I Love It When I Get To Do Fun Stuff At Work

yeti

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My day job in broadcast audio mostly consist of live sports broadcasts, location sound, audio-post for documentaries but every once in awhile I get to work on a fun music project. So many experiences, so many technical difficulties, so many lessons learned...

Anyway, the result this time around is a half hour TV show and about 20-plus little vignettes that'll go up on our website in the next couple of days. we didn't throw anything away, LOL

Here's a taste, more on our website.

The fey-musical influences
 

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yeti

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Made a quick, sloppy video outlining two technical challenges recording one of the bands. My recording station was backstage behind a curtain so I couldn't see anything and monitoring the audio through headphones during the show was next to impossible. Anyway, here's the short video of what I was dealing with.

 

yeti

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Here's a bunch of videos from this project. First up is "The Fey"
I'm looking forward to hear constructive criticism.
 
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yeti

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and the entire 30 minute show


some videos aren't on Youtube so here are those links

The Fey-Be good, be careful
The Fey-No religion

I should also mention that I used RX-5 extensively on guitars and even bass. The Telecaster and even that MusicMan Bass were extremely susceptible to EMI interference, the problem exasperated by their very liberal use of Fuzz, Distortion, etc. It was borderline unbearable live but RX-5 got rid of 99% of it, what a great tool.
 
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yeti

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The next artist is Andrea van Kampen

My only complaint here is the grainy and fizzy quality of the reverb. I used the stock Air reverb in Protools since I had nothing better and the producers liked it that way. I love the 77DX on her voice and the Royer on the Taylor ( the Martin not so much)
 
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yeti

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And finally there's Emily Bass and the near miracle
her lav mic ( Sennheiser MKE-2) was broken, resulting in tons of intermod distortion and sibilance, I tried my best to get rid of it.

For the studio shoot the goalposts moved from acoustic, low volume to bar-band style in a matter of a few moments and discussions. The look stayed the same though, as few mics visible as possible, a clean look was what was requested. I used the Soundfield for Drum Overheads. Sennheiser e602 on kick, e606 on toms and snare (yuk, I'll never do that again), DPA 4060 inside the piano, Neuman TLM 170 on Bass, SM 57 on guitar and SM 58 on vocal. It looks pretty unobtrusive.


and this next one is my favorite as far as the music portion goes. It was recorded in a living room on an out of tune upright piano with lids and panels glued shut, pushed against a wall, not ideal conditions. I used our Calrec Soundfield MK IV and in post created two separate virtual mics, one tight cardioid facing the vocals and a figure-8 , rotated 90 degrees with the vocals in the null. Interestingly those 2 virtual miss still needed to be phase aligned against each other, despite being generated off the same coincident Tetrahedral mic array. This allowed for separate processing (within reason) of the piano and the vocal. I added reverb to the voice w/o affecting the piano which was already "washed out" by overuse of the sustain pedal ( my opinion, folks). I then ducked the side mic a dB or 2 whenever she sang.
I think it sounds like being there, which was the goal.
The way it was shot was that the first take was close-ups of hands and a lock-down tight shot on her face. After we had that take in the can as music master take, I removed the mic and the artist gave us 2 more takes where the cameras got all the other shots they needed. In post we just walked in those shots as good as we could. That's how it works when you don't want to show the microphones.


Sorry for the mass dump but I thought this might be of interest to some here.
Cheers
 
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