Thursday, December 27, 2012
Sunday, December 9, 2012
get lost.: its a travel blerg.
get lost.: its a travel blerg.: Tommorow night I leave to the Buffalo Airport to catch a nights sleep and an 8 am plane to Charlotte, NC. A quick layover then on to Central America. I will spend a month between Nicaragua and Costa Rica free-walking volcanoes and fighting sharks..
In the event that the world doesn't end, on January third I'll be flying to Seattle to meet a certain illustrious creature, then together we go on to one of the most seemingly beautiful places on earth, Vietnam.
This blog exists to keep a track on things, I tend to lose journals.
stay posted. if you want.
In the event that the world doesn't end, on January third I'll be flying to Seattle to meet a certain illustrious creature, then together we go on to one of the most seemingly beautiful places on earth, Vietnam.
This blog exists to keep a track on things, I tend to lose journals.
stay posted. if you want.
Friday, December 7, 2012
Processing Pass / Fail
REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: N/A
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BEGIN: REPORT
The processing pass fail gave me a more in depth knowledge about using the busses and sends to create more manipulable wet to dry ratio's when it comes to using aux's for processing. It also helped me solidify my understanding of side chaining within pro tools. There are a couple tricks to get it working which I didn't understand because it is laid out a little bit differently in the ableton compressor stock plugin, which is pretty straight forward. If it is a stereo compressor, you send to the triggering key must still be coming from a mono bus or track - I'm not sure why that it. It seems that you should be able to send a stereo track to the key as long as it is either summed as mono or sending an indipendent left key trigger to the targeted left channel, and the right key trigger to the targeted right channel. But maybe they just figured that would be useless and use too much processing power. Go figure!
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END REPORT
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: N/A
----
BEGIN: REPORT
The processing pass fail gave me a more in depth knowledge about using the busses and sends to create more manipulable wet to dry ratio's when it comes to using aux's for processing. It also helped me solidify my understanding of side chaining within pro tools. There are a couple tricks to get it working which I didn't understand because it is laid out a little bit differently in the ableton compressor stock plugin, which is pretty straight forward. If it is a stereo compressor, you send to the triggering key must still be coming from a mono bus or track - I'm not sure why that it. It seems that you should be able to send a stereo track to the key as long as it is either summed as mono or sending an indipendent left key trigger to the targeted left channel, and the right key trigger to the targeted right channel. But maybe they just figured that would be useless and use too much processing power. Go figure!
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END REPORT
Thursday, December 6, 2012
Pro Tools Routing
REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: N/A
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BEGIN: REPORT
I'm retty sure that the class where we did this in class pass/fail was my first ever class of BDC301. Kevin was teaching and showing us what to do, and I was thrown right into it. It was a great learning experience for me because although I have tended to mix using aux's to apply processors to a group of say vocals, or drums, I had never considered the use of busses and sends in tandem with aux's to create the ability to have a dry and wet mix of the group in order to lower the ratio of processing to the desired effect. I have been using these tools for routing ever since this class, whenever I deem necessary. Sometimes for tracks it is unnecessary to go that in depth with routing if I know exactly how I want it to sound, but if I'm not sure for example how much compression I want on a drum group, I can create a parallel compression aux track in order to bring the compression mix up or down to achieve the right balance. It was a great and very useful thing to learn!
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END REPORT
Pro Tools Refresher
REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: N/A
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BEGIN: REPORT
Although I wasn't in the course for when we were assigned the Pro Tools refresher pass fail assignment, I had a great time working with the file after the fact. I decided to use the smooth jazz to start it off at a slow pace, then as the commercial progress, it jumped to a contrasting hair metal section. There were lots of good lines to work with and I went for the comedic effect at the end where Finlay kind of trails off. I've never mixed a commercial in Pro Tools before, however I have mixed a couple joke commercials in Ableton. It was a fun task!
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END REPORT
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: N/A
----
BEGIN: REPORT
Although I wasn't in the course for when we were assigned the Pro Tools refresher pass fail assignment, I had a great time working with the file after the fact. I decided to use the smooth jazz to start it off at a slow pace, then as the commercial progress, it jumped to a contrasting hair metal section. There were lots of good lines to work with and I went for the comedic effect at the end where Finlay kind of trails off. I've never mixed a commercial in Pro Tools before, however I have mixed a couple joke commercials in Ableton. It was a fun task!
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END REPORT
Tuesday, December 4, 2012
What I learned!
REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: FINAL STATEMENT
DATE: 04/12/12
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BEGIN: REPORT
My favourite part about this learning experience this semester was being able to work with new people who have different mixing techniques, and also have access to great mics and equipment that I don't normally have access to. Sometimes it was difficult to make things happen, as I was taking 7 courses this semester as well as working on several projects outside of school and working. Also an additional roadblock was getting into the course 3 weeks late, and not having my card approved for building access although I tried, and not having access to online RTA resources for the first little while. I would have liked to have more time to spend on certain assignments. That being said, I took what I wanted away from this course. For my in class test I thought I was running out of time and rushed it, missing the compression and VU metering, but what can you do!
I have gained an expanded base of tools from which I can pull for micing techniques, mixing techniques, creating and editing scores for film. All of these have come in extremely handy both in my work and personal projects. I'm dissapointed that I missed Brian's mastering lecture due to being sick, however the way someone summed up what he showed us to me seemed very much like the way I work anyhow. It was great to meet other engineers who have similar taste in people they like to work with, and I hope to stay in touch with them in the future.
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END REPORT
Another case of the Shakin' Natives
REPORTING: #EDWINPHENIX
LOCATION: #KEVINFEVER STUDIOS FLA
PROJECT: GINGER GREY
DATE: 25/12/12
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BEGIN: REPORT
Brought the Shakin' Natives session files back home and started to work on them in Pro Tools. Agents Dan and Nicole had already started some basic compression and gating of the tracks, which was a nice and simple point to start working from. I tweaked some of the compression ratios, used some other compressors such as waves Vcomp and some VEQ's for different tracks. I decided to put some blanket overdrive on all the vocals, to give it that rugged lo-fi sound it needed. Dan later listened to the mix and thought they were a little too crunchy, but it was a good aesthetic. I used STOMP II plugin for this. I put a vintage filter on the drums - besides the kick - in order to get some fat and gritty sound. Also, I put a sub bass booster on the kick [Waves Rbass] to have a concentrated boost in the 80 Hz frequency. I parallel compressed the drums and kept the compression relatively low in the mix, because this sound shouldn't be too compressed, although a pop tune it is still pretty lo-fi. I think the result was a nice and punchy grunge sound, rather than a shimmery bright over produced sound which is not what I think the band is going for. I'd like to bring them down to my studio to redo some of the vocals in the future. I see some great potential in these young lads and would like to set them up with some other fitting acts to play some shows.
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END REPORT
A Case of the Shakin' Natives
Ginger Grey
REPORTING: #EDWINPHENIX
LOCATION: MULTITRACK
PROJECT: GINGER GREY
DATE: 23/12/12
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BEGIN: REPORT
Came up on a Saturday to record Agent Nicoles brother's band "Shakin' Natives". They're young and sound like a mix between Tame Impala and the Pixies. Their vocals are not fully matured but for the most part they sound great. They recorded the song "String Me Along" which is sure to be a hit, as it is catchy and has a simple chorus. The coles weren't used as overheads for this session. They used 57's on the amps and d112 on the kick, NT5's for the over heads. This gave them an overall brighter sound which I found unnecessary.
LOCATION: MULTITRACK
PROJECT: GINGER GREY
DATE: 23/12/12
----
BEGIN: REPORT
Came up on a Saturday to record Agent Nicoles brother's band "Shakin' Natives". They're young and sound like a mix between Tame Impala and the Pixies. Their vocals are not fully matured but for the most part they sound great. They recorded the song "String Me Along" which is sure to be a hit, as it is catchy and has a simple chorus. The coles weren't used as overheads for this session. They used 57's on the amps and d112 on the kick, NT5's for the over heads. This gave them an overall brighter sound which I found unnecessary.
Agent Dan gave me a universal serial bus with the information, which I would take and mix the following monday.
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END REPORT
Ginger Grey
REPORTING: #EDWINPHENIX
LOCATION: MULTITRACK
PROJECT: GINGER GREY
DATE: 01/12/12
----
BEGIN: REPORT
Came up from my swampy Floridian abode to accompany Dan Duquette and Max in their recording session with the family band Ginger Grey. The old 90's chorus guitar sound was swelling out of the control room. She was singing and he was drumming.
The used two coles ribbons facing inwards to stereo mic the drums - closer together than I thought they should be, but when I asked why they said they were trying it out. Seems to me like they may have to deal with phase issues. They recorded vocals live off the floor with the SM7 then went back and redubbed them with the TLM103 - for added frequency response. Guitar amp was isolated by paneling and mic'd up with two 57's, one on center for brightness and one off axis for a more deadened sound.
The tracks we're sounding hot, as far as I could tell. I got the session files and went home to my backwoods Florida studio to mix.
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END REPORT
LOCATION: MULTITRACK
PROJECT: GINGER GREY
DATE: 01/12/12
----
BEGIN: REPORT
Came up from my swampy Floridian abode to accompany Dan Duquette and Max in their recording session with the family band Ginger Grey. The old 90's chorus guitar sound was swelling out of the control room. She was singing and he was drumming.
The used two coles ribbons facing inwards to stereo mic the drums - closer together than I thought they should be, but when I asked why they said they were trying it out. Seems to me like they may have to deal with phase issues. They recorded vocals live off the floor with the SM7 then went back and redubbed them with the TLM103 - for added frequency response. Guitar amp was isolated by paneling and mic'd up with two 57's, one on center for brightness and one off axis for a more deadened sound.
The tracks we're sounding hot, as far as I could tell. I got the session files and went home to my backwoods Florida studio to mix.
----
END REPORT
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