AE-240 Early Fall 2011
FOLLOW UP MIXES: March 2012
Week-10: Class Mixes
These are the mixes to tape, with no
processing of any kind.
Thanks for taking the class!
Week-9: Technical day. Possible
John Kargol played 'acoustic guniea pig'
as we explored mics & techniques, two different acoustic guitars, one
'Nashbville tuned.' michael Freeman Rogers willfully submitted to
tambourine OD, both near and far. Jordan and John set up a rough
mix and Eddie aligned the system so that we could accurately compare two
identical mixes, one digital and one analog. We also disussed
'studio / production politics' as well as why the new guitar parts and
unusual omni dynamic mic choice worked so well.
Below is a visual comparison of the mix,
left is digital, right is analog.
Please read the Q&A that Ally submitted
(below). Ally had similar questions raised by another student
and I think my answers fill in some of the holes that may have resulted
from the speed at which we hurried through the previous classes
Week-8: June Bug OverDubs
Bass, Acoustic and electric guitar ODs
made for a relaxed session. Four versions of Destiny (below),
the 'raw' mixes were done either listening to the 3x5 speaker in the Otari
or on the Polk home HiFi speakers. Processed version went through
Abode Audition's multiband processor.
I am planning on writing a more detailed
overview and am stil waiting on your feedback.
Week-7: June Bug Session!
Phew! That was alota work,
but it came out pretty good. Thanks to the band for being patient,
esp to Anthony for being so accommodating, to Mason for bringing in the
cymbals, to Dillon for trying so many basses and to all who helped get
it going (and esp to those who could stay late).
Just a few samples
here (or scroll down). As always, your feedback 'requested.'
More details to come.
Week-6: Intro to Broken 24 track, sticky-shed
tape and JuneBug rehearsal!
It was a bit disorienting to start off
with a sick machine and sticky tape, but that's 'analog,' warts and all.
The rehearsal tweaks went pretty well.
Both Mason and Dillon are going to bring in cymbal options. I will
bring a new snare head and kick damper belt and pillow. Five song
demos are below.
This session the drums will be closer to
the door, Anthony will be in the booth, all amps will be in the room, with
the bass behind Tony's head as before. Anthony will wear headphones
and his vocal will be piped into the room.
John and I stayed late and solved the
main speed problem Tuesday night. I came in on Thursday to work on
"The Lower Remote / Locator." I have the upper half at home and will
take a peek before bringing it in.
Week-5: Session - Molly Dean,
Dan Zamzow and Rachel Price
What can I say? WOW! Goosebumps!
If this session did any one thing it proved my theory that it's not about
the gear but the way people play together. Five microphones (plus
the live verb mics).
Please write about this and all the other
classes - otherwise I cant give you a grade. There are flwas in these
recordings. Please listen closely and pick them out...
Week-3: Tony Kollman's
June Bug Session
Two guitars, bass, drums and vocal to four
tracks. Think we can do it?
We'll start with everyone in the lounge
Drums: Crotch Mic (to Altec 1612
Mixer to tape track-1)
Bass: SM-58 (to Altec 1612 Mixer
to tape track-1)
Guitars: Cascade Fat Head ribbons
to tracks 3 & 4 (Neve 1272 & Pultec MB-1 preamps)
Vocal(s): Cascade Vin-Jet ribbon
to Alect 438 to track-2
After the session, Tony played drums on the track John Kargol started
HERE ARE THE BAND DEMOS
Week-2: First 4-track Session
Drums were set up, Jordan Weyh was collared
and a quick track was laid down from which John cut a loop to use as a
'metronome.' In the interest of time and the exercise of making a
loop and getting started, we did not get fussy about the sound. That
said, the kick beater should have been turned around to the hard rubber
side instead of the felt side. A better cymbal would have been great.
Acoustic was laid down first using
the modified Nady TCM-1150 in fig-8 placed at head level toward where the
strings were being picked. The preamp-limiter to tape was an Altec
Bass went down next, DI into the
Altec 438, mid-bump on the API 560 and a little xtra limiting via the LA-3.
Vocal was tried with vari-speed, but Electric
Guitar ended up permanenetly on tape instead. The Fender pro-junior
with Limiter mod was captured by a Cascade Fathead driving the Neve 1272
with JLM preamp upgrade.
Eddie mixed to the Otari 2-track
during clean-up doing all EQ and level judgements via its oval speaker.
Two versions below, raw and 'mastered.' The drums were purposefully
not prominent, thinking that a real drum track would better serve the song.