nerd alert
rachel's posts sure are a lot more exciting to read huh? i know there are recording nerds reading this too, so i will keep up the nerd details.
oh shit, the mix started on tape (did i mention - 1/4" quantegy GP9 (i used my older stock from 2k3 instead of a recent 2k5 batch, lame i know), standard 520 nWb/m fluxivity, no NR, NAB EQ, 15ips, standard tones, 1k,10k,100hz,50hz @ 0db vu. the interim computer work was through a motu 828mkii at 96k, 24bit using digital performer. i love the top end on the record. clear and open without being brittle. overheads sound so good.
mastering started on the atr, then i *believe* the lavry a/d converter, to the requisite limiter, to the avalon eq, to the chandler/neve limiter to the system 6000 eq. slight boost at upper mids for snare/vocal/gtr, hair on top for air, some slight notches in low end on the system 6000. all of that through the monster dunlavy speakers. ask the guy doing your bedroom mastering if he uses $8000 speakers to make critical decisions on.
but at this point being done - i want to emphasize how great it is to work with super experienced professionals throughout the process. the record sounds soooo good in my opinion, and i dont think that's an accident. we didnt cut corners on the things that matter. we chose an awesome live room at pachyderm, (who provided us amazing assistants in jim and adam, who were clearly trained in the old school of studio professionalism) with an awesome engineer who we have a great repoire with (greg) and also went back with trev, another awesomely seasoned veteran who's super down to earth in the way only a canadian living in milwaukee could be. everyone involved is super respected in thier fields. bonus info - trevor worked on nine inch nails - broken. and has new age mastering grammys. fortunately - our record doesnt sound like yanni. if you're making a record, work with people who you're on the same page as and can understand where you're coming from - who have benefitted from experience. between greg and trevor, those guys have literally hundreds and hundreds of credits to thier names - and just cuz you buy an mbox at guitar center, doesnt mean you can make a great sounding record.
i had beers with greg last night, and some things he noted that he was real happy with are the bathroom guitar (so good) and the shure beta 52 on bass gtr. it's not clicky like a d112, but has super good low end. he also thought it could have been the neve console that it went though..but that was a pleasant suprise. i feel like i've learned so much in making this record, and thank those guys for teaching me a shit ton of stuff along the way so i can help other bands make great records too.
oh shit, the mix started on tape (did i mention - 1/4" quantegy GP9 (i used my older stock from 2k3 instead of a recent 2k5 batch, lame i know), standard 520 nWb/m fluxivity, no NR, NAB EQ, 15ips, standard tones, 1k,10k,100hz,50hz @ 0db vu. the interim computer work was through a motu 828mkii at 96k, 24bit using digital performer. i love the top end on the record. clear and open without being brittle. overheads sound so good.
mastering started on the atr, then i *believe* the lavry a/d converter, to the requisite limiter, to the avalon eq, to the chandler/neve limiter to the system 6000 eq. slight boost at upper mids for snare/vocal/gtr, hair on top for air, some slight notches in low end on the system 6000. all of that through the monster dunlavy speakers. ask the guy doing your bedroom mastering if he uses $8000 speakers to make critical decisions on.
but at this point being done - i want to emphasize how great it is to work with super experienced professionals throughout the process. the record sounds soooo good in my opinion, and i dont think that's an accident. we didnt cut corners on the things that matter. we chose an awesome live room at pachyderm, (who provided us amazing assistants in jim and adam, who were clearly trained in the old school of studio professionalism) with an awesome engineer who we have a great repoire with (greg) and also went back with trev, another awesomely seasoned veteran who's super down to earth in the way only a canadian living in milwaukee could be. everyone involved is super respected in thier fields. bonus info - trevor worked on nine inch nails - broken. and has new age mastering grammys. fortunately - our record doesnt sound like yanni. if you're making a record, work with people who you're on the same page as and can understand where you're coming from - who have benefitted from experience. between greg and trevor, those guys have literally hundreds and hundreds of credits to thier names - and just cuz you buy an mbox at guitar center, doesnt mean you can make a great sounding record.
i had beers with greg last night, and some things he noted that he was real happy with are the bathroom guitar (so good) and the shure beta 52 on bass gtr. it's not clicky like a d112, but has super good low end. he also thought it could have been the neve console that it went though..but that was a pleasant suprise. i feel like i've learned so much in making this record, and thank those guys for teaching me a shit ton of stuff along the way so i can help other bands make great records too.
posted by two tickets to paradise at 3:25 PM
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