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chris carter

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Everything posted by chris carter

  1. For reverb, it’s either the IK Multimedia classic plate (absolutely amazing… still), or convolution – I have tons of convolution files. I’m hard pressed to think of a time I’ve used something else. It happens, but it’s rare. For delay, I use the stock delay, Variety of Sound Nasty DLA (v2 or 3 or whatever version was the last), and occasionally a very old one called Blue Delay because it has a very speedy interface for some classic delay methods that I can’t do as quickly on anything else. Any other delay is pretty rare. I tend to process delay returns rather than resort to specialty delay plugins.
  2. I break the rule about placing a mic 6-12" from the singer all the time because it's a stupid rule. I'm usually micing vocalists around 4" or so. I would say that the VAST majority of pop, r&b, and hip-hop vocals on the radio, and probably most rock vocals on the radio are recorder closer than 6".
  3. The Harry Fox Agency does not issue sync licenses. There are very rare times that they may be able to with permission from the publisher (certain very limited non-profit uses), but the OP's situation would definitely not apply. He needs to contact the publisher.
  4. You need the label (sound recording) which was A&M which has been absorbed by Universal - so contact Universal. For the song you need the publisher, which I believe is currently EMI Blackwood, so contact them. If you are replaying and not using the recording, you only need permission from the publisher.
  5. This is mind-bogglingly huge legislation and the biggest overhaul of copyright law in many decades. It will not do much for current big-time stars, but for the smaller to medium sized artists, writers, and producers, this is absolutely huge. The current copyright laws were inadequate to deal with music piracy, and then again when streaming took over sales. The streaming has been a huge problem and for people like myself it has meant thousands and thousands of dollars of lost income. Where I live there was a team of about four of us Grammy members that lobbied hard for a couple years, along with hundreds of Grammy members across the country. We were fighting huge tech and broadcast companies worth billions that spent millions on lobbyists. And we had…. us, and that’s basically it. The fact that we got this omnibus bill through and unanimously is amazing, and I can tell you that not even close to everyone was on board when we started begging and pleading with legislators. The beauty of this bill is that it is really about simplifying things. The biggest component is the MLC for which we already have a very effective model to follow with SoundExchange. We just basically duplicate that and use a database of songs. ASCAP, BMI, and SESAC, and also NMPA/HFA already have backbones for the databasing that we an model for the MLC. The AMP that will finally get producers their streaming royalties will simply work through SoundExchange in a streamlined fashion instead of through clunky and unmanageable letters of direction – it will be automatic. This bill solves MOST of my huge frustrations as a working professional producer/mixer/songwriter. The only other truly frustrating thing is accurate crediting. I’m on the Grammy leadership committee for the Producers & Engineers wing and we are exploring options for that. But the MMA is huge.
  6. I would not cover them with foam windscreens as they break down over time and condenser mics tend to keep a charge which could attract the particles. I cover mics with plastic sandwich or ziploc bags. I also put away mics that have foam liners in the cases with plastic sandwich bags. Actually, for the condenser I leave up all the time, I use the pleather Sony headphone bag to cover it.
  7. Considering you are using a hardware recorder/mixer, then you have no choice but to use hardware compression if you don't like what the Tascam is giving you. I would not worry so much about "spikes" which sounds like transient stuff. When I mix records, the compression I'm using the vast majority of the time is slow enough to let transient spikes through anyway for the most part. I think that box has a send/return, which you COULD use as a somewhat clunky, but effective, insert point. But I think there's only two or something, and like I said, it would be clunky. So compression on the way in is the way I'd use it. As for the preamp; I've never used the one you are referring to. I do have an ART TubeMP sitting around in a box somewhere in the studio for emergency purposes. I haven't pulled it out in years. Is it likely better than the stock preamps on the Tascam? Probably. Will it be noticeably better? Probably not a ton. If you are seriously cash strapped, then I would probably go for it. But if you can save up a few hundred over the next 6 months, then I would wait and find something better.
  8. I will say Audition has one of the best wav editors on the market. But mixing in that thing (even version 2) sucks. I found it SLOW. Yup. The multitrack part of that program is pointless... a silly add-on. But the editor side is more than worth the price.
  9. Adobe Audition can do it very easily, faster than any other program I know.
  10. When I was in Oakland it was Studio 2112.... the 2112 being the address of the houe I grew up in. When I moved to LA I renamed it. It's now The Feisty Chicken. Why? A good friend of mine always used the word "feisty" all the time and it always cracked me up. And if you add "chicken" to it, it's even funnier.
  11. Is this with a 57? You mean you don't use harmon mutes for classical music? I haven't used a 57 on my horn in like a decade. It'll work, but really that's better for live stuff. Trumpets are good with large diagphragm condensers and ribbons. Preferably not bright ones. My point about the classical thing is just that the distances I was describing are too close for a classical sound. I used to play classical, but not really anymore. As a producer and mixer I'm generally working on pop, r&b, rock and hip-hop so when I bust the horn out, it's on those kinds of tunes.
  12. I play trumpet and record it often. With no mute I tend to be 2 to 4 feet off the mic, maybe just a smidge off axis (like 5 - 10 degrees). Never closer than 18". If it's a punchy tune I'm typically farther; if it's a more intimate sound I'm usually closer. If I'm using a harmon mute, I'm generally up on the mic maybe 12" - 18". Cups and straight mutes are more like the 2 to 4 feet distance. This is all for a non-classical sound of course.
  13. My wall panels are hung from picture frame hooks. My 4'x6' ceiling panel is hung from white cup hooks. There are six of them. A great trick I learned is to hang the panel (using small eye screw on the panel) from the ceiling with cable ties instead of wire or chain. Put a long cable tie through each eye screw on the panel and make a loop with the end pointing to the outside edge. Now hang the panel. Now you can cinch it up to the ceiling and get it nice and tight within an inch or two. Then just snip off the excess cable tie. My 8' bass traps support their own weight by the frame. At the top of each I attached them to the wall: eye screw on the trap, small hook in the wall, cable tie between. Did the same thing cinching up the cable tie to make it tight. Now I can survive an earthquake with those things toppling over and damaging some other gear. Also, the portable vocal booth is cool and if you treat your room you should have no problems. If it's still an issue, hanging a duvet/comforter BEHIND you when you sing will be incredibly effective at cutting out room reflections from the mic.
  14. For bass and for guitars that use PODs and the like the Brick is an absolute no brainer. As a mic pre, it definitely depends on what you want. It's the cheapest true tube (non-toob) and tranny design that is actually a serious tool. But it comes at the cost of absolutely no features whatsoever - no pad, no phase, no HPF, etc. If you want a pre that can give you an up close and personal sound, this will definitely do it. If you want clean, technical vocals that are pushed back in the mix, then this pre is definitely NOT for you.
  15. Two identical wood pieces 76 iches long are fastened by three bolts. You fit the blanket between the the two pieces of wood and screw the bolts tight to squeeze and hold the blanket. When you want to remove the blanket you loosen the squeeze on the bolts. I pounded two nails in the wall and two anchors to the pieces of wood and attached it to the wall. It hangs like a picture. Works great. That's a totally kick ass idea! I have a blanket I hang for doing vocals. It hangs from the ceiling in stead of the wall. I have a sewing machine so I just sewed on little loops on to the endge of the blanket. Hangs from cup hook thingies from the ceiling. You could easily do the same, but use some other kind of hook on the wall. But I must say, the idea above is super cool.
  16. Nice. I thought you were in the Bay Area for some reason. I was until July. While the industry has been tanking, I've been going up... and the Bay Area has been going straight into the crapper. It was time to move. Still doing everything I was before (full-meal deal: produce/engineer/mix), but now that I'm down here I've added mixing other people's records. I've found a price point for mixing that is pretty hard for people to argue with and that part of my business is growing. It's also nice to be closer to people involved in licensing so I can make more from my publishing.
  17. My humble room. Best piece of equipment is the portable AC unit. Despite the low-keyness of everything I
  18. when I first started I had horribly wild mixes that required all kinds of crazy EQ of the final mix to get them to sound listenable. One 'trick' you can do to help you learn how to get mixes you like without severe EQ on the mixbuss is to do the following: Take a song you've mixed, that has your crazy 2buss EQ, and burn a CD of it. Now go back and pull up all the actual tracks and start mixing over again. Use the CD as a reference point and try to get to THAT point without touching the 2buss EQ. It will feel wierd at first, especially if you are used to doing it a certain way. But it's a good way to break the habit without feeling like you don't know what you are going for soincally. Chances are, the 'new' mix that you create will sound better than the reference version AND you'll now have a better idea of how to get there on future tunes.
  19. I rarely will EQ the 2buss. Once in a while I'll add a HPF at a really low frequency on the 2buss before the mix compression, but that's about it. The only time I'll really EQ the 2buss is if I'm really happy with the mix, but for whatever reason I've just been mixing on a slight curve so it's just slightly lacking in say the upper mids or something. In that case, instead of running around EQing half the tracks and potentially screw up an otherwise completely finished mix, I'll just EQ the 2buss. But we're talking very subtle amounts.... like +0.5dB with a Q of 0.7. Anything more than that and I won't do it on the 2 buss, I'll go into the individual channels and fix it there. But something that drastic is really really really uncommon for me.
  20. Punchier? Piano tone? Sure, but you can always find things to nit-pick about with any recording - even the ones that sell a million copies. Bottom line: killer vocalist and great songs. That's what really sells records more than anything. I will point out that I love the quality of the lead vocal. You've shared the recording chain, I'm curious if you'd like to share what you did with it at mixdown.
  21. Originally posted by where02190 IMHO the "hyped" rumor of the NTK is myth. 414's are way brighter than NTK's. Yes there is a pressence peak, yes they have alot of high end, as all LD condensor mics do. Again, with any mic, position is critical. Different tubes make a difference also. Okay, that tells me something. Because I wouldn't necessarily be too scared cutting vox with a 414... it's been a long while since I've used one for vox, but I seem to recall them being "sexy" but not very "impactful", but the high end didn't really scare me. The up-front pop sound I go for often means having to do some level-automation-style de-essing about a third of the time anyway. So it's not a sin for me to have to deal with de-essing. Anybody feel free to disagree as I could use the feedback. Positioning the mic at chest level as The Funk mentioned, and as Where has suggest in other threads, is definitely out of the question for the styles of music I do which generally fall into various forms of pop music. I definitely have to sit the singer on the mic, typically within say 3 - 7 inches. I really haven't found much of a reason NOT to go for the NTK unless someone is really going to give me concern about the sibilance. I think it's more jsut an issue of not knowing a lot about the K2. I've read plenty of reviews, but the hard thing about reviews is that they are so freakin' wishy-washy. I mean, if a mic sounds good they basically just say the same thing every time. As well, most reviews (such as the EQmag one on the k2) really don't talk enough about how the mic sounds, especially with regard to vocals. And when they do talk about vocals, they don't really tell you much about how they were positioning the mic or the style, which has a tremendous impact on whether you consider a mic "bright" or "full" or "warm" or whatever. I don't want to hi-jack my own thread here, but it thoroughly annoys me that most reviews spend half the time or more telling you what the mic looks like and what features it has when any 6 year old can find in 5 seconds or less on the internet or from an add. Okay, that's my little rant on reviews. Suffice to say I prefer to chat with people who actually own the thing and used it a lot. Phill: How would you describe the sonic difference with the tube you now have in it? And for anyone else with an NTK: Are there EQ adjustments you "typically" find yourself making over and over with a vocal track while mixing? THANKS for the great info everyone, it's very helpfull!
  22. Before anyone hits me up with stupid "search" replies, yes I tried doing a search on the Rode K2. But alas, the search feature will not allow words under 3 characters, which is a serious pain in the ass. I'm looking at both the NTK and the K2 for vocals. Primarily pop styled vocals, very close micing (3 - 6 inches from the grill), generous amounts of compression. I've found pelnty of posts about the NTK, but can't search for posts on the K2 due to the 3 character limit with the search feature. Aside from general qualities, I'm also curious to know if people have typical EQ tweaks they seem to have to make over and over with either of the mics regardless of singer (bonus points if you can point me to an mp3 link so I can put your EQ notes in context). Extra bonus points if you can comment on my primary concerns as follows: NTK - I'm a little worried that the high end is TOO hyped. I like plenty of high end in a vocal (like I said, I'm usually going for a pop sounding vocal) and I'm always boosting a little up there, but I don't think I've ever used a mic with that much high end. K2 - Quite the opposite, I'm a little concerned that it may be too beefy in the low mids and lows... especially given that there is no HPF (I don't have a HPF in my mic path).
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