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Rob Schnapf Condenser Microphones
Old 28th October 2013
  #1291
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rob S's Avatar
Quote:
Originally Posted by rll View Post
Hey Rob,

you mentioned somewhere in this thread that you'd heard the SSL 500 comp, any more thoughts on that? BTW, love the Compact 7's so much we got the mini versions for the B room.

rll
Mavericks Recording Studio NYC
It was actually the new smart 500 series.
No new thoughts as i dont own one.
still think about it though.
would Iove to get one but I'm out of 500 series rack space and im out of space in
my racks for another 500 series 10 space.
Havent had the time to bother with trying to solve that riddle.

How do the harbeth minis sound?
Dont think i ever heard them.
Are they similiar to proacs?
Old 28th October 2013
  #1292
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RoundBadge's Avatar
I had the smart 500 series here for a week.
I liked it.sounded like it should,classic SSL style vca comp with nice extra features.
although my shadow hills MC still sounded more "expensive".
Old 29th October 2013
  #1293
rll
Gear Maniac
 

Thanks Rob & RB for the heads up on the Smart 500-- looks like it's worth a spin.

The "mini" compact 7's are these:

Harbeth UK - High quality loudspeakers made in England

Similar to the old bbc desk top monitors. About the size of ns-10's and definitely has a pro-ac vibe but a smaller footprint. Just love hearing music on them-- probably not the most razor sharp accuracy, but they have loads of mojo.

rll
Mavericks Recording Studio NYC
Old 29th October 2013
  #1294
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rob S's Avatar
Oh yeah forgot about those.
L3S spendor B&W 805 world of things.
What amp are you using on your compact 7's?

I found the smart to have something else to offer sonically
Compared to the C1 C2.
It is a variation on a theme so I'm not suggesting its
A total different flavor.
But it does have a dash more pepper or something.....
Old 31st October 2013
  #1295
rll
Gear Maniac
 

I've got a Bryston on the Compact 7's, want to do more exploring, but so little time right now to really jump in there. Rob, have you swapped yours out for the B & W's? Got the Smart coming in for demo and will report back.

rll
Mavericks Recording Studio NYC
Old 1st November 2013
  #1296
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rob S's Avatar
No, got 3 sets of monitors now.
Pro acs
Harbeths
B&W's

The 801's are the turn em up louds and overdub.
Old 5th November 2013
  #1297
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SamPura's Avatar
Hey Rob. I've been listening to the new Saves The Day a lot. Vocals sound amazing. Could you provide some detail on the signal flow, tracking vibe, and tuning / mix down?

I really like the vibe of that record. The guitars sound really natural and smooth.

Cheers!!!
Old 5th November 2013
  #1298
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rob S's Avatar
This is what i know.
The record was recorded by marc hudson at his studio in michigan,
Rancho Recordo.
Thats about what i know about the recording.
mixed it at my place in los angeles.
The vocal chain was a combo of pultec distressor mohog76.
Sometimes it had a BG3 by bryce gonzalez which is like a
Altec front end with a 175 backend.
there was echoplex for slap and a blend of custom twin triode
Preamp used for tastefully(?) adding some less subtle tube color(distortion/compression).
I think chris played humbuckers and arun played single coils.
With the concept being to break the chords into different inversions to spread it out harmonically.
So each played different inversions from one another.
Old 5th November 2013
  #1299
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SamPura's Avatar
That's awesome. I actually use a Distressor Pultec and 1176 on my vocal chain! Hahaha. How are you setting them and in what order?

What treatment was used for guitars in the mix?

Thanks for sharing Rob. Cheers.
Old 5th November 2013
  #1300
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rob S's Avatar
I couldnt tell you the settings they vary from record to record.
My favorite Distressor setting is when the lights light up and things move and sound good.
Guitars were compressed.
Depending on what it was or needed.
525's
Trackers
BAC500
1176
Old 5th November 2013
  #1301
Here for the gear
 

What about 2buss? C1? What settings you usually use?

thanks!
Old 6th November 2013
  #1302
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rob S's Avatar
C1 starting settings
4:1
Attack .1
Auto release
Never taking off more than 4db.
If we were to use it
Old 10th November 2013
  #1303
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rob S's Avatar
dont always use 2 buss compression as it is achieved in a different way on this console.
i think ive said before on this thread someplace(probably 10x my apologizes) but
basically this console has two stereo busses.
they are two different flavors of discrete/xfrmr
we drive one buss into the other.
990/jensen into neve.
this causes the neve transformers to saturate.
so you get a form of compression thru that action.
Old 11th November 2013
  #1304
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rob S's Avatar
Sony C48's are fixed and sound fantastic as drum overheads.
Nice and balanced and smooth.
Old 15th November 2013
  #1305
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rob S's Avatar
Saw an old picture of simon and garfunkel sessions from columbia studios.
They were using a 47 and a small diaphragm mic together to do vocals.
We tried it out with an RTT MKL101 and a Schoeps 221B.
Fanatastic!
Meat and guts from the large diaphragm.
Speed and openness from the SDC.
no eq required.
Old 15th November 2013
  #1306
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Keith Moore's Avatar
 

Quote:
Originally Posted by rob S View Post
Saw an old picture of simon and garfunkel sessions from columbia studios.
They were using a 47 and a small diaphragm mic together to do vocals.
We tried it out with an RTT MKL101 and a Schoeps 221B.
Fanatastic!
Meat and guts from the large diaphragm.
Speed and openness from the SDC.
no eq required.
Did you commit the 2 signals to one track? It keep them separate for blending?

I love setting up an SM7B and a Gefell M71 side by side. Switch back and forth depending on the vocal. Usually SM7B for aggressive vocals and M71 for soft and harmony vocals.
Old 15th November 2013
  #1307
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by rob S View Post
Saw an old picture of simon and garfunkel sessions from columbia studios.
They were using a 47 and a small diaphragm mic together to do vocals.
We tried it out with an RTT MKL101 and a Schoeps 221B.
Fanatastic!
Meat and guts from the large diaphragm.
Speed and openness from the SDC.
no eq required.
No phase malarkey with singer moving around?
Old 15th November 2013
  #1308
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rob S's Avatar
Nope.
That would make it not fanatastic.
Old 15th November 2013
  #1309
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Karloff70's Avatar
 

Quote:
Originally Posted by rob S View Post
Nope.
That would make it not fanatastic.
lol....indeed it would.
Old 15th November 2013
  #1310
Gear Guru
 
drBill's Avatar
Nice Rob. I'll have to give that a try. One of my faves is a U87 for cut and aggressive delivery with a long ribbon for depth and a naturally large "size". I generally pull the ribbon back and a bit behind the 87 or maybe slightly angled to protect against "pops" and re-align in PT for phase to make up the 4 or so inches difference. Wonderful, large sound. Not too "fast", but big and meaty.
Old 16th November 2013
  #1311
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dandeurloo's Avatar
Quote:
Originally Posted by rob S View Post
Saw an old picture of simon and garfunkel sessions from columbia studios.
They were using a 47 and a small diaphragm mic together to do vocals.
We tried it out with an RTT MKL101 and a Schoeps 221B.
Fanatastic!
Meat and guts from the large diaphragm.
Speed and openness from the SDC.
no eq required.
Did you print the tracks together or separately into pt? Seems like both options would have benefits.

I have also wanted to ask you how much of your time is spent on the ProAcs (no sub, correct?). Also, what you mainly use them for in the mix process.
Old 16th November 2013
  #1312
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rob S's Avatar
Yeah, committed it to tape or whatever.
Made a blend and thats the end of thinking about it.
One track with the sound we like forever and always.
Old 16th November 2013
  #1313
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superburtm's Avatar
 

Quote:
Originally Posted by rob S View Post
Yeah, committed it to tape or whatever.
Made a blend and thats the end of thinking about it.
One track with the sound we like forever and always.
Amen.
Old 16th November 2013
  #1314
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rob S's Avatar
I gotta say, its something i miss about tape, you would make blends and have to commit it to tape cause you needed the tracks.
These days you get files to mix and everything has 3mics on it and none of it is blended.
I dont understand what the point of that is.
Get a sound
Commit it to a track
React to that sound
Be insoired
Shape and create more sounds around those.
Collect and compile
Mix

3 of everything Isnt handy when it just arrives in front of you amd you have a deadline
Or very fixed and limited budget.
If one is to do their due diligence it makes everything take wayyyyy longer.
**** that.
One track please.
Print it how you want it to sound.
Boom
Old 16th November 2013
  #1315
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rob S's Avatar
Im not saying there is anything wrong with multiple close mics on a source.
I am saying, if you arent making a blend, then how do you know you need them?
If you do need them, why arent they all in phase?
Riddle me that....
Old 16th November 2013
  #1316
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superburtm's Avatar
 

I hear ya. I have no interest in recording without tape. I enjoy the process and sound so much more than the daw experience.

Hey Rob, You ever try any if these diy boxes from drip electronics? I have a buddy that built the LA2 and loves it. Im looking for an LA2 type thing. I got an old TLA100 thats pretty good but its not quite an LA2

Quote:
Originally Posted by rob S View Post
Im not saying there is anything wrong with multiple close mics on a source.
I am saying, if you arent making a blend, then how do you know you need them?
If you do need them, why arent they all in phase?
Riddle me that....
Old 16th November 2013
  #1317
Gear Guru
 
drBill's Avatar
Boom indeed, Rob.

I think another reason this happens is that these days so many people are working without consoles - and consequently grouping - making printing individual tracks much easier than figuring out a way to group them together. Also, they are much more likely to be tracking individual instruments one at a time instead, allowing multiple parallel pathways of signal acquisition instead of working with a live band and needing all those console inputs and not having enough thereby requiring an extreme level of commitment at the front end.

I have to admit, I'm sometimes guilty of it myself. But if I have to send something out to be mixed, it's always prepared and ready for the mixer the way I want it to be balanced.

BTW, I had to mix a project with EIGHTY guitar tracks not too long ago. I though I had died and went to hell. The first thing I did was toss about 50 of them, but it was still a nightmare with 30 guitar tracks.....

It's because people engineering today never had to work with 8, 16 or 24 tracks. Man, we're getting old....
Old 16th November 2013
  #1318
Gear Guru
 
RoundBadge's Avatar
Amen ++1
Lately I'm feeling if I can't get it sounding decent on 16 API faders I'm doing something wrong.
Old 16th November 2013
  #1319
Gear Guru
 
RoundBadge's Avatar
All my fav old records were prolly 8-16 faders.
I was just listening to The Who Tommy remaster.
Always loved loved Who's Next and Quadrapenia but this sounds so damn good.
one of the first records my dad brought home for me in 1970.
8 years old.blew my mind.
Old 16th November 2013
  #1320
rll
Gear Maniac
 

Another amen here... we work as much as possible on 16 track tape, and we keep it there-- track, mix and only go to DAW for digital distribution. The sound of that bass is going to be a HUGE influence as to how the kick should sound, the vocals, the guitars-- the whole song. Cool records don't go for cookie cutter sounds, they take chances and know how to go for it, because they know what has to work with what. And I'm always amazed at how "****ty" or "small" a snare or guitar or whatever can sound when soloed, and then sounds huge and right in the mix.
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