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Rob Schnapf Condenser Microphones
Old 11th May 2014
  #1441
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rob S's Avatar
Quote:
Originally Posted by jeremyglover View Post
sounds cool.
It is
Old 18th May 2014
  #1442
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rob S's Avatar
Interesting how eq sounds different in the box compared to real life.
In the box, you add bottom and it gets bassier.
Analogue you add the same freq and it feels like its moving some air.
Its like CGI verses reality.
They both give the appearance but one you really experience.
Or am i high
Old 18th May 2014
  #1443
Gear Guru
 
RoundBadge's Avatar
Your analysis is correct sir
Old 18th May 2014
  #1444
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Karloff70's Avatar
 

Quote:
Originally Posted by rob S View Post
Interesting how eq sounds different in the box compared to real life.
In the box, you add bottom and it gets bassier.
Analogue you add the same freq and it feels like its moving some air.
Its like CGI verses reality.
They both give the appearance but one you really experience.
Or am i high
That is basically a sticky, very well put into words.

Same with soft synths v hardware ones. CGI v reality. You are definitely not high. Or if you are, you are still spot on.
Old 18th May 2014
  #1445
Quote:
Originally Posted by rob S View Post
Interesting how eq sounds different in the box compared to real life.
In the box, you add bottom and it gets bassier.
Analogue you add the same freq and it feels like its moving some air.
Its like CGI verses reality.
They both give the appearance but one you really experience.
Or am i high
yes its very clinical EQing in the box - there is something about analogue EQ which grabs the signal and shapes it-and adds something to it...digital EQ changes the EQ frequencies in the sound...

However - I would recommend anyone trying EQ from Nebula which are sampled - and sound very similar to analogue EQ...

If the one band and interface is a bore - the new Trinity EQ plugin is great and does feel like a console EQ...windows only atm but all formats coming...make a boost with Trinity and you know it...
Old 24th May 2014
  #1446
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rob S's Avatar
Thom monohan turned me on to this new box called a big mouth.
Plug your mic into it you Get a straight thru and you get a paralleled effects send return for stomp boxes.
Each go off to individual mic pres.
Never recorded floor tom with a fuzzface on it before.
Rat pedal on percussion.
Delay on mono drum mic.
Really an interesting creative tool you can apply from the source.

Last edited by rob S; 24th May 2014 at 06:52 PM.. Reason: Choice of wordz
Old 24th May 2014
  #1447
Love shakers through the RAT pedal. I just use a Shure Unidyne that's instrument level. That box sounds very cool though. I definitely need to check that out.
Old 25th May 2014
  #1448
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rob S's Avatar
Shakers thru the rat are awesome
Old 25th May 2014
  #1449
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skybluerental's Avatar
 

Quote:
Originally Posted by rob S View Post
Thom monohan turned me on to this new box called a big mouth.
Plug your mic into it you Get a straight thru and you get a paralleled effects send return for stomp boxes.
Each go off to individual mic pres.
Never recorded floor tom with a fuzzface on it before.
Rat pedal on percussion.
Delay on mono drum mic.
Really an interesting creative tool you can apply from the source.
this sounds useful.

where can i get one?
Old 25th May 2014
  #1450
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rob S's Avatar
Quote:
Originally Posted by skybluerental View Post
this sounds useful.

where can i get one?
I pm'd you.
Old 1st June 2014
  #1451
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RoundBadge's Avatar
Quote:
Originally Posted by rob S View Post
Thom monohan turned me on to this new box called a big mouth.
Plug your mic into it you Get a straight thru and you get a paralleled effects send return for stomp boxes.
Each go off to individual mic pres.
Never recorded floor tom with a fuzzface on it before.
Rat pedal on percussion.
Delay on mono drum mic.
Really an interesting creative tool you can apply from the source.
Rob can you pm me the info?
thnx
Old 9th June 2014
  #1452
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rob S's Avatar
You have been pm'd
Old 9th July 2014
  #1453
Here for the gear
 

Hey Rob,

I'm a big fan of your work. The Vines records and all the Elliott Smith albums you worked on have been a big inspiration. I stumbled upon this thread and it's been awesome reading and I've learned a bunch of stuff already. Thanks for hanging around on here!

I wanted t say I really like the latest Surfer Blood album you mixed. The vocal sound on the whole album and particularly Demon Dance has a really cool sound. Its sort of fuzzy but not too in your face and it sits in the mix really nicely. I'm wondering if you could shed some light on how you treated them?

Also, I have 2 questions about the Vines (going way back I know)

1. On "Aint No Room" off of Highly Evolved, how did you get that fuzzy vocal sound (I love the fuzzy vox).

2. I've always wondered how involved you were in the arrangements of Craig's harmonies and songs in general? There is a noticeable difference in the albums you did with them compared to their others. How involved creatively were you on the pre-production/arranging side of these records?

Anyways really appreciate your work and thanks a lot for your time.

-Henry
Old 9th July 2014
  #1454
Gear Maniac
 

Quote:
Originally Posted by rob S View Post
Thom monohan turned me on to this new box called a big mouth.
I'd also be very interested in finding out more about this.
Thanks!
Old 9th July 2014
  #1455
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by rob S View Post
Interesting how eq sounds different in the box compared to real life.
In the box, you add bottom and it gets bassier.
Analogue you add the same freq and it feels like its moving some air.

It's the transients, somehow someway plugins manage to blur them, slow them, reduce their impact.

Things like that get a lot better at 192k. Thunderbolt SSD drives make reasonable track counts (less than 100) at 192k very do-able, but if there are plugins everywhere then the CPU's can quickly become your ceiling.

Which, somehow, moves us way forward but still brings us right back to 1998.


Gregory Scott - ubk
Old 15th July 2014
  #1456
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rob S's Avatar
Quote:
Originally Posted by u b k View Post
It's the transients, somehow someway plugins manage to blur them, slow them, reduce their impact.

Things like that get a lot better at 192k. Thunderbolt SSD drives make reasonable track counts (less than 100) at 192k very do-able, but if there are plugins everywhere then the CPU's can quickly become your ceiling.

Which, somehow, moves us way forward but still brings us right back to 1998.


Gregory Scott - ubk
Thats very interesting, thanks for that explanation.
I will say this with the fear of being flamed but
Last time i tried 192 i didnt like it so much.
Cant tell you why exactly.
I felt more comfortable at 96.
Some non intellectual feeling that i didnt try to explain.
I havent tried 192 in a long time now so maybe things have changed.
When i relayed my feelings to a mastering engineer
Of incredible repute and notoriety his feelings were the following.
Nobody was reallymaking great 192 converters other than pacific microsnics amd they are no longer.
The sentiment was that energies were more directed toward making great 96 or 48 converters for various reasons this was a bigger market. So what i was hearing wasnt so much a reflection of the capabilities of 192 but the priorties the hardware manufacturers energies.
Dont know, all i know were my feelings.
Old 15th July 2014
  #1457
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rob S's Avatar
Quote:
Originally Posted by jarbar View Post
I'd also be very interested in finding out more about this.
Thanks!
I pm'd you
Old 15th July 2014
  #1458
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rob S's Avatar
Thanks henry
See some answers below

[QUOTE=henrymsb;10245511]

I wanted t say I really like the latest Surfer Blood album you mixed. The vocal sound on the whole album and particularly Demon Dance has a really cool sound. Its sort of fuzzy but not too in your face and it sits in the mix really nicely. I'm wondering if you could shed some light on how you treated them?

- i have a two tube preamp i use.
Kinda home brew.
2 12ay7 and a 6X3 rectifier.
Paralled the vocal thru this.
Each tube has its own gain control and just dialed it in and mixed it underneath the vocal.

Also, I have 2 questions about the Vines (going way back I know)

1. On "Aint No Room" off of Highly Evolved, how did you get that fuzzy vocal sound (I love the fuzzy vox).

- that vocal was piped back thru a 1949 tweed pro
1x15"

2. I've always wondered how involved you were in the arrangements of Craig's harmonies and songs in general?

-He is pretty amazing with these.
Always blew me away when he would sing major7 and creat complex chords thru harmony but he really had no idea what he was doing technically just using his musical senses.
I would problem solve when it got weird but other than that leave him to it.
Song arrangement we would sort thru in pre production.

There is a noticeable difference in the albums you did with them compared to their others. How involved creatively were you on the pre-production/arranging side of these records?

- highly Involved......

Last edited by rob S; 15th July 2014 at 10:14 PM.. Reason: Spelling
Old 23rd July 2014
  #1459
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rob S's Avatar
Just finished mixing Mariachi El Bronx.
They made a really cool record.
Respectful to the tradition and adventerous musically.
With some nice modern textures.
Really good words.
Very excited about it and glad i had
The opportunity to work on it.

Last edited by rob S; 15th September 2014 at 08:42 AM.. Reason: i'm an idiot
Old 11th August 2014
  #1460
Here for the gear
 

Thanks for the response rob!

Thanks for the info and that's cool to hear about the process with Craig a little bit too.

Keep up the great work. Looking forward to hearing the Mariachi El Bronx record.

-Henry

[QUOTE=rob S;10262903]Thanks henry
See some answers below

Quote:
Originally Posted by henrymsb View Post

I wanted t say I really like the latest Surfer Blood album you mixed. The vocal sound on the whole album and particularly Demon Dance has a really cool sound. Its sort of fuzzy but not too in your face and it sits in the mix really nicely. I'm wondering if you could shed some light on how you treated them?

- i have a two tube preamp i use.
Kinda home brew.
2 12ay7 and a 6X3 rectifier.
Paralled the vocal thru this.
Each tube has its own gain control and just dialed it in and mixed it underneath the vocal.

Also, I have 2 questions about the Vines (going way back I know)

1. On "Aint No Room" off of Highly Evolved, how did you get that fuzzy vocal sound (I love the fuzzy vox).

- that vocal was piped back thru a 1949 tweed pro
1x15"

2. I've always wondered how involved you were in the arrangements of Craig's harmonies and songs in general?

-He is pretty amazing with these.
Always blew me away when he would sing major7 and creat complex chords thru harmony but he really had no idea what he was doing technically just using his musical senses.
I would problem solve when it got weird but other than that leave him to it.
Song arrangement we would sort thru in pre production.

There is a noticeable difference in the albums you did with them compared to their others. How involved creatively were you on the pre-production/arranging side of these records?

- highly Involved......
Old 13th August 2014
  #1461
Lives for gear
 
HermanV's Avatar
 

Quote:
Originally Posted by rob S View Post
Just finished mixing El Mariachi Bronx.
They made a really cool record.
Respectful to the tradition and adventerous musical.
With some nice modern textures.
Really good words.
Very excited about it and glad i got to
The opportunity to work on it.
I love the stuff they did with Beau. I can't wait to hear what you will add to it.


Highly Evolved I think can stand as a classic. It went to radio and was played next to Linkin Park and a bunch of other stuff that was "hot" at the time.

New stuff is pretty cool too:
https://www.youtube.com/watch?v=OPWeDWeedg0
Old 17th August 2014
  #1462
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rob S's Avatar
Thats funny, metal zone is his favorite boss pedal.
I hate that thing.
Old 11th September 2014
  #1463
Here for the gear
 

Plug-Ins

Hey Rob,

Was listening to the FIDLAR record and there are some cool delays snuck in on the vocals. I'm wondering if you had anything to do with that.
In general do you have any go-to plug-ins or hardware or other techniques to achieve crazy delays and sounds and atmosphere like that?
In the work with the vines I there seems to be a lot of that happening. I have the UAD EP-34 Tape Echo Plug-In that sounds pretty awesome, but I'm wondering if you've found any other tools in the same category that you are partial too.

Also, The bridge in the song Homesick off of Highly Evolved is one of my favorite productions of any song, I use it as a reference a lot. Awesome textures going on. Could you shed any light on the layering and instrumentation there? (If you remember.)

Thanks,

-Henry
Old 14th September 2014
  #1464
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rob S's Avatar
hi henry
i like to use echo farm and echoboy and some valhalla
for software delays.
echoplex, watkins copicat, moog delay and memory man for
hardware.
never got to mess around with the UAD stuff.
sure does look good though.

well having not listened to homesick in years i gave it a spin.
that was fun.
the layered harmonies
seems like the bridge has the picky gtr played by craig with some electric mistress.
im playing the ebows with some mutron phaser
then there is the half step part that is actually me turning the delay knob on the mistress while craig is laying down the picky bit.
i was trying to dial it in and happen into that part and it sounded cool so we layed it down all at once.
main piano is patrick with backwards piano played by craig.
first half of homesick is with dave the original drummer.
and second half of the song when the drums fill back in is pete thomas on the kit.

Quote:
Originally Posted by henrymsb View Post
Hey Rob,

Was listening to the FIDLAR record and there are some cool delays snuck in on the vocals. I'm wondering if you had anything to do with that.
In general do you have any go-to plug-ins or hardware or other techniques to achieve crazy delays and sounds and atmosphere like that?
In the work with the vines I there seems to be a lot of that happening. I have the UAD EP-34 Tape Echo Plug-In that sounds pretty awesome, but I'm wondering if you've found any other tools in the same category that you are partial too.

Also, The bridge in the song Homesick off of Highly Evolved is one of my favorite productions of any song, I use it as a reference a lot. Awesome textures going on. Could you shed any light on the layering and instrumentation there? (If you remember.)

Thanks,

-Henry
Old 16th September 2014
  #1465
Here for the gear
 

Cool

Thanks for the info! Yeah the UAD stuff is good. I was checking out the Echoboy plug-in, It looks cool. Seems like the rhythm, groove and feel knobs would come in handy.

That's awesome yeah I love the octave vocals and guitar piano and maybe plucked strings (ebow?) thing happening there too. Cool idea.
Ebow, that's what that is. Cool I wouldn't have guessed... May have to pick myself up one.

Thanks again,

-Henry

Quote:
Originally Posted by rob S View Post
hi henry
i like to use echo farm and echoboy and some valhalla
for software delays.
echoplex, watkins copicat, moog delay and memory man for
hardware.
never got to mess around with the UAD stuff.
sure does look good though.

well having not listened to homesick in years i gave it a spin.
that was fun.
the layered harmonies
seems like the bridge has the picky gtr played by craig with some electric mistress.
im playing the ebows with some mutron phaser
then there is the half step part that is actually me turning the delay knob on the mistress while craig is laying down the picky bit.
i was trying to dial it in and happen into that part and it sounded cool so we layed it down all at once.
main piano is patrick with backwards piano played by craig.
first half of homesick is with dave the original drummer.
and second half of the song when the drums fill back in is pete thomas on the kit.
Old 21st September 2014
  #1466
Gear Guru
 
drBill's Avatar
Hey Rob!

Care to comment on your Innertube U87? I saw somewhere you had one. I've got one on order with Stayne right now and should have it soon for my vintage 87....

Cheers,

Bill
Old 24th September 2014
  #1467
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rob S's Avatar
Quote:
Originally Posted by drBill View Post
Hey Rob!

Care to comment on your Innertube U87? I saw somewhere you had one. I've got one on order with Stayne right now and should have it soon for my vintage 87....

Cheers,

Bill
Hi bill
How are the new digs?
I have innertube serial#3 so this has been with me for quite awhile.
And use it all the time. Sent it up to stayne for some service last year and swapped out the power supply. He is Quite a character.
Anyways, it is my acoustic guitar mic.
Just sounds beautiful.
Great on piano strings and behind the kit.
Its that weird combo if gauzy smooth and sweet detailed top end.
Perhaps the detail is the stephen paul capsule, i dont know.
In any event, i really dig it alot.
Let me know what you think of yours when you get it.
Also, staynes mag mic was really cool too.
Alright
Rob
Old 24th September 2014
  #1468
Gear Guru
 
drBill's Avatar
Hi Rob!

The new place is awesome. Like living in a forest in the mtns. We love it. I've started design on a new CRM and small live room. Hope to break ground soon....

You are the second person to mention that it's a killer Ac Gtr mic. Killer as in -- "OMG, how did they get that guitar sound" good. Will try that out first. Yeah, Stayne is an interesting guy. He's treated me really great, and I"m looking forward to getting the mic and trying it out. The old 87 doesn't get a ton of use as is after I got a bunch of Gefell's, so this ought to put it back into rotation. I'll try to remember to post back and give you my thoughts after I use it awhile.

Maybe I'll get it before AES and if I see you there, we can chat.

Oh, just saw this...does your 87 have a S Paul capsule in it? That's one very cool mic if it does. I was always interested in his capsules.... I know Michael is fascinated with him as well.

Cheers,

bp
Old 25th September 2014
  #1469
Lives for gear
 
rob S's Avatar
Yeah have stephen paul capsule from i think 1988-89.
I couldnt tell you how its different cause i dont have the neuman capsule anymore.
I just know that the combo of innertube and SP is really good.
Its just an 87 body at this point.
Dont know if im gonna make it to AES, camping trip might interfere
Also, just had the opportunity to demo a bunch of Sanken mics.
Always operated under some assumption that they were clinical and vibeless.
DIRNT, incorrect
The CU-41 was really really nice
It has a SDC LDC combo in the mic.
Never knew that.
Body and detail.
Really sounded like music.

Also, remember to put some windows to the outside world in your studio.
Its nice to see the beauty while you work.
Boom
Old 25th September 2014
  #1470
Gear Guru
 
drBill's Avatar
Quote:
Originally Posted by rob S View Post
Yeah have stephen paul capsule from i think 1988-89.
I couldnt tell you how its different cause i dont have the neuman capsule anymore.
I just know that the combo of innertube and SP is really good.
Its just an 87 body at this point.
Dont know if im gonna make it to AES, camping trip might interfere
Also, just had the opportunity to demo a bunch of Sanken mics.
Always operated under some assumption that they were clinical and vibeless.
DIRNT, incorrect
The CU-41 was really really nice
It has a SDC LDC combo in the mic.
Never knew that.
Body and detail.
Really sounded like music.

Also, remember to put some windows to the outside world in your studio.
Its nice to see the beauty while you work.
Boom
man, you must be reading my mind Rob!!! Windows are a priority for me. I finally found a good designer - Jeff Hedback - that can embrace my love of the outdoors and will find ways to make windows work and still get an accurate sounding CRM. Most of the acousticians just want to tell you it's the wrong thing to do... So yeah, will definitely have natural light, trees, etc. poking their way into the studio....

And the camping....you are reading my mind on that too. I'm contemplating going up to Mammoth for a few days before AES with some friends if the box I'm releasing with another company @ AES doesn't preclude me from it. I know how things are right before AES....usually crazy. But if your'e there, let me know and we'll get a coffee or something.... Have a good camping trip.

Never had the opportunity to try a Sanken, but I always wanted to. Those are the guys with the square capsules, right?
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