The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
Chris Lord Alge Sound.
Old 24th October 2015
  #451
Lives for gear
 
DeadPoet's Avatar
Quote:
Originally Posted by anyonetom View Post
Sorry guys but "why don`t you create your own f****** sound?"
Why do you visit a forum like this? I know I do in order to learn something. And I've learned that there is a lot to learn by studying the ones that came before me (both on my instrument than in the studio) - and that if you study a) for some time and b) the right way you'll end up with a mix of influences that will eventually become your style/sound/whatever.

So I'd say: relax and let others be. While I don't want (and more importantly don't have the skills) to copy mr CLA I find threads like this interesting. Also because even CLA himself has learned by copying tricks and bits from other people and eventually and inevitably creating his own sound.



Herwig
Old 24th October 2015
  #452
Lives for gear
 
JulianFernandez's Avatar
 

Quote:
Originally Posted by anyonetom View Post
Sorry guys but "why don`t you create your own f****** sound?"
Jazz musicians learn his craft analyzing some of his heroe´s solos... Finding your sound is not that easy. Did you find yours already?
Old 24th October 2015
  #453
Lives for gear
 
ghostwriter's Avatar
Quote:
Originally Posted by DeadPoet View Post
even CLA himself has learned by copying tricks and bits from other people and eventually and inevitably creating his own sound.
Very true.
We all have.
Old 26th October 2015
  #454
Lives for gear
 
Taurean's Avatar
I had found my sound, but then she dumped me for another engineer :(
Old 26th October 2015
  #455
Lives for gear
 
ghostwriter's Avatar
Quote:
Originally Posted by TranscendingM View Post
I had found my sound, but then she dumped me for another engineer :(
I'll take good care of her.
Old 27th October 2015
  #456
Lives for gear
 
Taurean's Avatar
Quote:
Originally Posted by ghostwriter View Post
I'll take good care of her.
son-of-a..so you're the one! she mentioned in passing about some "new guy" who albeit, and these are her words, "has less girth to his mixes but a cuter eq shape."


I thought we were bros
Old 27th October 2015
  #457
Lives for gear
 
ghostwriter's Avatar
Quote:
Originally Posted by TranscendingM View Post
I thought we were bros
You're right, she's history.


Alright, I'll admit it, she dumped me for your previously mentioned reason.
You're a tough act to follow.
Old 27th October 2015
  #458
Lives for gear
 
Taurean's Avatar
Quote:
Originally Posted by ghostwriter View Post
You're right, she's history.


Alright, I'll admit it, she dumped me for your previously mentioned reason.
You're a tough act to follow.
lol we're good man, we're good.
I knew that a dude who'd create this kind of awesome thread is OK in my book.
Old 27th October 2015
  #459
Lives for gear
 
ghostwriter's Avatar
Quote:
Originally Posted by TranscendingM View Post
I knew that a dude who'd create this kind of awesome thread is OK in my book.
Thanks!
Old 5th December 2015
  #460
Lives for gear
 

Quote:
Originally Posted by Resonater View Post
Just to clarify, the console being sold by Vintage King is a console that, like the ad states, has been at Can-Am (now called Mix LA) for decades. Chris never mixed on that desk.

The desk on which Chris worked throughout the busy years of his career is still in my studio in Burbank. I originally bought the desk from SSL in 1986, and it was installed in my old studio, Image Recording from 1986 through the end of 2004, when we (and the console) moved to Burbank. Everything Chris did from 1989 through mid-2008 was done on this console, and I think he achieved his best sonic results on it. Yes, including American Idiot. A couple of my other favorites were the "Everyday" album by Dave Matthews Band and "The Sound of Madness" by Shinedown. Those were some of the killer mixes CLA did on my desk, although he did literally thousands of mixes on the desk over those 19+ years (I'm thinking around 7,000!). All the big projects.

Ok....I'm putting on my Flame Suit here, though around 4 years ago I was watching some Videos that were from a UK website and finally I got around to watching an hour and 45 minutes of CLA being interviewed by a lovely dude who was a First engineer, though mostly on Indie Albums, not top charting stars and they were sitting in front of a 48 channel SSL Duality that was soon to go into another Studio.

When asked about technical questions, CLA seriously had no idea, not a clue, as to his SSL G Console and his brothers E 64 channel console he had no idea on routing, bussing, or gating, comping, expanding commpanding and on to other things like outboard most of he admitted had been either taken in payment as money owed or had been given to him by - people from certain albums thus those pieces were as a thank you present from artists etc.

When asked about frequency, equalisation, gating and certain other stuff the guy interviewing CLA was nearly astonished though kept his cool, he still grilled CLA though for all His coolness and throughout CLA's life on consoles spoke of how he basically only worked with the main lower faders VCA stuff and master section, he spoke of how his assistants set up things as he liked and the famous "Bell" he makes Tape Op's use then, when it came time to Outboard, oh man, I was so enthralled and stunned in equal measures as CLA basically fessed up that he used compression, delays and reverbs - though everything was or had been comped from pro tools and printed, to go into the Sony 3348 and he had 4 models, now at that stage, he was using 20 bit 3348 HR units with remote and remote metering etc.

When asked would he...himself CLA change to a Duality he sat there stunned stating that his SSL had been modded now so extensively that he really only has to hit the VCA Automation with the SSL and 3348 time Code (again he knew little of SMPTE) and that for him to now move to another system would render his mixes pointless, as His brother was the tech/gear head, and rest he only liked black SSL Equalsation where as Tom loves E series brown, and he also used some Pultec EQ's extensively, though they were SSL 's version of the Pultech equalisers etc.

And no! Was the answer to the Duality as it was now so ingrained to mix on this particular SSL console he owned that to do anything else might require a system change, there was no mic talk, tracking, or anything to do with phase nor meat and bones tech issues - the interviewer knew by then CLA was no Gearslut. He was a dude whom just had a great rep, and mixed great tracks, he does no prep work - as assistants do that, and his job is to balance the tracks, pan them and put a final touch on them.

Finally the interview went to end of mix sessions and did CLA use parallel compression, he (CLA) had no idea, and I mean no idea what that was, the dude doing the interview explained it and CLA was literally your talking UK English, in the USA we do things differently or at least I do. Now this was a mix with the masters type interview and compared to Robin Porter, CLA new as much about Audio, gear and specialised equipment as a beginner whom has used or driven a Porsche for 30 years. Nothing was to change, he was basically a blalance, pan, and Aux send man for FX....he had no idea on dotted 8th notes delay times, I mean it was stunning.

It was the web site the UK Studios were using before Miloco, and as sure as night turns to day I'm not kidding or making this up? Who knows maybe he got his tech chops together though just as Eno is no Mozart, not was CLA professing to be Spike Stent or JJP or Youth etc.

If I can find the actual video I'll record it, even if in iPhone or iPad, though it was a classic insight showing you don't need to be a technical King to get CLA results, it could be his ears, personality or whatever as about the only big point he made was for people to pronounce his name ALGE (Algieeee...) not AGE and after a very interesting Near two hours that was it?

Job done, worse, he had no idea which mic to speak into, or keep his Lav mic working, it was tech trouble day for that interviewer though man, it was interesting as that day, the mask and huge magic curtain drifted into thin Air. CLA is mortal and knows near nothing save His Mix Techniques....that was it!

Nope I'm not joking, and worse, the video was embedded into the website and of medium quality and the sound horrid though Audible, the vision was clear enough and the size smaller and odd, so an odd MP4 type codec. Though it happened, it exists and I'm sure someone has a copy, I even passed this link to a dozen people though connection was really bad. And that's it! If I can find it again....boom I'll post it up!

There was a choice of Mix Engineers from Albums, I hit Robin Porter as well whom asked about George Micheal simply said, he took so long to write in the Studio that Porter made a point in saying I'm here doing nothing, except awaiting his next idea? In the end I gave up as I was being paid to turn up for 6 months and record maybe an idea a day? That was Robin Porter on George Micheal recordings and why he stopped working with him. The other CLA. It was Winter, and I promise you these videos exist! Can I be bothered to find them, nope, though there you have it!
Old 5th December 2015
  #461
Lives for gear
 

Quote:
Originally Posted by Space1999 View Post
One that came to mind about CLAs mixing setup is his assistants must have a specific average volume for each type track that he specifies be set in PT before feeding them to the console.

That way they hit the 1176s he has hardwired to each channel just right giving him no reason to adjust his outboard as he claims he does not do much if at all. He knows how much he usually likes to hit each type track and has his outboard set so if the track comes in at a certain volume it does the trick.
I understand this to be true, he has spoken of this in the interview I was watching! All the hardware racked, and set and forget, even though I've read
Bob Clearmountain does the same thing he still has a front rack of vocal fx and certain comps and EQ's that are not static pre set. CLA only fiddles with the pcm42 and Dre 2000 alongside H3000 units and Bricasti etc.
Old 5th December 2015
  #462
Gear Maniac
 

Quote:
Originally Posted by TheLastByte View Post
Ok....I'm putting on my Flame Suit here, though around 4 years ago I was watching some Videos that were from a UK website and finally I got around to watching an hour and 45 minutes of CLA being interviewed by a lovely dude who was a First engineer, though mostly on Indie Albums, not top charting stars and they were sitting in front of a 48 channel SSL Duality that was soon to go into another Studio.
Can I be bothered to find them, nope, though there you have it!

This one?
Chris Lord Alge record producer and mixing engineer video feature at SSL's studios in the UK
Old 5th December 2015
  #463
Lives for gear
 

Quote:
Originally Posted by herecomesyourman View Post
The main thing that's cool about Pensado's place is honestly the interviews. (They're in good fun.)

I watched a whole bunch of them recently, but mainly just to hear people talk shop a little. I think it's a good resource for people who are curious, but it's not a supplement for actual studio work experience. He's got some decent tutorials sometimes...but usually I just found myself watching the interviews and skipping through half the show most of the time. I did wind up bookmarking a bunch of segments I will watch in the future too...but honestly I don't think he's a bad person for doing a web series, if anything it's an experiment in education.

The first thing I learned from working in recording studios is that doing things right is time intensive. So I like to learn about ways to maximize my time so I can get things to sound the best they can under the gun. That is my primary motivating factor, because I like to work and to eat.

What's discouraging is even in the face of a dying industry people would rather get into arguments about personal practices, or twist the language of a person around just because they can't debate things civilly...snarky remarks are often substitutes for talking about how they would personally do things different.

You know in previous decades when people experimented in order to push the boundaries of recording you'd wind up with landmark records. Now you've got a bunch of homogenized dreck and purists who argue about semantics. (And that sort of thing won't win anyone any friends.)

Why? It's not like John Q Public is going to steal your tricks and not pay you to engineer. They're already moving on to home setups. That's why this forum exists.

If you want to legitimize the pro industry more, give a little back when you take so people can communicate with you better. Then they'll be more apt to hire you based on a good experience. Back in the day producers used to get private financing for large budget releases more often to be sure, and people were very protective of their secret sauces, but the internet is FOREVER people. You can't put Pandora back into the box. We need to get people to trust us more as professionals and spark conversations.

I'm sorry if I exaggerated. NINE TIMES OUT OF TEN I would personally mix INTO Progam EQ's rather than put them in line later. (There...now we're leaving proper room for a scenario I haven't been through in several years.)

If you lack communication skills, social grace, and an attention span...well at a certain point it's no wonder someone making terrible recordings at home is going to scoff at you.

80% of this job is really trouble-shooting...and the other 20% is building trust with your clients.
I have to say that many of your posts do come off as literally verbatim quotes from others and regarding gear you opines and suggestions seem very broad and exhaustive for the Yamaha PM 2000 console you revved up, changed in the center section and were told was a waste of time and money by GS members you personally respect and whom you seem to personally look up to and by many whom had originally helped you get that far.

So you can understand that your posts are taken by Newbies as near Gospal and by more professionals as seemly lacking though presenting a certain formed opinion that's not quite compatible with whatever product being discussed as I. Say....comps, equalisers and mic preamps. And now you've moved to effects though your knowledge quotes on say pulse Pultec EQP 1A or MEQ-5 units etc might be ok...Though...when you go into an H3000 or Reverb The stuff you post comes off as if you are totally, and I mean you are totally lost!

Though, it's not for me to judge, I'll give you the Benefit of the doubt as I know nothing of whom you are, nor prior or previous experience be it tea boy or Engineer, though the thing to keep in mind. Guys who are new to recording will come and read high end stuff and take certain posts as gospel. Try your techniques, fail and wonder what they are doing wrong?

This is near the same when looking at Audio Equipment options, you profess 1001 options, though I can't ever get the feeling you've used them or the Audio equipment suggestions as it sounds like you've just read about them, and possibly, have no hardline experience though not real hard life fought and won in trenches experience.

Anyhow as long as no ones getting hurt I seriously doubt it's a first world problem, though I would pay high end forum members opinions with respect - and say with Syra and others you can read as coming off rude and a touch far too abrasive, you might want to look at the style of writing etc.

I'm too busy to hang here all the time, though look, here's to a good holiday season and new year and no- I'm not trying to take you down or out. I'm trying to be a gentleman and suggest you cool it a touch? Though your style is indeed your thing.....and it comes off that way, say maybe just be aware of it!

Look I just posted about an interview where I could see that CLA's tech experience is far less any would think or his mixing style works in ways that others don't as he's not Roger Nichols etc in that interview I wrote about! So I have no idea....the older I get, I have a terrible feeling of the more I need to know! (Possibly it's the hunger for more Audio EE/ME/producer and Composer knowledge) etc.

Anyway...still it's no major catastrophe so no big deal! - Happy new year no matter, and I hope you're enjoying working with high end tools etc. May 2016 be your best year yet!

Regards
TheLastByte
Old 5th December 2015
  #464
Lives for gear
 

Could be?
I will take a look and see if I have dementia in which case tell me when I've Faaarked up or its this interview!
Thank you very much for finding that!

Yes that's it, it has been edited, it's now 40 minutes though the Audio is still bad...though yeah, you can tell that CLA is no different then a GS guy, he's mortal....my memories in my post might be now seeming Erm exaggerated though yeah, I'm sure this is it edited down. Thank you again!
Great find icecoolpool as my iPad spelling will autocorrect that to death!
Cheers man!

Huge props!
Kind Regards
TheLastByte!

Last edited by TheLastByte; 5th December 2015 at 01:36 AM.. Reason: Edited video found of CLA
Old 5th December 2015
  #465
Lives for gear
 

Ok.....I wrote the CLA post from memories of 4 years ago - though I'll put on my Flame suit and say after five posts in this thread....I would use the GS Brains Trust before going and dumping my cash into CLA's pocket - I wrote the post, so I'll live by it and watch the edited video now...on Vimeo?

At least that's great!
Thank you icecoolpool
Great Find!

TLB
Old 5th December 2015
  #466
Lives for gear
 
herecomesyourman's Avatar
Quote:
Originally Posted by TheLastByte View Post
I have to say that many of your posts do come off as literally verbatim quotes from others and regarding gear you opines and suggestions seem very broad and exhaustive for the Yamaha PM 2000 console you revved up, changed in the center section and were told was a waste of time and money by GS members you personally respect and whom you seem to personally look up to and by many whom had originally helped you get that far.

So you can understand that your posts are taken by Newbies as near Gospal and by more professionals as seemly lacking though presenting a certain formed opinion that's not quite compatible with whatever product being discussed as I. Say....comps, equalisers and mic preamps. And now you've moved to effects though your knowledge quotes on say pulse Pultec EQP 1A or MEQ-5 units etc might be ok...Though...when you go into an H3000 or Reverb The stuff you post comes off as if you are totally, and I mean you are totally lost!

Though, it's not for me to judge, I'll give you the Benefit of the doubt as I know nothing of whom you are, nor prior or previous experience be it tea boy or Engineer, though the thing to keep in mind. Guys who are new to recording will come and read high end stuff and take certain posts as gospel. Try your techniques, fail and wonder what they are doing wrong?

This is near the same when looking at Audio Equipment options, you profess 1001 options, though I can't ever get the feeling you've used them or the Audio equipment suggestions as it sounds like you've just read about them, and possibly, have no hardline experience though not real hard life fought and won in trenches experience.

Anyhow as long as no ones getting hurt I seriously doubt it's a first world problem, though I would pay high end forum members opinions with respect - and say with Syra and others you can read as coming off rude and a touch far too abrasive, you might want to look at the style of writing etc.

I'm too busy to hang here all the time, though look, here's to a good holiday season and new year and no- I'm not trying to take you down or out. I'm trying to be a gentleman and suggest you cool it a touch? Though your style is indeed your thing.....and it comes off that way, say maybe just be aware of it!

Look I just posted about an interview where I could see that CLA's tech experience is far less any would think or his mixing style works in ways that others don't as he's not Roger Nichols etc in that interview I wrote about! So I have no idea....the older I get, I have a terrible feeling of the more I need to know! (Possibly it's the hunger for more Audio EE/ME/producer and Composer knowledge) etc.

Anyway...still it's no major catastrophe so no big deal! - Happy new year no matter, and I hope you're enjoying working with high end tools etc. May 2016 be your best year yet!

Regards
TheLastByte


Hrmn. Here's an old thread. Sure I'll bite.

I think in Chris Lord Alge's case, he firstly modeled himself after Bob Clearmountain (he's self confessed as much on numerous occasions when interviewed or speaking publicly.) So his "knowledge and technical experience" concerning most equipment was originally centered on gear that Clearmountain used, mixed with things he got to try in the field coming up in the 1980's and 1990's as he started to become a real "name" mix engineer.

So the old Lexicon PCM42 Delays, DBX De-Essers, and the slew of vintage URIE gear comes from following in Clearmountain's footsteps while figuring out what worked best for him during that timeframe.

However, I think you're not giving him enough credit in terms of how he obviously has added to his setup over time. Swapping to Pultec 1S3's for the 10kHz high shelf...searching for a second limiter until he found his often coveted Focusrite RED in order to beef up stereo image and prevent overs...training a slew of assistants to maintain a mixing setup that allows for a fast and ergonomic workflow, etc. This is all pretty darn calculated. It might not be electrical engineering, but it's methodical, and that's how he's been able to work as much as he has.

The older I get. The more I appreciate people who think about the ergonomics of workflow rather than coveting gear. Whatever else you want to say about the guy, he's got that down to a T. Everything is in line, cleaned up, and ready to go before he even listens to a track.

I'm not going to re-read this old thread since it's long, and I'm not trying to be argumentative, but my advice usually centers on TRYING a lot of things. So you can find stuff that works for you, and start to think about the ergonomics of how you work over worrying about which 1073 clone you should buy, etc.

While tons of gear sounds great, typically I've found that price Vs. performance is an issue that top pros and rich enthusiasts undervalue, while proper studio training, and A/B testing equipment meticulously is what the "newbies" need to focus on more than ever, since pro studio environments are few and far between.

Like it or not, CLA is Hercules. A modern day legend most people on this forum could never dream to compete with, even if they turn pro, since times have changed and the work simply doesn't pay what it used to, unless you're already famous from a bygone era.

Yes I give people simple, easy to read advice, often redundant if you follow a lot of my posts, but there's always new kids who don't know anyone in this business, and I think it's best to think on how anything you post might be the first thing someone new sees.
Old 6th December 2015
  #467
Lives for gear
 

Quote:
Yes I give people simple, easy to read advice, often redundant if you follow a lot of my posts, but there's always new kids who don't know anyone in this business, and I think it's best to think on how anything you post might be the first thing someone new sees.
As I told you, it certainly was not a take down and your views are your views, that's cool, as to CLA, well that up for debate, I can only say that as a ran into a scenario where a producer here near to me had mixed numerous tracks for an artists album.

Now in no way was his first single going to pop the charts on any media or become a million selling single, and the delivery of the mixes was seriously flawless, my point, the record company wanted the single to be mixed by CLA and naturally as a "Loss Leader" meaning as CLA had mixed it it would be that extra 20% better and it might help it move.

The single went off to CLA and was remixed, the difference, in reality, zero save the artist was now already 30 grand $ in arrears as CLA mixed three songs, so the Artist ends up paying not the Big Mean German Group!

As for the Producers original tracks, side by side the difference was squat, nothing, he punched just as hard and knew exactly where this artist needed beef, help and trickery, so in the end everyone learnt a huge lesson, that CLA can't polish silver to gold and that all would've been better of as delivered, now the artist owes money and off the CD made squat.

Hercules held up the world on his shoulders - CLA might be a god to you, though in others eyes he's a Diety just as Greeks and Romand had hundreds. As to gear well, I agree on points others I don't, my point being I don't think I've seen a lonely piece of Audio gear Chuck Ainlry, CLA or others have not or are not endorsing or pimpiming a bit like Telefunken and Oliver giving Simon Le Bon two ELAm 250's as wow.....he is just such a great vocalist and that band hasn't had a hit for thirty years.

So you think CLA does his gear choices?
I'm sure like Chuck or any once great Engineer, does but hey only after they sign the form and boom, in come the pulse, the you name it nuts and bolts red net systems and the magazines now paid for adertorials get a great shot. In 2015 magazines about sound are not geared for professionals, though newbies to glean at and aspire to and admire the once big Diety engineers! Is their anything wrong with that? Yeah...to a degree though as long as no one pretends their immortal who cares? What ever you believe Sir....is totally up to you!

I can only state I am my own man, with my own desicions and I make them as I see fit, I don't think offering twenty 2-3000$ gear alternatives for newbies is right, and more so since this industry is changing again, as soon as 96kHz downloads become commen as iTunes the boy and men will be sorted, that I do truely believe! Though.....everyone needs to put on pressure to break certain moulds etc. either your part of the answer and solution or not!

Again, I hope you enjoy Christmas and may 2016 be a great year!
Kind Regards
TheLastByte

On this infernal autocorrect crap iPad
Old 6th December 2015
  #468
Here for the gear
 
kmandude's Avatar
I worked with Chris for years at Unique. SSL pres on drums, 57 snare 412 toms D12 kick 87 OHs. 409 on bass amp + DI. 57 & 421 on the marshalls. Vocals, 414 or an 87 if they are a smoker. Use plenty of mix FX for monitoring. SSL quad compress the **** out of the buss. Have fun!

* replying to a 4 year old thread but whatever..

Last edited by kmandude; 6th December 2015 at 07:35 PM.. Reason: qualifying
Old 8th December 2015
  #469
Lives for gear
 

Quote:
Originally Posted by TheLastByte View Post
Finally the interview went to end of mix sessions and did CLA use parallel compression, he (CLA) had no idea, and I mean no idea what that was, the dude doing the interview explained it and CLA was literally your talking UK English, in the USA we do things differently or at least I do.
Yea that's not how it went down at all.

He was quite familiar with the concept, not the terminology.
Old 7th January 2018
  #470
Gear Addict
 
Sleazy_Rider's Avatar
 

The CLA collection is $69 currently , is this sacrilege in the mixing world ?
Old 7th January 2018
  #471
Lives for gear
 
Sigma's Avatar
lol at AES CLA, our old assitant tony maserrati and chuck ainley were on a panel..Nile Rogers was the moderator ..CLA said ..i mixed this song in an hr... there was a QA and i asked "did you make the "you's" sound like "chew's" on purpose or were you lazy with your compression? ..Nile knows me so he goes mike are you dissing him ? i go depends on the reply LOLZ..its not rocket science to mix well recorded tracks by great bands

Last edited by Sigma; 7th January 2018 at 11:25 PM..
Old 9th January 2018
  #472
Quote:
Originally Posted by John lennon View Post
The CLA collection is $69 currently , is this sacrilege in the mixing world ?
Gotta love Waves new pricing strategy. Finally, they are competitive.

The CLA plugins (which I paid a lot more than $69 for many years ago) are actually really useful for some stuff. FYI I don't necessarily feel that way about all of their "signature" plugins though.

For example, if you're trying to throw together a decent rough mix in a hurry, slap the CLA drums across your drum tracks with the "start me up" preset and within 1 minute of effort your drums are already sounding fairly polished. Don't let the cheesy interface fool you - When you look at what is being modeled under the hood in those plugins, it's a pretty serious chain. Sometimes I will use them and then just add another EQ or Comp etc after them if I can't get the plugin to get me where I need to go.

The Greg Wells MixCentric is also a deceptively great one worth looking at if you are watching Waves deals.
Old 9th January 2018
  #473
Gear Addict
 
Sleazy_Rider's Avatar
 

Quote:
Originally Posted by bambamboom View Post
Gotta love Waves new pricing strategy. Finally, they are competitive.

The CLA plugins (which I paid a lot more than $69 for many years ago) are actually really useful for some stuff. FYI I don't necessarily feel that way about all of their "signature" plugins though.

For example, if you're trying to throw together a decent rough mix in a hurry, slap the CLA drums across your drum tracks with the "start me up" preset and within 1 minute of effort your drums are already sounding fairly polished. Don't let the cheesy interface fool you - When you look at what is being modeled under the hood in those plugins, it's a pretty serious chain. Sometimes I will use them and then just add another EQ or Comp etc after them if I can't get the plugin to get me where I need to go.

The Greg Wells MixCentric is also a deceptively great one worth looking at if you are watching Waves deals.
I bought it yesterday for $50...
Old 27th March 2018
  #474
Here for the gear
 

I know this is an old thread, but I gotta respond...
I was CLA’s assistant from 1994-1996.
I assure you he knows much more about operating an SSL than this video would suggest. Everything we did as assistant engineers was directed by Chris, so he does know the technicalities of audio quite well. What type of 1/2” tape sounded best to him, alignment levels of the analog machines and the 3348, etc. Sometimes us assistants would figure out a technical trick and tell him. He’d go “Alrighty then! Great!” and you’d think he wasn’t listening. Then a week later he’d go “Let’s do that thing you mentioned last week.” His philosophy on having the assistants prep the tracks was that he could come in fresh with all the headache-inducing crap out of the way and just listen to the song and get to mixing right at 11am. Client showed up at 6pm. We were usually done by 8 or 9. We’d leave the track up overnight in case the client found something that bothered them overnight. Prep the next track in the morning, and do it all over again! It was a lot of fun. Chris and Tom both treat their assistants very well. Like family, really.
He’s a funny guy. When it’s just you and him in the control room, he a gear geek who’ll buy you lunch and ask how you’re wife is doing, then send you home with a $100 bottle of wine to share with her. When the client shows up, he’s a boisterous NJ guy who runs the show and wants the assistant to lay low for a while.
I’ve A/B’d mixes he’s done on different consoles and he will adjust to different environments to get similar results. He doesn’t necessarily NEED all that gear, but he likes it and takes advantage of it.
I don’t think this one interview is really indicative of who Chris really is, or represents his level of technical knowledge. It seems to me that Chris was a bit annoyed by the guy and just wanted to get out of there ASAP!
On a similar note, I sat behind him for a long time, and in the exact same room with the exact same gear, I could not make a mix jump off the speakers like him. 99% of his sound (same with Tom) is his instincts and ears. You cannot learn what they do in a class.
Additionally, Chris talked about his mentor at Unique often, and things he had taught both Chris and Tom. I can’t remember his name but it was obvious Chris revered him and missed him dearly. He died fairly young. We all gotta learn it from someone. What you do with that knowledge is up to you.
I know he liked Bob Clearmountain personally and professionally, but I’ve been in the room with both and they couldn’t be more different in their approaches and personalities. Not quite sure where that “influenced by Clearmountain” came from.
Anyhoo... There’s my rambling thoughts on CLA.
Old 27th March 2018
  #475
Lives for gear
Quote:
Originally Posted by Gabs View Post
I know this is an old thread, but I gotta respond...
I was CLA’s assistant from 1994-1996.
I assure you he knows much more about operating an SSL than this video would suggest. Everything we did as assistant engineers was directed by Chris, so he does know the technicalities of audio quite well. What type of 1/2” tape sounded best to him, alignment levels of the analog machines and the 3348, etc. Sometimes us assistants would figure out a technical trick and tell him. He’d go “Alrighty then! Great!” and you’d think he wasn’t listening. Then a week later he’d go “Let’s do that thing you mentioned last week.” His philosophy on having the assistants prep the tracks was that he could come in fresh with all the headache-inducing crap out of the way and just listen to the song and get to mixing right at 11am. Client showed up at 6pm. We were usually done by 8 or 9. We’d leave the track up overnight in case the client found something that bothered them overnight. Prep the next track in the morning, and do it all over again! It was a lot of fun. Chris and Tom both treat their assistants very well. Like family, really.
He’s a funny guy. When it’s just you and him in the control room, he a gear geek who’ll buy you lunch and ask how you’re wife is doing, then send you home with a $100 bottle of wine to share with her. When the client shows up, he’s a boisterous NJ guy who runs the show and wants the assistant to lay low for a while.
I’ve A/B’d mixes he’s done on different consoles and he will adjust to different environments to get similar results. He doesn’t necessarily NEED all that gear, but he likes it and takes advantage of it.
I don’t think this one interview is really indicative of who Chris really is, or represents his level of technical knowledge. It seems to me that Chris was a bit annoyed by the guy and just wanted to get out of there ASAP!
On a similar note, I sat behind him for a long time, and in the exact same room with the exact same gear, I could not make a mix jump off the speakers like him. 99% of his sound (same with Tom) is his instincts and ears. You cannot learn what they do in a class.
Additionally, Chris talked about his mentor at Unique often, and things he had taught both Chris and Tom. I can’t remember his name but it was obvious Chris revered him and missed him dearly. He died fairly young. We all gotta learn it from someone. What you do with that knowledge is up to you.
I know he liked Bob Clearmountain personally and professionally, but I’ve been in the room with both and they couldn’t be more different in their approaches and personalities. Not quite sure where that “influenced by Clearmountain” came from.
Anyhoo... There’s my rambling thoughts on CLA.
I know this a CLA thread, but I want to hear more about Bob Clearmountain’s approach. It’s hard to find anything anything online about his technique and arguably one of the best.

Care to share Gab?
Old 27th March 2018
  #476
Lives for gear
 
studjo's Avatar
 

ditto
Old 27th March 2018
  #477
Here for the gear
 

I never assisted for Clearmountain. I was working on a Toni Childs record in 1990 or so and delivered the tapes to Bob for mixing. He let me hang out for a while and check out his setup. I don’t remember much of the specifics, unfortunately. It wasn’t overly remarkable. The usual late-80’s stuff: 480L, Publison (), some Pultecs, GML stuff, etc. I just remember thinking it was more eq and effects based than compressor based like the Lord-Alges. I assisted for Tom for a couple years, as well. I’m quite adept at documenting 1176’s and DRE2000’s!
Listening to his mixes and reading interviews with Bob, he seems much more eq-centric than “Spank it and crank it!” like Tom and Chris. I was friends with Ryan Freeland, Bob’s assistant in the 90’s and into the 2000’s for a while (actually friends with his wife, but we all hung out on occasion) and we had some conversations about how Bob works. His workflow seemed similar to CLA, but how they got to the end result seemed much more methodical and technical with Bob. Chris sits down and just goes like a bat outta hell for 6 hours straight. Bob seemed like more of a scientist, to me.
But like I said, I never sat behind Bob for 1,000’s of hours.
Old 28th March 2018
  #478
Lives for gear
 
doorknocker's Avatar
Quote:
Originally Posted by Gabs View Post
He’s a funny guy. When it’s just you and him in the control room, he a gear geek who’ll buy you lunch and ask how you’re wife is doing, then send you home with a $100 bottle of wine to share with her. When the client shows up, he’s a boisterous NJ guy who runs the show and wants the assistant to lay low for a while.
Well, i assume that is exactly why folks hire him: decision making, speed, balls. These days (major) record production is often such a technical and endless option deal that I imagine a guy like CLA is just what is needed. No to take away from his skills (you can't be a hack if you are at the top for DECADES) but I guess that the qualities mentioned above are a big reason for his success.
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
roadsweeper / So Much Gear, So Little Time
21
Stu Diddly / Low End Theory
4
DP40oz / So Much Gear, So Little Time
50
Musikvilla / High End
1

Forum Jump
Forum Jump