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Rob Schnapf Condenser Microphones
Old 28th May 2007
  #121
Lives for gear
 

Quote:
Originally Posted by rob S View Post
what a shame, the verbena record.
it was alot of fun to make followed by the classic record company nonsense.
forcing certain songs on fussing over the sequence.
busting some balls followed by nothing.
capitol had once again, worked its magic.
barely knew it came out.
but i digress.
we had the full guitarsenal out.
it was a mixture of a bunch of old amps.
i can specifically remember using an old superlead, a laney klipp,
DRZ SRZ65, KT45, klemt echolette, selmer treble and bass,
sound city 50+, AC50, AC30, a 6V6 garnet head with the stinger,
the V4.
lots of tele les paul combinations along with a les paul and guild M75
combination.
we did the drumbs in two batches, one group of songs were cut at the pass and another was in Capitol 'B'.
if you got a particular question in mind i'll try to answer it but its been awhile.
When I heard it here's what my guess was. I'm curious how close I am. Kicks usually sounds like one head with maybe a D12? Perhaps using a hard beater and consistent kick hits instead of eq for click. Snared usually sounds metal or shallow wood with a cranked ambassador and some moon gel. Is it a 57 with a condensor taped to it? very open. Overheads are not ribbons, probably some kind of LDC, and there was definately a close HH mike that is probably a condensor. Drums had FET compressors in paralell when mixed. Guitars - mixture of 57's and condensors? Fet compression again, filtered out of the way of the bass. Couldn't pinpoint the guitar/amp tones but you just cleared that up. Vocals are very bright and not harsh at but again, all with a healthy dose of high ratio FET compression. Very curious how you got the vocals to sit like that. The way the drums sit great too. Lots of punch without sounding plastic. The bass does it's job and stays out of the way of the guitars. The whole thing sounds like it was tracked to tape and doesn't sound like there are samples on the drums. Does not sound quite like an SSL mix to me either. Sounds more like a discrete console with racks of 1176's and distressors. Everything feels very dry and focused but there's probably some effects hidden in there that I'm not aware of.
Old 28th May 2007
  #122
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rob S's Avatar
Quote:
Originally Posted by jbuntz View Post
When I heard it here's what my guess was. I'm curious how close I am. Kicks usually sounds like one head with maybe a D12? Perhaps using a hard beater and consistent kick hits instead of eq for click. Snared usually sounds metal or shallow wood with a cranked ambassador and some moon gel. Is it a 57 with a condensor taped to it? very open. Overheads are not ribbons, probably some kind of LDC, and there was definately a close HH mike that is probably a condensor. Drums had FET compressors in paralell when mixed. Guitars - mixture of 57's and condensors? Fet compression again, filtered out of the way of the bass. Couldn't pinpoint the guitar/amp tones but you just cleared that up. Vocals are very bright and not harsh at but again, all with a healthy dose of high ratio FET compression. Very curious how you got the vocals to sit like that. The way the drums sit great too. Lots of punch without sounding plastic. The bass does it's job and stays out of the way of the guitars. The whole thing sounds like it was tracked to tape and doesn't sound like there are samples on the drums. Does not sound quite like an SSL mix to me either. Sounds more like a discrete console with racks of 1176's and distressors. Everything feels very dry and focused but there's probably some effects hidden in there that I'm not aware of.
the kick was a gretsch 22. both heads were on.
D112 inside a u195 outside.
lester is a real good drummer and had a sound.
there is some EQ but nothing radical or unusual.
the snare was alot f black beauty tama bell brass(the terminator) and a couple of dunnett snares.
definitely a 57 on the snare but i can't remember if there was a 451 on it as well.
was doing that for awhile but stopped for no reason.
57 on the bottom f the snare as well.
overheads might've been CMC6's or 221B's.
SP12 in the room alng with a pair of 67's and an AEA behind the kit.
definitely tracked and mixed to tape.
gtrs had a 57 and a 67 on the marshall cabs.
combo amps probably were just 57's.
compression was primarily a variety of trackers distressors 1176's and 3A's.
drums were both individually compressed to taste and sent down a buss for further group smashing and blended back in.
vocal was compressed and limited while cut and compressed agin during mix.
the mic was a lomo 19A9. that thing sits the vocal right in there.
rolls out the bottom a little bit and is a retty in your face kinda mic.
bass was pretty damn simple.
1960 Pbass into a svt, 3A'd.
mixed on a 8068 with alan smart C1 and a gml EQ on the 2buss.
mixed to quarter inch.
effects would've been some echoplex on the vocal and touches of plate and spring reverb where space was required.
pretty simple really......
Old 28th August 2007
  #123
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rob S's Avatar
we've been testing some converters for the impending rig purchase.
been comparing the 192, the genex and the aurora.
very interesting.
in general the genex is still the best.
the 192 is kinda boxey.
the aurora seemes to have an upper midrange sparkle.
it wasn't as clear cut and obviouse as i was hoping.
kind of surprised.
Old 28th August 2007
  #124
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by rob S View Post
we've been testing some converters for the impending rig purchase.
been comparing the 192, the genex and the aurora.
very interesting.
in general the genex is still the best.
the 192 is kinda boxey.
the aurora seemes to have an upper midrange sparkle.
it wasn't as clear cut and obviouse as i was hoping.
kind of surprised.
The Genex's are cool..i'm just a bit weary of their customer support lately..
the aurora's were nice and a step up from the 192's,but still lacked the mid definition of the Apogees and were a little less sweet on the hi's.
Ended up with the Apogee 16X's clocked to a Lavry Gold.
the Lavry clock makes a big difference..really suprising. sounds amazing.
Old 30th August 2007
  #125
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rob S's Avatar
the genex's are cool.
i've had them for 4 yrs and they still hold their own.
too bad they don't answer the phone anymore.
(......ahh the company not the convertrs.)
the thing i was most surprised about was how program dependent
everything was.
there was no unanimous choice for everything.
the overheads sounded better on one converter the bass sounded better on another.
vocals something else, gtrs yet another.
and doing these blind tests is a real brain bender.
you think you know what your gear sounds like and you find thru comaprison how different things are revealed.
sometimes the thing that you didn't like about a particular converter on the overheads is exactly what you like about it on the guitars.
in the end, you can make a record on any of it.
and i still miss tape.......
Old 30th August 2007
  #126
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by rob S View Post
in the end, you can make a record on any of it.
and i still miss tape.......
thumbsup
I miss it too.I'm still looking for that great deal on an 827 + 16 track heads.
the deal where I just say F*ck it ..it's too cheap to pass up and make the plunge again.
Old 31st August 2007
  #127
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Hey Rob,

I love your stuff too. Great Work

I'm surprised more people havn't asked about Mellow Gold. Some questions I have:

What kind of reverb? Say, on Whiskey Clone or Truck Drivin' Neighbors?

Is it true that a lot of it was a Fostex 8 track? Seems like Soul Suckin' Jerk and Beercan could get very complicated if it was only 8 tracks.

Also, there's some big burly bass sounds on some of the more dense songs. What was that?

I'm aslo guessing Pay No Mind and Nightmare Hippy Girl are from the same or similar sessions. Were these done in a small room? The drums sound like a small room, but they sound so cool for a small room (if it is)

Great album. Legendary and unique for what it was when it came out. I guess it still is. Every once in awhile I find myself wishing he was more 'all over the place' like he was back in those days.

I guess I should ask the gearslutty questions concerning what kind of mic he was singing into for the rest of the record (besides Loser) and what his acoustic was miked with, if there was anything consistent.

And one more, what kind of board was it mixed on?
Old 31st August 2007
  #128
Lives for gear
 
rob S's Avatar
thanks alot.
gees mellow gold, i tell you what i remember.
reverb on whiskey clone was some kind of half rack space roland
effects box.
can't remeber the model.
truck drivin neighbors was 4 track cassette and i think it was recorded with reverb
or maybe it was a midiverbII.
all the acoustic non programmed songs were recorded on the fostex
1/4" 8 track.
recorded thru a lunchbox with mic pres 550 eq's and 525 compressors.
the more programmed stuff was a combination of live rogramming and that old roland digital 8tr hardrive unit thing.
can't remember what it was called.
the pay no mind nightmare hippie girl were recorded in my living room.
or was it the dining room?
can't remember either way way they both sounded good.
the dining room had a hollow wood floor and had a cool rumble to it on the kick drum or the uptight bass.
the mics were 57's, a stephen paul 87 on vocal, acoustic and drum overhead, radio shack pzm's and thats probably about it.
maybe a 421 or sm7
mixed on a mackie 1604.
in karls living room and my spare bedroom.
its was fun.
done for no money, made for nobody in particular
with no record company interference .
thumbsup

Quote:
Originally Posted by Jonk View Post
Hey Rob,

I love your stuff too. Great Work

I'm surprised more people havn't asked about Mellow Gold. Some questions I have:

What kind of reverb? Say, on Whiskey Clone or Truck Drivin' Neighbors?

Is it true that a lot of it was a Fostex 8 track? Seems like Soul Suckin' Jerk and Beercan could get very complicated if it was only 8 tracks.

Also, there's some big burly bass sounds on some of the more dense songs. What was that?

I'm aslo guessing Pay No Mind and Nightmare Hippy Girl are from the same or similar sessions. Were these done in a small room? The drums sound like a small room, but they sound so cool for a small room (if it is)

Great album. Legendary and unique for what it was when it came out. I guess it still is. Every once in awhile I find myself wishing he was more 'all over the place' like he was back in those days.

I guess I should ask the gearslutty questions concerning what kind of mic he was singing into for the rest of the record (besides Loser) and what his acoustic was miked with, if there was anything consistent.

And one more, what kind of board was it mixed on?
Old 31st August 2007
  #129
Lives for gear
 
max cooper's Avatar
 

Quote:
Originally Posted by rob S View Post
gees mellow gold, i tell you what i remember.
That record sounds so punchy. I still listen to it all the time. Nice.

I remember being surprised at how different it was from his shows at Troy. And they had good chocolate cake there.
Old 31st August 2007
  #130
Lives for gear
 
rob S's Avatar
you saw him at troy?
cool
yeah the cake was definitely good.
it was funny how one week beck played at troy to like 5 people and then
loser got some spins on KCRW.
the following week was sold out with people outside around the block.
tose were funny shows, very performance art.
the leaf blower, the ginat boombox, the giant bunny walkng thru the crowd.
the song called feel the bunny.
ahhh, the good old days........
Old 31st August 2007
  #131
Lives for gear
 
rob S's Avatar
Quote:
Originally Posted by RoundBadge View Post
thumbsup
I miss it too.I'm still looking for that great deal on an 827 + 16 track heads.
the deal where I just say F*ck it ..it's too cheap to pass up and make the plunge again.
i got a stevens 16 tr i might wanna sell.
and a 24tr for that matter.
Old 31st August 2007
  #132
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by rob S View Post
i got a stevens 16 tr i might wanna sell.
and a 24tr for that matter.
Thanks .I'm gonna wait for another 827..way easier for me to maintain

I do know someone who might take it.
Old 31st August 2007
  #133
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max cooper's Avatar
 

Quote:
Originally Posted by rob S View Post
you saw him at troy?
I used to live in a warehouse in the garment district. Troy was the only decent coffee within a few miles.

the crowds were spotty, and the shows were too, sometimes, but always fun. I think I remember seeing Carnival Art there too.
Old 31st August 2007
  #134
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rob S's Avatar
elliott played there around Either/Or time.
that was a real good show.
Old 31st August 2007
  #135
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rob S's Avatar
Quote:
Originally Posted by RoundBadge View Post
Thanks .I'm gonna wait for another 827..way easier for me to maintain

I do know someone who might take it.
had a very interesting experience between the stevens and an 827 once.
we were doing a bass track and right in the middle of it the stevens broke down.
john stevens came out and didn't quite fix right.
we had to rent an 827 in themean time.
so we thought lets see what it will sound like picking up where we left off and punching in on the bass track with the 827.
it was devastating.
the stevens sounded like it wasn't there.
the 827 sounded compressed small and was a huge bummer.
it sounded like something was wrong and inside out.
but it wasn't.
who would've thought.
and by the way, they are really simple machines and there is a great tech out here named dave gallo that knows them inside and out.
Old 31st August 2007
  #136
Gear Maniac
 
bryancook's Avatar
 

stephens

ahh mr. stevens. one of those guys who will come over to fix the machine and you'll spend 5 hours talking about the solar system.

when those machines work they are gorgeous sounding...

RIP john stevens. he passed recently, i'm sure y'all know...
Old 1st September 2007
  #137
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paterno's Avatar
 

Quote:
Originally Posted by rob S View Post
had a very interesting experience between the stevens and an 827 once.
we were doing a bass track and right in the middle of it the stevens broke down.
john stevens came out and didn't quite fix right.
we had to rent an 827 in themean time.
so we thought lets see what it will sound like picking up where we left off and punching in on the bass track with the 827.
it was devastating.
the stevens sounded like it wasn't there.
the 827 sounded compressed small and was a huge bummer.
it sounded like something was wrong and inside out.
but it wasn't.
who would've thought.
and by the way, they are really simple machines and there is a great tech out here named dave gallo that knows them inside and out.
I had a similar experience after tracking on an ATR-124 and then re-doing a piano comp on an 827. I had to re-comp the entire thing because the sound was not even close. And you know how anal I was about alignments, bias, etc. Made me realize why I always struggled with the sound of an 827. Small and thick.

my two cents...

JP
Old 1st September 2007
  #138
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rob S's Avatar
Quote:
Originally Posted by paterno View Post
I had a similar experience after tracking on an ATR-124 and then re-doing a piano comp on an 827. I had to re-comp the entire thing because the sound was not even close. And you know how anal I was about alignments, bias, etc. Made me realize why I always struggled with the sound of an 827. Small and thick.

my two cents...

JP
amen brother.
i thought for sure the 827 wasn't aligned right
but it was just that couldn't sit in the same room
as the stevens sonically.
it did punch better though.........
which is another lost art.
the art of punching.
i guess its more a forgotten art.
which there are many.
enough of this
the art of the crossfade is upon us.
Old 1st September 2007
  #139
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rob S's Avatar
holy crap
i didn't know john died.
when?
[email protected]#*(
anybody know what happened?
i gotta make some phone calls.
Old 2nd September 2007
  #140
Old 2nd September 2007
  #141
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rob S's Avatar
Quote:
Originally Posted by max cooper View Post

thanks

i still have a booklet of photos he gave me of supposed ruins of a civilization on the moon.
it was from the gemini flyovers of the moon.
Old 2nd September 2007
  #142
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paterno's Avatar
 

Quote:
Originally Posted by rob S View Post
it did punch better though.........
which is another lost art.
the art of punching.
i guess its more a forgotten art.
which there are many.
enough of this
the art of the crossfade is upon us.
I did a session a few weeks ago where the producer insisted on using tape. my first time in at least 2 and a half years. The only thing fun about it was the punching. OK, and the smell of the tape too. I did get to record on track 24 before transferring the whole thing in Ptools, so at least the guy was commited...

Cheers,
John
Old 2nd September 2007
  #143
Gear Nut
 
tclash's Avatar
 

I worked with Rob & Tom in 1996. They had Doom 1 on their computer. So, that's what I did for four weeks or so, played Doom. That and the occasional drum take.

thumbsup
Old 2nd September 2007
  #144
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rob S's Avatar
i always loved the smell of scotch 250.
the sound wasn't bad either.

tony, we didn't want to interrupt your doom flow
by encumbering you with drumbing.
by the way, did you ever get past the final level?
i think we eventually fond the cheats but even with those i didn't
figure out the secret to that final doom room.
thats not to say i care anymore...............
Old 2nd September 2007
  #145
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rob S's Avatar
I did get to record on track 24 before transferring the whole thing in Ptools, so at least the guy was commited...



and track 24 worked?
Old 2nd September 2007
  #146
Here for the gear
 

The WORST Studio Runner ever!!!

Rob, good to see you are alive and well. Hope LA is treating you right. Miss our gear and guitar tone chats. Say hello to Doug for me.

So for the record I worked as a runner at the Sound Factory in Hollywood where Rob hangs his hat on a regular basis. Let's just say within a few months I had offended the studio tech by asking him to take a look at my 1176 that needed to be recapped; failed to properly fill the coffee machine and it overflowed everywhere; brought back cold pizza cuz I am new to Hollywood and I got lost frequently; flirted with the bands girls; got caught playing one of the producer's vintage tele's (sorry rob) it was such a nice guitar; couldn't wrap a cable if my life depended on it; mismanaged food money; yelled at the studio owner for yelling at me, got fired. GO FIGURE!!!!

Anyways, the experience at the factory was amazing. Rob and Doug made sure that the studio initiation hazing was properly handled. (bratwurst and hotdogs from the rainbow anyone).

If anyone has listened to a record by Rob you will quickly realize that he defines guitar tone. Ask him about his amazing vintage amp collection.

Rob are you still busting out the LOMO now again?

Thanks for all the great advice!!!

Scot Wiley and I talk about you often here in Utah!!!!
Old 4th September 2007
  #147
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rob S's Avatar
tyler you're such an asskisser.
you're giving me the ****** chills over here.
i'll tell doug you said hi.
give scott my best.



Quote:
Originally Posted by tylerm View Post
Rob, good to see you are alive and well. Hope LA is treating you right. Miss our gear and guitar tone chats. Say hello to Doug for me.

So for the record I worked as a runner at the Sound Factory in Hollywood where Rob hangs his hat on a regular basis. Let's just say within a few months I had offended the studio tech by asking him to take a look at my 1176 that needed to be recapped; failed to properly fill the coffee machine and it overflowed everywhere; brought back cold pizza cuz I am new to Hollywood and I got lost frequently; flirted with the bands girls; got caught playing one of the producer's vintage tele's (sorry rob) it was such a nice guitar; couldn't wrap a cable if my life depended on it; mismanaged food money; yelled at the studio owner for yelling at me, got fired. GO FIGURE!!!!

Anyways, the experience at the factory was amazing. Rob and Doug made sure that the studio initiation hazing was properly handled. (bratwurst and hotdogs from the rainbow anyone).

If anyone has listened to a record by Rob you will quickly realize that he defines guitar tone. Ask him about his amazing vintage amp collection.

Rob are you still busting out the LOMO now again?

Thanks for all the great advice!!!

Scot Wiley and I talk about you often here in Utah!!!!
Old 4th September 2007
  #148
Gear Nut
 

hey rob

Hey Rob,

My name is Chris and i am from Sydney, Australia..

So, just curious to know if you own any old AMPEG guitar amps...???


LOVE your work with the vines... i have beers with Ryan every now and then as he is a friend of a friend.

i like your call about making a cool record for $2 than a nice sound turd for $30k..hehe

Powderfinger... where they boring dudes to work with?

Any chance of telling what your fav mike technique is for rock guitars?

hope to cross paths with you one day.

cheers
chris
Old 4th September 2007
  #149
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paterno's Avatar
 

Quote:
Originally Posted by rob S View Post
and track 24 worked?
It was Henson. Of course it worked. And if for some strange reason it didn't work, the techs would have been all over it...

I'd have the same confidence at Sound Factory as well.

Cheers,
John
Old 4th September 2007
  #150
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rob S's Avatar
Quote:
Originally Posted by paterno View Post
It was Henson. Of course it worked. And if for some strange reason it didn't work, the techs would have been all over it...

I'd have the same confidence at Sound Factory as well.

Cheers,
John
i kid, i kid.......
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