cymbal mics.

Thanks for so much generosity!
Old 21st February 2011
  #774
Lives for gear
 
rob S's Avatar
It's all gotta work in phase.
Time is definitely spent making all elements work together.
Over heads aren't the main sound they are part of the balance.
Yes the perspective mike is compressed in tracking.
I also like what that mic does on the kick......
Old 21st February 2011
  #775
Lives for gear
 

Quote:
Originally Posted by rob S View Post
I also like what that mic does on the kick......
Totally. For me it's the resonance of the shell, like it sounds more alive. Subtle but I miss it when it's not there. Plus I hear more top end without the beach ball effect. Thanks for the reply, I really love your work!
Old 21st February 2011
  #776
Gear Guru
 
RoundBadge's Avatar
looks like a good ol' bell brass in that pic?
Old 21st February 2011
  #777
Lives for gear
 
rob S's Avatar
Quote:
Originally Posted by RoundBadge View Post
looks like a good ol' bell brass in that pic?

sure is.
angel city drums
john O.
Old 21st February 2011
  #778
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Wiggy Neve Slut's Avatar
 

Quote:
Originally Posted by rob S View Post
sure is.
angel city drums
john O.
Not 'The Terminator'???
Old 21st February 2011
  #779
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Fleaman's Avatar
 

Quote:
Originally Posted by Wiggy Neve Slut View Post
Not 'The Terminator'???
think the terminator is drum doctors?

Those lugs are definitely not tama bell brass from them (drum docs).
Old 21st February 2011
  #780
Lives for gear
 
Fleaman's Avatar
 

Found a pic of the terminator here: http://www.drumdoctors.com/uploaded_..._bellbrass.jpg

Too big of an image to embed here.
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