The ask FreddyG thread!!!

Discussion in 'Recording Studio' started by nicolasrivera, May 21, 2011.

  1. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008
    Freddy hope you don't mind, but your one of the most creative and knowledgeable people on the forum, and most important you don't hesitate to help us all.

    So I will start with my initial question, I have many, what is your trusty path for tracking vocals and then your go to outboard FX or plugins for mixing it.

    Thanks!

    nico.
     
    b3john, 76Custom, EvLectric and 2 others like this.
  2. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007
    Thanks Nico!
    No I don't mind at all.
    I like to track vocals with a large diaphragm condenser. I often use my G7 microphone that I built, which is a LD tube condenser. It's big sounding, and warm...but like any mic it doesn't always work on every vocal. I don't like stock U87s. I also like the Sony C800g tube mic but usually prefer my G7. If I want a crisper, cleaner mic I really like the Audio Technica 4050. Not a big fan of the rodes LD mics but I like the small diaphragm Rodes for some things (not vocals).
    I like to use my tube mic pre that I built for rock stuff, but I also have an API type solid state mic pre that I built that I like for a clean, very forward presence.
    My go to outboard chain is an LA2A clone (again, one that I built) in series with an 1176. That combo of compressors is just killer for tracking. I usually am a little on the conservative side with compression when tracking but I often go back when mixing and apply more 1176.
    :)
     
    cooljuk and nicolasrivera like this.
  3. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008

    Thanks, incredible you are always using things you build.:applause:
     
  4. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008
    Another question, what is your favorite digital converters for getting sound to the digital domain?

    Thanks.
     
  5. hellraiser_666

    hellraiser_666 Senior Member

    Messages:
    1,058
    Likes Received:
    77
    Joined:
    Oct 29, 2009
    +1 i only know apogee rosetta and thats a long way out of my price range.......:(
     
  6. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007

    I'm using a couple of Digidesign 192 I/O boxes most of the time. Sometimes I will use apogee conversion and if I'm doing a mobile recording I actually really like the Echo audiofire12. It sounds great, and there are no bells and whistles...no preamps, no high impedance inputs, just line in and out.
    But I think it's also important to mention the clock....I would say this is just about as important as the converters.I'm using this one:Rosendahl Nanoclocks
     
  7. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008
    Thanks Freddy. The part of clocks is that i don't have completely clear, are this the sync generates so everything is in time?
     
  8. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007
    In my situation the clock is very important because I often have to sync many different digital sources and destinations, so it's good to have one high quality master clock. But if you have only one (decent) interface with converters then there is probably no benefit from using an external clock.
    Here is a good explanation of the importance of a solid clock.
    Digital Clocking Explained
     
  9. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008
    Thanks for the link!!!
     
  10. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007
    Since Nico started this thread I though I might as well post here. I'm offering up a production I just did for public de-construction and dissection...basically a tutorial of how this mix was constructed. Any and all questions are welcome.
    First, let me give you a brief description of this production. I am a sound designer for a large theatre in Canada, normally my job is to create sound effects, sound scapes and musical support for live plays. This tune was just something that was put together for fun...some of the younger actors wanted to do a rap about their experience of working at this prestigious theatre. They asked me to produce the recording and I said yes. This was done very quickly, only a few hours in total for tracking and maybe double that for mixing. And then of course they wanted to do a guerilla style video to go along with it (they are actors after all). The video was shot in about 2 hours one morning, and they even wanted me in it playing guitar....it was a lot of fun I have to say!
    So, here is the video, I know youtube audio generally sucks, but once we get into the nuts and bolts of this thing, I'll post hi res audio of the mix, and then soloed tracks where we go through the processing involved step by step.
    Enjoy!

    [ame=http://www.youtube.com/watch?v=xVXFGOMHrEQ]Its Good to be Back - The Shavians[/ame]
     
  11. renthepen

    renthepen Senior Member

    Messages:
    470
    Likes Received:
    158
    Joined:
    Jul 25, 2010
    Of course this is not the best audio quality because of youtube but nonetheless it does sound sweet. I like it ;)
     
  12. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007
    Hey renthpen,
    Thanks! I'm glad you're here. It would be great if you'd like to jump in and offer your thoughts and advice when we start getting into this. I've read some of your posts and it seems you have the skills, so it might be cool if you offered suggestions on how you would have done something differently etc. One thing I know for sure, if you give 100 engineers that same tracks and the same tools you will still get 100 very different mixes right? It is an art form after all.
     
  13. renthepen

    renthepen Senior Member

    Messages:
    470
    Likes Received:
    158
    Joined:
    Jul 25, 2010
    Once again I completely agree with your wise point of view. Art is subjective, and worst of all the words we use to describe art have different meanings for all of us! What does the word "intense" mean to you when talking about music? Ask people around you and see how impossible it is to seize this word!

    Now, about my input, I would be glad to participate in the discussions but at the same time I wouldn't dare to hijack your thread. I'll keep an eye on the dissection though, and try to put my 2 french-canadian cents here and there... :cool:
     
  14. nicolasrivera

    nicolasrivera Senior Member

    Messages:
    19,562
    Likes Received:
    10,592
    Joined:
    Dec 3, 2008
    I like it, it has great punch and vibe, the mix is very solid and sounds tight together every part is complementing the next and so on, very nice, congratulations.

    The only thing i did notice was the noise gate acting too pronounced on the bass line right after the initial strings at 0:09.

    The video was great too!!!
     
  15. Freddy G

    Freddy G V.I.P. Member

    Messages:
    9,410
    Likes Received:
    17,666
    Joined:
    Mar 18, 2007
    Thanks Nico...ahhh good ear! Yes that bass line is a loop that came to me that way, I did not put a gate on it.
    This is how it came together. There are two guys in the group that put the basic track together using Acid (the creative program, not the creative drug :D)
    They had a drum loop, a bass loop, beatbox, and strings. All of these loops sounded on the lo-fi side to me, I wasn't sure if it was just the way they were processed when they were recorded or if it was the artifact caused by Acid's tempo stretching. I bounced each track out of Acid and imported them as 44.1k, 24 bit wav files into Cubase 5 where I did the whole production, from tracking and mix to mastering. I did a quick (literally about 1 minute) mix of the basic beds for the guys in their headphones. I leaned heavily on the beat for that mix because I wanted the lyrics to be a rhythmically tight as possible...there were no worries about pitch as you can imagine. If it were for actual singers, then I would have included a lot more melodic, musical content in the headphone mix for them to keep relative pitch.
     
  16. renthepen

    renthepen Senior Member

    Messages:
    470
    Likes Received:
    158
    Joined:
    Jul 25, 2010
    All the experience I have with Acid would point in that direction.
     
  17. FLICKOFLASH

    FLICKOFLASH V.I.P. Member

    Messages:
    24,739
    Likes Received:
    8,290
    Joined:
    Mar 18, 2007
    He did a killer compound radius brazilian board for me as well .He is also a real deal Luthier.
     
    Freddy G and nicolasrivera like this.
  18. hellraiser_666

    hellraiser_666 Senior Member

    Messages:
    1,058
    Likes Received:
    77
    Joined:
    Oct 29, 2009
    aww man thats tons good! ive heard way worst quality mixes on the radio. this is absolute pure awesomeness for a short and fun proj :dude:

    man i cant wait to see what its like seperated

    thanks heaps freddy!! :applause:
     
  19. hellraiser_666

    hellraiser_666 Senior Member

    Messages:
    1,058
    Likes Received:
    77
    Joined:
    Oct 29, 2009
    Hey guys, i just learnt this new thing today, and i wanna confirm if i got it right.
    so like when you have a vocal track, you boost the frequency thats making the ess sound and send that to the side chain compressor on the main vocal track, then the compressor will compress the ess sound when it comes up.

    am i on the right track here ??

    thanks guys
    Joe
     
  20. renthepen

    renthepen Senior Member

    Messages:
    470
    Likes Received:
    158
    Joined:
    Jul 25, 2010
    I will let Freddy give his answer but as an introduction, I would say that:

    For "esses" I usually take care of them individually (I edit all peaks to my needs in automation) or if I have too many I use a De-esser, which is actually a plugin that does the sound manipulation you are describing in a user-friendly way.

    The truth, though, is that we are globally getting more and more comfortable with sibilants in audio recordings if you compare with the trends of the past (maybe because of Rap and hiphop? I don't know) but I can tell you that when you EQ-cut just a db or two at the right place on a vocal it usually is enough to take care of the problems. The ess sound is somehow musical to my ear, and mostly its up to the singer to control it: A good, experienced studio singer knows how to sing without pops and exagerated esses.

    The best way to learn how to control your diction and your singing, if you're a singer, is to record yourself with a microphone... without any post-prod effects (no EQ, no de-esser! - good luck!) You might just start to understand how its easy to use "natural" compression (proximity effect) by singing closer to the mic... and why not reverb as well if you sing far away from the mic.
     

Share This Page