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Rob Schnapf Condenser Microphones
Old 2nd November 2014
  #1501
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rob S's Avatar
I actually havent check that out yet.
It was more the mid range that was so exciting.
Always loved the texture neve adds as you boosted mids on guitar and this was doing that.
The "air" of familiarity.
Old 2nd November 2014
  #1502
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by rob S View Post
I actually havent check that out yet.
It was more the mid range that was so exciting.
Always loved the texture neve adds as you boosted mids on guitar and this was doing that.
The "air" of familiarity.
Very promising. Coming from someone with your tone ears that statement is making me quite excited to try it out.........
Old 2nd November 2014
  #1503
Quote:
Originally Posted by rob S View Post
mohog over the purple for sounding more like an 1176.
general purpose 1176 duties the standard transformer.
if something is really bright or want to warm something
up ie musically shave off some top then the carnhill.
Thanks rob, the dual channel Mohog sounds like the ticket for me. Tried their LA-3A yet?
Old 2nd November 2014
  #1504
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rob S's Avatar
No but i sure would like to.
3A's 1176's are all i really want to make a record.
Without those i would feel weird.
Everything after that is icing.
And also i'll take distressors all day long, just sayin...
Old 5th November 2014
  #1505
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imacgreg's Avatar
Senor Schnapf,
The new Mariachi El Bronx record sounds amazing. I am to believe that you mixed it. No specific questions, just curious how you approach a record that has a less "traditional" arrangement than you're normally used to.

For example, I know that the major sound of the horns is in the performance, but they sound very traditional (for lack of different word), any tips?

Also, the drums sound rad...

buen trabajo amigo

Ian
Shhhhtandard Audio
Old 5th November 2014
  #1506
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imacgreg's Avatar
Senor Schnapf,
The new Mariachi El Bronx record sounds amazing. I am to believe that you mixed it. No specific questions, just curious how you approach a record that has a less "traditional" arrangement than you're normally used to.

For example, I know that the major sound of the horns is in the performance, but they sound very traditional (for lack of different word), any tips?

Also, the drums sound rad...

buen trabajo amigo

Ian
Shhhhtandard Audio
Old 7th November 2014
  #1507
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rob S's Avatar
Ha thanks ian.
I cant really say the approach is any different.
Solve technical problems, bring a musical balance
Dont be an idiot
Salt to taste
Old 7th November 2014
  #1508
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rob S's Avatar
Been to the verdugo lately?
Old 8th November 2014
  #1509
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rob S's Avatar
Just started working with the slate raven.
Definite learning curve but it is really cool
To bring the tactile element to the computer.
Turning knobs moving faders hitting buttons all with the hands.
It feels expressive again.
Old 12th November 2014
  #1510
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rob S's Avatar
The Slate Raven puts your hand in the box so to speak.
Old 12th November 2014
  #1511
Gear Maniac
 
juneaudio's Avatar
i used to know a girl like that.
Old 12th November 2014
  #1512
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imacgreg's Avatar
Quote:
Originally Posted by rob S View Post
Been to the verdugo lately?

You know it. My friend just bought a house down the street.

Dig your MEB mixing thoughts. Simple. Just make it sound good. Sometimes helps to be reminded of that...
Old 15th November 2014
  #1513
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rob S's Avatar
yeah obviously there are technical things and details to sort but its sort of reactive to whats there.
so ultimately make it sound like something by any means necessary that are consistant with the vibe
and intent of the record.
ie mix it and make it sound good.
whatever good means
Old 16th November 2014
  #1514
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Wiggy Neve Slut's Avatar
 

Great vibe.. and sagely(if such word exists) advice..


Wiggy
Old 5th December 2014
  #1515
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rob S's Avatar
CBS audimax with modified release times sounds awesome as drum buss compression.
Gushy mushy extended cymbals.
Hi quality for cheap
Old 5th December 2014
  #1516
God, this is such a great thread- not just for all the technical talk, but for the obvious fondness Tom has for the artists he has worked with. I am seeing a lot of Elliott love in this thread, which always warms my heart. I first saw Elliott on a Wednesday night at the Middle East bakery in Cambridge with about 11 people because I saw Mary Lou Lord busking and she made me promise to come check out her friend. When a guy that talented lays those songs on your from about 4 feet away and you aren't expecting it, it's pretty heavy.

Carry on, gents, I'm loving this.
Old 6th December 2014
  #1517
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rob S's Avatar
ha thats funny
Old 6th December 2014
  #1518
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Old 6th December 2014
  #1519
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chet.d's Avatar
 

Old 6th December 2014
  #1520
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Karloff70's Avatar
 

Is this the Tom R thread?
Old 6th December 2014
  #1521
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by Karloff70 View Post
Is this the Tom R thread?
... Maybe in some parallel universe haha
Old 7th December 2014
  #1522
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rob S's Avatar
Saw mr lanois tonite do a performance for his current record.
Really inspired.
Ambient visual textured cinematic.
He does alot with a primetime.
Great!
Old 7th December 2014
  #1523
Gear Guru
 
RoundBadge's Avatar
Quote:
Originally Posted by rob S View Post
Saw mr lanois tonite do a performance for his current record.
Really inspired.
Ambient visual textured cinematic.
He does alot with a primetime.
Great!
Dang I missed it.
love the new record,some serious creative faders.
Old 7th December 2014
  #1524
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rob S's Avatar
Yeah it was cool. There were preparded tracks that they jammed with.
Kyle the drummer is a bad ass.
Lanois would treat the prepared tracks thru the primetime and create
Insanity.
Amd there was some real beautiful pastoral moments as well.
Old 7th December 2014
  #1525
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Rob, on top of following your work with Beck, Elliott Smith, and GBV, I also love Dr. Dog's Shame, Shame. Great songwriting (beginning to end), arrangements, production, mix, etc. That record sounds like it could have been recorded in Emitt Rhodes garage in the late 60's. How much of that sound comes during the recording phase (mic choice/placement, pre's, etc.) and how much of that comes from the mix? I've tried to get mixes to sound similar ITB and failed miserably. I always figured if I wanted that sound, it'd be something I'd need to shoot for up front, but even then it's a question of "well where do you begin?" Pointers/thoughts would be appreciated.
Old 8th December 2014
  #1526
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rob S's Avatar
Well okay, there is more than one way to do things but i will tell you with a fair amount of broad sweeping non specific arm gesturing mine, kinda. What follows is all master of the obviouse stuff.
So you can create certain vibes in a mix but i think if you are trying to make something real and timeless it starts at the beginning, obviously......
In other words, you arent saving the magic for the end.
And by magic i mean, you arent just recording a pile of tracks and dragging the rake thru it at the end.
You are trying to collect it as you go.
So you're collecting commitments sonically and you are collecting performances.
What i mean by sonic commitments is, you commit to a sound.
You dont carry around 3mics worth of tracks with 9 plug ins on em for one gtr part.
Make a ****ing sound commit to it and put that on a track.
Now you can start to react to it instead of forever fiddle with it.
So Now that you have committed to said track, and are now reacting to it, make another sound that goes with that and etc etc ad nauseum.
You are now collecting sonic commitments and gathering performances and building to
Song completion. When its time to mix you have pretty much got something that is
Well informed as You have been crafting as you went along and mix time is balancing
Instead decipherring what you got.
Old 9th December 2014
  #1527
Gear Head
 
Helvetica's Avatar
 

Wow.

Wow. Awesome post.
Old 9th December 2014
  #1528
Lives for gear
Agreed. Great insight Rob, thanks!
Old 9th December 2014
  #1529
Gear Nut
 
two|twelve's Avatar
 

Quote:
Originally Posted by rob S View Post
Well okay, there is more than one way to do things but i will tell you with a fair amount of broad sweeping non specific arm gesturing mine, kinda. What follows is all master of the obviouse stuff.
So you can create certain vibes in a mix but i think if you are trying to make something real and timeless it starts at the beginning, obviously......
In other words, you arent saving the magic for the end.
And by magic i mean, you arent just recording a pile of tracks and dragging the rake thru it at the end.
You are trying to collect it as you go.
So you're collecting commitments sonically and you are collecting performances.
What i mean by sonic commitments is, you commit to a sound.
You dont carry around 3mics worth of tracks with 9 plug ins on em for one gtr part.
Make a ****ing sound commit to it and put that on a track.
Now you can start to react to it instead of forever fiddle with it.
So Now that you have committed to said track, and are now reacting to it, make another sound that goes with that and etc etc ad nauseum.
You are now collecting sonic commitments and gathering performances and building to
Song completion. When its time to mix you have pretty much got something that is
Well informed as You have been crafting as you went along and mix time is balancing
Instead decipherring what you got.
YES! Absolutely fantastic addition to the best still running thread on GS!! Thank you Mr. Schnapf for all of your input and insights.
Old 10th December 2014
  #1530
Here for the gear
 

Hi Rob,

I'm sorry if this question or a similar question has already been answered, I looked through a good majority of this thread and couldn't find anything similar. My question is, could you give any details about the amps, guitars, mic techniques etc for the Saves The Day records you've worked on? Stay What You Are and In Reverie are two of my all time favorite records for many reasons, and the production is a huge one.

Logan
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