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Thank you Paul!
Old 17th February 2020
  #1
Lives for gear
 
drockfresh's Avatar
Thank you Paul!

It's great to have someone who really knows what they are talking about help us that don't really know what we are talking about.

Thanks for being so helpful to us all on Gearslutz

-D

Last edited by drockfresh; 18th February 2020 at 10:52 PM..
Old 18th February 2020
  #2
Lives for gear
 
drockfresh's Avatar
Hey Paul,

To get more specific. Let's talk about thickening up and/or taking the edge off digital audio. I find straight digital into clean converters without tubes or distortion boxes can be sharp and needs some "pleasant distortion." Anything deviating form pure digital is technically "distortion," correct?

I have seen you praise a few boxes:

Overstayer
Coil Audio

Do you always add color on the way in or do you hit signals in the mix phase?

Do you always use certain boxes the same way (like X sits on your drum buss and vocals always pass through Y).

-D
Old 19th February 2020
  #3
Quote:
Originally Posted by drockfresh View Post
Hey Paul,

To get more specific. Let's talk about thickening up and/or taking the edge off digital audio. I find straight digital into clean converters without tubes or distortion boxes can be sharp and needs some "pleasant distortion." Anything deviating form pure digital is technically "distortion," correct?

I have seen you praise a few boxes:

Overstayer
Coil Audio

Do you always add color on the way in or do you hit signals in the mix phase?

Do you always use certain boxes the same way (like X sits on your drum buss and vocals always pass through Y).

-D
Well, I started on a big old Trident console, a Studer 2" and I mixed down to tape.
Therefore I've always had a thick analogue sensibility.
WHEN I'm tracking I spend as long as I need using the right microphone in the right microphone pre amp. Like an Sm69 into a couple of Coil valve pre amps. This doesn't make the sound thick and gooey, in fact it is a very open and beautiful sound so I might just cook it a little too high. Neve style pre amps tend to crunch nicely when you drive them too hard.
Then I might also add Silver Bullet or Black Box HG2 to add some thicker harmonics like it's been through an old console as I find pure digital to sound too glassy and clear.
It doesn't have to be the latest, greatest gear though. It can be a cheap mic through a tape echo or an old mixer or guitar amp, anything to add harmonics to the sound.
Lately I've been running everything through a JBL speaker and printing it in stereo as a room spill sound like a band playing in the same room. Doing this with a digital room reverb plug in already on it can work wonders. That's a secret I've just discovered.
Or if you can't re-amp the whole sound try putting everything through a chamber and then adding a distortion like Sans amp to that.

I generally add colour on the way in as it might save me some outboard for mixing. Everything gets mixed through tape emulators, compressors, saturators or just driving the desk. I also use plug ins for saturation. UAD, Softube, Waves etc. Used to taste they can work really well. Tape, saturation, distortion etc.

I have a 500 series desk so I mix channels around when I get bored. I also do the same with 19" gear like Overstayer and compressors/eq's but I generally have an idea of what I'm going for regardless of the gear I'm using.

I like to run a parallel saturated vocal track too which picks up the reverbs better and puts it more in you're face. I think the most important parallel stuff is drums, bass and vocals and maybe some stuff on the stereo bus.
The Andrew Scheps rear bus technique is magical too and I couldn't work without that now I've started.

I also like a bit of lo-fi bit crushing on drums to fatten them up and make them sound like Akai S950's. Pitching drums down is another favourite of mine, I do like drums to be in key though so they slam with the bass.

I like Spring reverbs and plates as they add beautiful harmonics to synth pads and strings as well as the typical guitars and drums like dub.

Lastly thanks for your enthusiasm, it gives me confidence in this insecure game.
Old 19th February 2020
  #4
Quote:
Originally Posted by Paul_G View Post
Well, I started on a big old Trident console, a Studer 2" and I mixed down to tape.
Therefore I've always had a thick analogue sensibility.
WHEN I'm tracking I spend as long as I need using the right microphone in the right microphone pre amp. Like an Sm69 into a couple of Coil valve pre amps. This doesn't make the sound thick and gooey, in fact it is a very open and beautiful sound so I might just cook it a little too high. Neve style pre amps tend to crunch nicely when you drive them too hard.
Then I might also add Silver Bullet or Black Box HG2 to add some thicker harmonics like it's been through an old console as I find pure digital to sound too glassy and clear.
It doesn't have to be the latest, greatest gear though. It can be a cheap mic through a tape echo or an old mixer or guitar amp, anything to add harmonics to the sound.
Lately I've been running everything through a JBL speaker and printing it in stereo as a room spill sound like a band playing in the same room. Doing this with a digital room reverb plug in already on it can work wonders. That's a secret I've just discovered.
Or if you can't re-amp the whole sound try putting everything through a chamber and then adding a distortion like Sans amp to that.

I generally add colour on the way in as it might save me some outboard for mixing. Everything gets mixed through tape emulators, compressors, saturators or just driving the desk. I also use plug ins for saturation. UAD, Softube, Waves etc. Used to taste they can work really well. Tape, saturation, distortion etc.

I have a 500 series desk so I mix channels around when I get bored. I also do the same with 19" gear like Overstayer and compressors/eq's but I generally have an idea of what I'm going for regardless of the gear I'm using.

I like to run a parallel saturated vocal track too which picks up the reverbs better and puts it more in you're face. I think the most important parallel stuff is drums, bass and vocals and maybe some stuff on the stereo bus.
The Andrew Scheps rear bus technique is magical too and I couldn't work without that now I've started.

I also like a bit of lo-fi bit crushing on drums to fatten them up and make them sound like Akai S950's. Pitching drums down is another favourite of mine, I do like drums to be in key though so they slam with the bass.

I like Spring reverbs and plates as they add beautiful harmonics to synth pads and strings as well as the typical guitars and drums like dub.

Lastly thanks for your enthusiasm, it gives me confidence in this insecure game.

That's such a treasure trove of useful info right there, that I'm going to print that out so I can start mining ideas to try.
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