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I just gotta ask...
Old 17th August 2002
  #1
Capitol Studios Paris
 
jon's Avatar
 

I just gotta ask...

...if money and time were not a consideration, and you were the producer/engineer of a major project in your preferred style, today...and the label allowed you total freedom to choose...

What tracking and mixdown formats would you use?

What console(s)?

What media would you archive the project to at the end?

Old 17th August 2002
  #2
Gear Maniac
 

i just gotta answer

if i won lotto

i would get discrete preamps for tracking, maybe, 4 neve preamps, 4 api preamps and a couple of vipre's (just for the hype)

record onto tape (drums) and straight to hard disk(the rest) using outboard converters (?db) in 24/96 (?Alsihad)

edit on hard disk

mix down on ssl to 2 inch tape

master to various formats:
- 16/44.1
- 24/192
- tape

but then again, i'm using crap equipment now, so what would i know?
Old 17th August 2002
  #3
Jax
Lives for gear
 

Re: I just gotta ask...

Originally posted by jon

What tracking and mixdown formats would you use?

Tracking: Three 2" 8 tracks, all SMPTE sync'd together at their edge tracks

Mixdown/Mastering: One 1" 2 track (note I would also send the tape off to Bernie G. or Bob L. to do the real mastering thing)

What console(s)?

Neve 8048

What media would you archive the project to at the end?

As above, 1" analog tape.


Now for the discrepancy --- what I actually use:

Tracking: PT Mix

Mixdown: PT Mix (lots of outboard at least, and good converters)

Console: Soundcraft Ghost, though I never use it except for monitoring

Archive: CD or DDS tape

What's wrong with this picture?! I can't win if I don't play. Hey, there's a lotto drawing tomorrow!!
Old 17th August 2002
  #4
Lives for gear
 
Wiggy Neve Slut's Avatar
 

Wickid..... poll Jon!!!!!

Console:

SSL 9K or G+ or the custom Neve 8024 where i work.....


Format(s):

2 x Ampex ATR 124/MM1200 2" 16tracks for drums, bass and guitars..

Alishad HD 192 for Vocals and everything else.

All machines would be synched together for tracking of band tracks. One they were int he can the tracks on 2" would be transfered to HD for overdubs, so the master band trakcs would not suffer wear during the overdub phase. So when it cam e time to mix the tracks would be fresh to mix directly from the original source. The 2 machine would be synched to HD and life would be glorious!!!! Man i can hear those ****ing drums right now!!!!!!!

Then it would be mixed to my mates recently recapped/refurbed Studer Valve C37 1/2"..... im getting a wet spot in my seat thinking about it now! or a 1" stereo if there were any in Australia..

All would be tracked thru the ususal sort of suspects such as Neve/api customs tube gear etc... so it would sound nice to say tha least!

but as Weezer called one fo their songs from their first 'blue' album.... 'Only in dreams'... heheh

PEACE
Wiggy
Old 17th August 2002
  #5
member no 666
 
Fletcher's Avatar
What tracking and mixdown formats would you use?

RADAR-24 for tracking, any 24 bit recorder via a Crane Song HEDD-192 for the mix

What console(s)?

Track basics on the 8078 at Longview Farm, overdub on their A-Range... then down to Big Blue Meenie in Jersey City to mix on their 9098i

What media would you archive the project to at the end?

I'd probably store it on a SCSI drive as Broadcast Wave Files...
Old 17th August 2002
  #6
If money were no object.

Tracking via - Prism Dream ADA converters at 96k 24 bit into PTHD
+ Cranesong Hedd as overdub alternate overdub converter 'option'

Mixdown format - Analog mix to Cransong Hedd @ 96k 24 bit into a Masterlink

Tracking console - none, my favorite is using my outboard collection + a few rental items to get into PT. (Important point - I can take this gear and set it up ANYWHERE, that is important to me)

Mixing console - none, my favorite mix place in MY studio, using my PT & analog mixing hybrid (Dangerous 2 Bus & my outboard collection) + a few rental items.

Storage - DDS tape x 2 (with an eye always open for any industry standards emerging)

Summary:

For tracking - I dont need (or want):
a big console
Tape

For Mixing - I dont need (or want):
a big console
a studio - I have my own
Tape

What I do want, is to move up to 96k recording. I like the 3D 'depth' and extra HF'sizzle' it delivers.

Old 17th August 2002
  #7
High End Moderator
 
mwagener's Avatar
Tracking: 8078 installed in a nice big mansion, preferably close to a Beach, with lots of different sounding rooms and space for the whole band to live for the duration of the project. It would have to be in a nice relaxing setting with enough stuff to do when not working but still close to a city with a good rental company. I would want a bunch of outboard mic pres (VIPRE, Hardy M-1, API, Great River etc.) and a great collection of mics (251, C-12, Royer R121/SF12, Soundfield 250, U47and a few other old ones)
Speakers: nearfields ADAM S3As, farfields ADAM S7As
Recording format: Euphonix R-1 24bit/48KHz, 96 tracks
Mixing: Sony Oxford to 24 bit CD recorder, backup and long term storage on LTO tape.
Old 17th August 2002
  #8
There is only one
 
alphajerk's Avatar
 

wow. hmmm.

okay. tracking:
a bunch of outboard pres, from crane song [the spider] some API's, some Neves, a couple vipre's, some old EMI's possibly, some telefunkens, just a whole SLEW of pres to choose from... maybe some GML2020's.
i would need the EMI comp and a bunch of distressors, some fatsos, some La2a's, 660's, even some Altec's, some minilimiters, some leveldevils, anything and everything really. some PCP's and IBP's.
mics.. the whole gamut of them. a nice pair of 251's, U47's, C12's, E47's, U99's, U195's, DPA's, blue bottles, R121's, SF12's, 77's, 44's, and a ****load of others....
formats. the ATR 2" 8track w/david hill aria electronics and a slew of high end convertors [db, prism, benchmarks, et al] all sync'd to one of those atomic clocks running into DP [so shoot me, i know the app like the back of my hand and easiest for me to get around in] running cuemixDSP.... i guess i could record into an R1 but im a little sketched with ANYTHING running off windoze. maybe radar24, probably not though. most likey DP. 1.59ms delay is pretty tight. most of the recording would be digital only using the ATR as an "effect" unit.
monitors: ADAM S4C-A's and S8-A's as the mains.
the room: the most badass room i could find, money no object, i would take a trip to a good number of places to scout out great rooms.... or find a HUGE mansion to record in on the beach somewhere.... one with a big ass ballroom and many other big ass rooms.

for the band, about 10 different drumsets all mic'd and ready to go at any time. about 20 different snares. a huge assortment of cymbals and heads. i would need a couple Orange amps [vintage] and some Matamp, some Vox amps, some bassmans, some plexis, various cabinets from 4x12's to 1x12's... again, all set up and ready to go at any time. an assortment of guitars, some les pauls, strats, SG's, PRS's, jag's, jazzmasters, all hotrodded and customized by me. a couple Ampeg bass rigs, some boutique bass amps. a couple p-basses, a rick bass, some uprights, some boutique basses. just a huge assortment to draw from, pedals included... tons of those. big muffs, colorsounds, tyches, super hardons, moogerfoogers, electro harmonix ****....

mixing.
same outobard kinda stuff, comps, some sweet EQ's running to an Oxford board [because of the automatic delay compensation and the GML EQ's] or an API legacy w/GML automation.
ADAM S4C-A's and S8's for monitors
actually i would steal JJP's outboard from oceanway and take it to a big ass mix room, maybe Cello with those reverb chambers.
Altiverb would be mandatory. tc sys6k. fireworks. moogerfoogers.

this is just too open ended. i would probably be gathering more and more equipment as the project progressed.

the band would be an amalgamation of janes addiction, sonic youth, flaming lips, melvins, butthole surfers, ween, clutch, squishy, and GAM and pFunk. actually, if i could pick and choose... i would take stephen perkins from janes addiction and Jean Paul from Clutch on drums, bootsy collins and eric avery on bass, tim sult from clutch on guitar, dean ween on guitar, thurston moore, keith kozel from GAM on Vox and gibby haynes from butthole surfers on Vox [hell yeah, dual vocalists] its a dream right? this would be huge like a pfunk allstars setup.

and the project would be done with surround in mind, mixed to surround AND stereo. not only that but the album would be an opus of sorts with the intent on a movie being made around it. of which i would get david lynch to do.


im sure i left a ****load out.
Old 17th August 2002
  #9
Moderator emeritus
 

I guess I'm boring or something - I'd stay with my room here, except that I'd most likely use a couple of Radars instead of DA-78's and Pro Tools (I'm tryig the Radar out next week - we'll see how I like it). I know my Cinemix, I know my room, it takes me about 30 seconds to walk from here to the house, and I know my outboard gear. Some extra mics and outboard gear would be rented or purchased, along with a couple of instruments (Specifically a real piano and a B3), but overall, I'm comfortable here, and would be more productive in my own environment than I would be at Ocean Way or the Tracking Room (unless I needed to cut an orchestra or something).

I'd like to try an ATR 102, but most likely I'd simply mix to Pro Tools with an outboard converter. (like the Weiss) and archive the project as broadcast .wav files.
Old 17th August 2002
  #10
Jax
Lives for gear
 

Re: I just gotta ask...

Quote:
Originally posted by jon
...if money and time were not a consideration, and you were the producer/engineer of a major project in your preferred style, today...and the label allowed you total freedom to choose...

What tracking and mixdown formats would you use?

What console(s)?

What media would you archive the project to at the end?

Check it out: almost everyone is answering the questions by adding answers to questions that were not asked in the original post. lol

So far we have seen added answers about everything from instruments, mics, preamps, processing, room configuration/place (resort beaches et al.), to a little about the vibe that would be the ultimate... which even heaps of money can't create! heh

Looks like it's more interesting and fun to imagine the whole recording process than just the formats, consoles, and acrhive media.

But I like the direction this thread quickly spun-off in!
Old 17th August 2002
  #11
There is only one
 
alphajerk's Avatar
 

well i did answer the questions and took it further... except the backup medium.

my answer for that would be after all is said and done, destroy the masters. fuuck anyone who would want to remix it 20 years later.
Old 17th August 2002
  #12
Lives for gear
 
e-cue's Avatar
 

Well, when new formats come out, remastering is required. Imagine if the Sublime, TuPac or Biggie masters from early in their career had been destroyed.
Old 17th August 2002
  #13
Lives for gear
 
e-cue's Avatar
 

What tracking and mixdown formats would you use?

I love tracking into protools on the Neve Capricorn (hmmm, if it was only 96K...) in studio A at the Enterprise. Big ass movie screen, great for hookin PS2 up to. Very large control room.

I prefer mixing on the SSL 9000J at Enterprise Two. After Bob Hodas turned the room, it became my prefered spot.

What console(s)?

See previous.

What media would you archive the project to at the end?

I print to 1/2" GP9 or 1" if I can and to dats via PSX-100 (unless I'm mixing on the Cap). I'd like to start using the Gennex MO recorder, but we'll see. I back up all my session to AIT3.
Old 17th August 2002
  #14
Can I just say at this point that the Cranesong Hedd @ 96k 24 bit to Masterlink - sounds v damn good indeed!

Monitoring the with Cranesong D/A's (via a patch from the Masterlinks AES outs to the Cranesong AES in) The unit acts as a two-way converter.

Old 17th August 2002
  #15
Lives for gear
 
Steve Smith's Avatar
 

Re: I just gotta ask...

[/B][/QUOTE]i]Originally posted by jon [/i]
...if money and time were not a consideration, and you were the producer/engineer of a major project in your preferred style, today...and the label allowed you total freedom to choose...

What tracking and mixdown formats would you use?
[/QUOTE]

Track to 2" 24 trk 827 and RADAR

whatever minimal editing could be done on those two formats, and no tuning needed, since this is fantasy land

[/B][/QUOTE]What console(s)?[/B][/QUOTE]

Track on Neve w/API outboard on hand
most studios with an 80 series Neve have the usual suspects of outboard comps, etc.

Mix.. If I have to choose something I know, Probably the Capricorn, if I can try something new, The 9098 looks amazing.

[/B][/QUOTE]What media would you archive the project to at the end?[/B][/QUOTE]


Mix to analog 1/2" and 24/48 - Multitrack Session archive as BWAV as well as the 2" reels.
Old 18th August 2002
  #16
Jax
Lives for gear
 

Quote:
Originally posted by alphajerk
well i did answer the questions and took it further... except the backup medium.

my answer for that would be after all is said and done, destroy the masters. fuuck anyone who would want to remix it 20 years later.
He he hahooo! Perfect answer and funny too.
Thanks man, I needed that.
Old 18th August 2002
  #17
There is only one
 
alphajerk's Avatar
 

Quote:
Originally posted by e-cue
Imagine if the Sublime, TuPac or Biggie masters from early in their career had been destroyed.
well, the sublime early stuff kinda sounds ****ty no matter what they try and do to it. and i would be quite alright with never hearing 2pac and biggie again. the two most overrated rappers in history IMO.
Old 18th August 2002
  #18
Lives for gear
 
Midlandmorgan's Avatar
 

Hmmm....time and money no object, huh?

I guess my 'dream gig' would have to be the exact gear and rooms of Apple Studios late 60's/early 70's....maybe not the best stuff in the world, (maybe it is) but maybe just a touch of the magic still floating around inside that gear would rub off...

If this were even remotely possible, I would choose analog tape, CD, and 2 or 3 different hard disks in both PC and Mac formats...with this level of redundant protection, it would be easier to accidentally launch a nuclear missle than damage the masters....

Lord...just thinking about it makes me crave a cigarette...
Old 18th August 2002
  #19
Lives for gear
 
e-cue's Avatar
 

Quote:
Originally posted by alphajerk


well, the sublime early stuff kinda sounds ****ty no matter what they try and do to it. and i would be quite alright with never hearing 2pac and biggie again. the two most overrated rappers in history IMO.
Minus 3 cool points for Alphajerk. 40 Oz to Freedom is one of the dopest records of the era. When I first heard it, I was like "Finally, Punk AND Hip Hop?!!!" Pac overated?! Psht. Biggie overated?! psht... Let me take it a step further, what about Beatles masters?! I think I've made my point.
Old 18th August 2002
  #20
There is only one
 
alphajerk's Avatar
 

no 40oz was great... actually their best album [great dead cover on it], so was the self titled. im talking about the EARLY stuff they have been releasing since his death.

as for those two other bodies in the ground... there are just many better hip hop artists IMO. hell dre and big boi, black thought, i even prefer qtip, krs-one, chuckD... the list can go on. but thats jut my opinion.
Old 18th August 2002
  #21
Gear Maniac
 
recorderman's Avatar
 

Quote:
Originally posted by mwagener
Tracking: 8078 installed in a nice big mansion, preferably close to a Beach, with lots of different sounding rooms and space for the whole band to live for the duration of the project.
Like this?
http://www.morningviewstudios.com/
Old 18th August 2002
  #22
That would do, I dunno if I would need the neve desk in the middle, I would shunt the ProControl into the sweet spot!


Old 18th August 2002
  #23
Lives for gear
 
e-cue's Avatar
 

lol...

I'm supposed to work there in a month... I'll keep you posted.
Old 18th August 2002
  #24
Gear Addict
 

I'm with Dave on this I don't want to go anywhere and my room isn't big and it is only 20 ft from my house. So I'll take Radar 24 to track to, through the Nyquist converters and a decent 1/2 inch as well as the cranesong Hedd back to a Scsi hd through wavelab, to mix to. I'd like a 32 channel Trident to mix through (I can't imagine ever using 32 tracks, but I like to run verbs and stuff back through a channel). I would prefer to track with a bunch of pres. If I can add 4 channels of John Hardy M1s and four channels of Great River NV and a couple of Focusrite
Reds to my Drawmers and Buzz MA 2.2, I'll be happy. Id still edit in Nuendo and Wavelab, and add automation through Nuendo
As everybody else is adding in outboard, I'll take a couple of Fatsos, 4 DBX 160 VUs a couple of Distressers a few LA2As and some 1176s and maybe a reverb.
If you asked two weeks ago I would have said I wanted a 2" to track to but after just doing a tape based project elsewhere I have realised I'm a digital guy now and I think RADAR is a good compromise, if it's mixed through a console. Take care Logan
Old 18th August 2002
  #25
Capitol Studios Paris
 
jon's Avatar
 

Jules, at least you could use the Neve in place of the Dangerous 2-bus...that's one less flight case to deal with at the airport.
Old 19th August 2002
  #26
High End Moderator
 
mwagener's Avatar
Quote:
Originally posted by recorderman


Like this?
http://www.morningviewstudios.com/
exactly, except that is in LA.
Old 19th August 2002
  #27
"Jules, at least you could use the Neve in place of the Dangerous 2-bus...that's one less flight case to deal with at the airport."

Good point but I dont need it in front of me to do it!

Move it to the side and let me get my hands on PT to hear it the way I need to!

Old 19th August 2002
  #28
bleen
Guest
Okay, lessee....a large, log cabin with cathedral ceilings in one room, two smaller rooms for isolation, tucked away in the mountains of Vermont.

Tracking on an API into Mytek converters to Logic. Mix in Logic and bring individual outs back into the API for summing. Mix to Masterlink via Cranesong HEDD.

Archive on AIT as AIFF and/or BWAV (we Mac guys have trouble thinking in terms of a M$ created file format... :eek: )

That would make me happy! yuktyy heh fuuck
Old 19th August 2002
  #29
Lives for gear
 

I've always been afraid to do entire projects in an unfamiliar studio. So for me I'd probably go to a big nice sounding room with a bunch of neve 1073's, api's pres/eqs, distressors and trakkers and track drums to 2 inch.

Then I'd transfer to PT with good converters and take it back to my place. I'd rent a bunch of equipment like more 1073's, distressors, trakkers, maybe a couple vipres (even though ive never heard one) and a nice supply of good mics, along with my fatso and trident pres.... oh oh, id rent a couple massive passives too!. Then id finish recording bass, guitars, vocals at my place, where im comfortable and know the room.

Then off to an SSL room to mix, using the SSL for summing and 2 buss compression and of course using way more cool outboard.

Id mix to 1/2 and masterlink thru a hedd and send both copies out to brian gardner at bernie grundman.

As for backup.... I dont know, I'd get someone else to do it, since this is our dream gig.
Old 19th August 2002
  #30
Gear Addict
 

Quote:
Originally posted by planet red


As for backup.... I dont know, I'd get someone else to do it, since this is our dream gig. [/B]
I'm with you Bro, freaking backups are the bane of my existence. Nobody I record wants to or can afford to pay for them. Of course in this little fantasy I guess I'll be recording a more prestigious clientel . At the moment we backup the days takes to another drive in the system but when the project is done, unless the band wants to buy a drive or pay me to archive onto dozens of CDRs,(and the ****ers never do) the thing is gone. I have done backups on my own dime just 'cause I couldn't bear to ghost all that work, but it's not to often. I'm hoping a decent DVD solution is just around the corner. Take care Logan
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