audiosweet
hi. I want to use audio sweet plugins but every time I try protools will do it but wen I try to ad another audio sweet plugin protools just goes back to the edit wind what do I do?
Harmoney Engine Instructions
I'm also c seeing this directly to Chris Norman, just to be sure he gets this. I never got the e-mail you said you'd send with the instructions on using Harmoney Engine. I checked my junk/spam folders, and it's not there either. Did you ever send it? If not, there is absolutely no rush, but would love to get them when you can type them up. Thanks. Chris.
Re: Controling Waves plugins
OK, but after the work he put in to make them, he might not feel comfortable making them public without being done upon request. I for one, definitely can respect his feeling on that, should it be the case. Chris. - Original Message - From: "Kevin Reeves" To: Sent: Friday, June 22, 2012 10:42 AM Subject: Re: Controling Waves plugins There's nothing illegal about publicly making them available. We've got a site up now just for stuff like this. You're not violating any terms of service with waves or anything like that. These are tiny document files that are only valid when the waves plugs are installed. This is almost like when users create presets and make them available to other users. Not any different. Just a thought.
Re: Mainstream Recording?
Kevin, that's an excellent idea! Could there be a place too for featured mp3's? I say this as I have no idea how to do Youtube vids, nor have the camera setup to do it. Also again I ask any of you guys, what is the u r l for the p t access site. It's obviously not ptaccess.com Chris. - Original Message - From: "Kevin Reeves" To: Sent: Friday, June 22, 2012 10:39 AM Subject: Re: Mainstream Recording? Good god. That sounds great as well. Man. You people are blowing me away left and right. I think we're gonna put a page on the site showcasing all yall's youtube vids. THis is great. Kevin On Jun 22, 2012, at 10:34 AM, Scott Chesworth wrote: Hey Brian, Very cool! Good to know there are brethrin of melodic dark and heavy stuff on the same side of the pond here. Curious to hear more man, I'm heading over to bandcamp to pick up the record when I've finished writing this. Yeah, point taken about DI not working for everyone, we're lucky in that it caters well to what we do. At the time, it was more of a productivity-based choice than anything else based on the spaces available to write and record in. Album number 3 will likely stay that way for bass and guitars, but suggesting another triggered album to the drummer could well be the last suggestion I'd ever make. If you're interested in the difference the DI approach made, this was from the first record with live drums and more variation in how guitars were tracked. All in makeshift recording locations again, and it still took some drum reinforcement at mix stage. Who knows, perhaps album 3 might be the one where we actually end up with a decent kit sound to start with LOL! http://www.youtube.com/watch?v=mo9_NYB4AR8 Cheers Scott On 6/22/12, Brian Casey wrote: Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/listening environment and the right pair of ears are all that's needed beyond a basic computer and DAW setup these days for good results. By using D I and triggars, you bypassed that acoustic elements some what, though you obviously didn't have the ideal mixing environment, but what you did have was the good or great pair of ears and artistic vision. Which brings me to my final point, and this is an important one, your setup got a high budget sound for your band in my opinion at l east and I think most would agree with that, however, bring in the Dixy Chicks and they ain't going to sound so good with triggars and D I, well you might get some part of the way, but commercial recording studios are meant to be able to take anything thrown at them to a certain extent. But again I say, the right pair of ears for the project is at least half the battle, and the acoustics is the other half, so that great pair of ears can better t ell what they're actually listening to. Great stuff again Scot, killer guitar tones and great writing. Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 2:18 AM To: Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about th
Re: Controling Waves plugins
Kevin, or others, what is that p t access iste? I thought it was just ptaccess.com, but when I look there, I don't get anything aside signing into your admin account. It's almost like the whole page is totally empty. Chris. - Original Message - From: Kevin Reeves To: ptaccess@googlegroups.com Sent: Friday, June 22, 2012 7:19 AM Subject: Re: Controling Waves plugins Hey chuck. Could you send me the waves presets? I'll put them up on the PT Access site. Kevin On Jun 21, 2012, at 7:27 PM, Christopher-Mark Gilland wrote: Chuck, Do you have Skype by chance? BTW, beautiful verse you have there in your signature. I won't go into a long rant about that, don't worry, but wow. Very nice. Chris. - Original Message - From: CHUCK REICHEL To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 6:15 PM Subject: Re: Controling Waves plugins Hi Poppa, Heres my contact info again. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: I do remember something like that, I will try to dig up his email, or maybe he will chime in. - Original Message - From: Brian Casey To: ptaccess@googlegroups.com Sent: Thursday, June 21, 2012 12:56 PM Subject: Re: Controling Waves plugins Chuck is the man for that from what I've seen in my time here! I think he has settings and stuff that he kindly shares. HTH Brian. From: Poppa Bear Sent: Thursday, June 21, 2012 9:49 PM To: ptaccess@googlegroups.com Subject: Controling Waves plugins Does anybody on here have the time to give me a step by step on using my 002 to start controling my waves Silver bundle in PT? If not, can somebody stear me to a resource that is accessible? Thanks www.soundclick.com/ghettomissionary for your Christian Hip-hop. Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering and all your audio needs. www.crossroadrecording.com
Re: Mainstream Recording?
What he said! -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 4:19 PM To: Subject: Re: Mainstream Recording? I hope not, because the stuff I've posted to it wasn't 100% recorded, mixed and mastered in PT. Think it's more like a "show and tell" of what's possible and what we've learned in less than ideal spaces working on less than ideal gear, right? Scott On 6/22/12, Brian Casey wrote: Oops, guys I have to clarify, I did my mix on Sonar but that wasn't the point of this thread in the first place was it? -- From: "Kevin Reeves" Sent: Friday, June 22, 2012 3:39 PM To: Subject: Re: Mainstream Recording? Good god. That sounds great as well. Man. You people are blowing me away left and right. I think we're gonna put a page on the site showcasing all yall's youtube vids. THis is great. Kevin On Jun 22, 2012, at 10:34 AM, Scott Chesworth wrote: Hey Brian, Very cool! Good to know there are brethrin of melodic dark and heavy stuff on the same side of the pond here. Curious to hear more man, I'm heading over to bandcamp to pick up the record when I've finished writing this. Yeah, point taken about DI not working for everyone, we're lucky in that it caters well to what we do. At the time, it was more of a productivity-based choice than anything else based on the spaces available to write and record in. Album number 3 will likely stay that way for bass and guitars, but suggesting another triggered album to the drummer could well be the last suggestion I'd ever make. If you're interested in the difference the DI approach made, this was from the first record with live drums and more variation in how guitars were tracked. All in makeshift recording locations again, and it still took some drum reinforcement at mix stage. Who knows, perhaps album 3 might be the one where we actually end up with a decent kit sound to start with LOL! http://www.youtube.com/watch?v=mo9_NYB4AR8 Cheers Scott On 6/22/12, Brian Casey wrote: Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/listening environment and the right pair of ears are all that's needed beyond a basic computer and DAW setup these days for good results. By using D I and triggars, you bypassed that acoustic elements some what, though you obviously didn't have the ideal mixing environment, but what you did have was the good or great pair of ears and artistic vision. Which brings me to my final point, and this is an important one, your setup got a high budget sound for your band in my opinion at l east and I think most would agree with that, however, bring in the Dixy Chicks and they ain't going to sound so good with triggars and D I, well you might get some part of the way, but commercial recording studios are meant to be able to take anything thrown at them to a certain extent. But again I say, the right pair of ears for the project is at least half the battle, and the acoustics is the other half, so that great pair of ears can better t ell what they're actually listening to. Great stuff again Scot, killer guitar tones and great writing. Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 2:18 AM To: Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and producti
Re: Mainstream Recording?
I hope not, because the stuff I've posted to it wasn't 100% recorded, mixed and mastered in PT. Think it's more like a "show and tell" of what's possible and what we've learned in less than ideal spaces working on less than ideal gear, right? Scott On 6/22/12, Brian Casey wrote: > Oops, guys I have to clarify, I did my mix on Sonar but that wasn't the > point of this thread in the first place was it? > > > -- > From: "Kevin Reeves" > Sent: Friday, June 22, 2012 3:39 PM > To: > Subject: Re: Mainstream Recording? > >> Good god. That sounds great as well. Man. You people are blowing me away >> left and right. I think we're gonna put a page on the site showcasing all >> >> yall's youtube vids. THis is great. >> >> Kevin >> On Jun 22, 2012, at 10:34 AM, Scott Chesworth wrote: >> >>> Hey Brian, >>> >>> Very cool! Good to know there are brethrin of melodic dark and heavy >>> stuff on the same side of the pond here. Curious to hear more man, I'm >>> heading over to bandcamp to pick up the record when I've finished >>> writing this. >>> >>> Yeah, point taken about DI not working for everyone, we're lucky in >>> that it caters well to what we do. At the time, it was more of a >>> productivity-based choice than anything else based on the spaces >>> available to write and record in. Album number 3 will likely stay that >>> way for bass and guitars, but suggesting another triggered album to >>> the drummer could well be the last suggestion I'd ever make. >>> >>> If you're interested in the difference the DI approach made, this was >>> from the first record with live drums and more variation in how >>> guitars were tracked. All in makeshift recording locations again, and >>> it still took some drum reinforcement at mix stage. Who knows, perhaps >>> album 3 might be the one where we actually end up with a decent kit >>> sound to start with LOL! >>> http://www.youtube.com/watch?v=mo9_NYB4AR8 >>> >>> Cheers >>> Scott >>> >>> On 6/22/12, Brian Casey wrote: Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/listening environment and the right pair of ears are all that's needed beyond a basic computer and DAW setup these days for good results. By using D I and triggars, you bypassed that acoustic elements some what, though you obviously didn't have the ideal mixing environment, but what you did have was the good or great pair of ears and artistic vision. Which brings me to my final point, and this is an important one, your setup got a high budget sound for your band in my opinion at l east and I think most would agree with that, however, bring in the Dixy Chicks and they ain't going to sound so good with triggars and D I, well you might get some part of the way, but commercial recording studios are meant to be able to take anything thrown at them to a certain extent. But again I say, the right pair of ears for the project is at least half the battle, and the acoustics is the other half, so that great pair of ears can better t ell what they're actually listening to. Great stuff again Scot, killer guitar tones and great writing. Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 2:18 AM To: Subject: Re: Mainstream Recording? >
Re: Mainstream Recording?
Oops, guys I have to clarify, I did my mix on Sonar but that wasn't the point of this thread in the first place was it? -- From: "Kevin Reeves" Sent: Friday, June 22, 2012 3:39 PM To: Subject: Re: Mainstream Recording? Good god. That sounds great as well. Man. You people are blowing me away left and right. I think we're gonna put a page on the site showcasing all yall's youtube vids. THis is great. Kevin On Jun 22, 2012, at 10:34 AM, Scott Chesworth wrote: Hey Brian, Very cool! Good to know there are brethrin of melodic dark and heavy stuff on the same side of the pond here. Curious to hear more man, I'm heading over to bandcamp to pick up the record when I've finished writing this. Yeah, point taken about DI not working for everyone, we're lucky in that it caters well to what we do. At the time, it was more of a productivity-based choice than anything else based on the spaces available to write and record in. Album number 3 will likely stay that way for bass and guitars, but suggesting another triggered album to the drummer could well be the last suggestion I'd ever make. If you're interested in the difference the DI approach made, this was from the first record with live drums and more variation in how guitars were tracked. All in makeshift recording locations again, and it still took some drum reinforcement at mix stage. Who knows, perhaps album 3 might be the one where we actually end up with a decent kit sound to start with LOL! http://www.youtube.com/watch?v=mo9_NYB4AR8 Cheers Scott On 6/22/12, Brian Casey wrote: Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/listening environment and the right pair of ears are all that's needed beyond a basic computer and DAW setup these days for good results. By using D I and triggars, you bypassed that acoustic elements some what, though you obviously didn't have the ideal mixing environment, but what you did have was the good or great pair of ears and artistic vision. Which brings me to my final point, and this is an important one, your setup got a high budget sound for your band in my opinion at l east and I think most would agree with that, however, bring in the Dixy Chicks and they ain't going to sound so good with triggars and D I, well you might get some part of the way, but commercial recording studios are meant to be able to take anything thrown at them to a certain extent. But again I say, the right pair of ears for the project is at least half the battle, and the acoustics is the other half, so that great pair of ears can better t ell what they're actually listening to. Great stuff again Scot, killer guitar tones and great writing. Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 2:18 AM To: Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if
Re: Mainstream Recording?
Cool Scot, glad it grabs your curiosity! haha. The D I thing worked really well for you, and I have since got the Waves amp plugs which I quite like, so they'll definitely be in the tool kit for future recordings. There was a lot of feedback and stuff with amps on my album, so D I wasn't the easiest option, b ut I still didn't have the option of letting loose with amps at full volume or anything. The guitar tones are something I hope to improve on, but you can't beat a good drum kit and drummer. I didn't use any sample replacement or reinorcement, but sample reinforcement is definitely something I'll explore in future mixes. It was as much to challenge myself that I didn'tuse them, but I kinda regret it now. I can really hear the difference in that earlier track of yours allright on all fronts, and the drums of course. We're a much less developed band than yours at the moment though, and Ireland has a very limited market for what we're doing. so we'll actually be hoping to hit the UK after the summer when we have some funds together, but its hard to know where to startof course, if you feel like hitting me offlist with any tips they'd be more than welcome! Back to the subject of triggars, an often sighted tip is to record real high hats or ride cymbal etc to get a more human feel, or even just a more raw sound but the triggars sound awesome in your mix. I think I have the drums very present in my mixes, almost too much so compared to yours. One thing that hurt me a lot in themix was that the over heads were fine for cymbal information, but I got no room mojo from them because as I said it was a small badly treated booth, so I got over board with EQ getting the mud out...I also over did gating on the snare a bit too. In my new live room I love setting up a room mike back from the kit, crushing it with the Waves CLA 1176 and I'm much closer to the drum sound I want straight away usually! Comparing our two tracks and methods is an interesting example of stuff discussed on this thread, and my next recordings with this band whenever they come will be in what is essentially a high end project studio and a much more skilled me at the helm, so that will be interesting to hear the difference. I would say comparing our tracks presented on this list that my mixing skills are very much second best, but the only way is up! Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 3:34 PM To: Subject: Re: Mainstream Recording? Hey Brian, Very cool! Good to know there are brethrin of melodic dark and heavy stuff on the same side of the pond here. Curious to hear more man, I'm heading over to bandcamp to pick up the record when I've finished writing this. Yeah, point taken about DI not working for everyone, we're lucky in that it caters well to what we do. At the time, it was more of a productivity-based choice than anything else based on the spaces available to write and record in. Album number 3 will likely stay that way for bass and guitars, but suggesting another triggered album to the drummer could well be the last suggestion I'd ever make. If you're interested in the difference the DI approach made, this was from the first record with live drums and more variation in how guitars were tracked. All in makeshift recording locations again, and it still took some drum reinforcement at mix stage. Who knows, perhaps album 3 might be the one where we actually end up with a decent kit sound to start with LOL! http://www.youtube.com/watch?v=mo9_NYB4AR8 Cheers Scott On 6/22/12, Brian Casey wrote: Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/list
Re: Controling Waves plugins
There's nothing illegal about publicly making them available. We've got a site up now just for stuff like this. You're not violating any terms of service with waves or anything like that. These are tiny document files that are only valid when the waves plugs are installed. This is almost like when users create presets and make them available to other users. Not any different. Just a thought.
Re: Mainstream Recording?
Good god. That sounds great as well. Man. You people are blowing me away left and right. I think we're gonna put a page on the site showcasing all yall's youtube vids. THis is great. Kevin On Jun 22, 2012, at 10:34 AM, Scott Chesworth wrote: > Hey Brian, > > Very cool! Good to know there are brethrin of melodic dark and heavy > stuff on the same side of the pond here. Curious to hear more man, I'm > heading over to bandcamp to pick up the record when I've finished > writing this. > > Yeah, point taken about DI not working for everyone, we're lucky in > that it caters well to what we do. At the time, it was more of a > productivity-based choice than anything else based on the spaces > available to write and record in. Album number 3 will likely stay that > way for bass and guitars, but suggesting another triggered album to > the drummer could well be the last suggestion I'd ever make. > > If you're interested in the difference the DI approach made, this was > from the first record with live drums and more variation in how > guitars were tracked. All in makeshift recording locations again, and > it still took some drum reinforcement at mix stage. Who knows, perhaps > album 3 might be the one where we actually end up with a decent kit > sound to start with LOL! > http://www.youtube.com/watch?v=mo9_NYB4AR8 > > Cheers > Scott > > On 6/22/12, Brian Casey wrote: >> Scot, fantastic production, and while we're swopping heres my band, an album >> >> tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at >> >> a drum isolation booth a friend constructed, but that's another days >> discussion. >> >> http://www.youtube.com/watch?v=SFl7vPZTjo8 >> >> Not as slick as your production but it was my first major mix, and its hit >> national radio quite a bit, so its probably close to an acceptable >> professional standard. >> >> My major point here though is, I mixed this in an attic in my house, but >> have since moved into a purpose built studio, with piles of money gone into >> >> acoustically treating the rooms, and using the same speakers and same >> computer/interface I could definitely say that mixing the album would have >> been so much easier in this better room. >> >> Also, the drums for this were recorded in a muddy sounding room where >> someone thought acoustically treating it meant sucking out all the life out >> >> of the room and not treating the bass/low mid frequencies at all, which >> seriously restricted mixing options. >> >> Having said all this, even if I didn't have the new studio for my next >> project, it would be much better than this work I've l inked to here, simply >> >> because I've learned quickly from getting deep into one album production, >> and have done much more work since. >> >> I would say good acoustics/listening environment and the right pair of ears >> >> are all that's needed beyond a basic computer and DAW setup these days for >> good results. >> >> By using D I and triggars, you bypassed that acoustic elements some what, >> though you obviously didn't have the ideal mixing environment, but what you >> >> did have was the good or great pair of ears and artistic vision. >> >> Which brings me to my final point, and this is an important one, your setup >> >> got a high budget sound for your band in my opinion at l east and I think >> most would agree with that, however, bring in the Dixy Chicks and they ain't >> >> going to sound so good with triggars and D I, well you might get some part >> of the way, but commercial recording studios are meant to be able to take >> anything thrown at them to a certain extent. >> >> But again I say, the right pair of ears for the project is at least half the >> >> battle, and the acoustics is the other half, so that great pair of ears can >> >> better t ell what they're actually listening to. >> >> Great stuff again Scot, killer guitar tones and great writing. >> >> Brian. >> -- >> From: "Scott Chesworth" >> Sent: Friday, June 22, 2012 2:18 AM >> To: >> Subject: Re: Mainstream Recording? >> >>> This is a really interesting thread! >>> >>> For anyone that might care to listen, my band tracked this tune >>> entirely in a spare bedroom. Thanks to the modern miracles of DI and >>> MIDI triggering, the most noisy member was our vocalist. So far, we're >>> two albums down the line and haven't touched what most people would >>> consider to be a proper studio yet during tracking and production >>> stages. >>> http://www.youtube.com/watch?v=NI8Xrup5akw >>> >>> Cheers >>> Scott >>> >>> >>> On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way,
Re: Mainstream Recording?
Hey Brian, Very cool! Good to know there are brethrin of melodic dark and heavy stuff on the same side of the pond here. Curious to hear more man, I'm heading over to bandcamp to pick up the record when I've finished writing this. Yeah, point taken about DI not working for everyone, we're lucky in that it caters well to what we do. At the time, it was more of a productivity-based choice than anything else based on the spaces available to write and record in. Album number 3 will likely stay that way for bass and guitars, but suggesting another triggered album to the drummer could well be the last suggestion I'd ever make. If you're interested in the difference the DI approach made, this was from the first record with live drums and more variation in how guitars were tracked. All in makeshift recording locations again, and it still took some drum reinforcement at mix stage. Who knows, perhaps album 3 might be the one where we actually end up with a decent kit sound to start with LOL! http://www.youtube.com/watch?v=mo9_NYB4AR8 Cheers Scott On 6/22/12, Brian Casey wrote: > Scot, fantastic production, and while we're swopping heres my band, an album > > tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at > > a drum isolation booth a friend constructed, but that's another days > discussion. > > http://www.youtube.com/watch?v=SFl7vPZTjo8 > > Not as slick as your production but it was my first major mix, and its hit > national radio quite a bit, so its probably close to an acceptable > professional standard. > > My major point here though is, I mixed this in an attic in my house, but > have since moved into a purpose built studio, with piles of money gone into > > acoustically treating the rooms, and using the same speakers and same > computer/interface I could definitely say that mixing the album would have > been so much easier in this better room. > > Also, the drums for this were recorded in a muddy sounding room where > someone thought acoustically treating it meant sucking out all the life out > > of the room and not treating the bass/low mid frequencies at all, which > seriously restricted mixing options. > > Having said all this, even if I didn't have the new studio for my next > project, it would be much better than this work I've l inked to here, simply > > because I've learned quickly from getting deep into one album production, > and have done much more work since. > > I would say good acoustics/listening environment and the right pair of ears > > are all that's needed beyond a basic computer and DAW setup these days for > good results. > > By using D I and triggars, you bypassed that acoustic elements some what, > though you obviously didn't have the ideal mixing environment, but what you > > did have was the good or great pair of ears and artistic vision. > > Which brings me to my final point, and this is an important one, your setup > > got a high budget sound for your band in my opinion at l east and I think > most would agree with that, however, bring in the Dixy Chicks and they ain't > > going to sound so good with triggars and D I, well you might get some part > of the way, but commercial recording studios are meant to be able to take > anything thrown at them to a certain extent. > > But again I say, the right pair of ears for the project is at least half the > > battle, and the acoustics is the other half, so that great pair of ears can > > better t ell what they're actually listening to. > > Great stuff again Scot, killer guitar tones and great writing. > > Brian. > -- > From: "Scott Chesworth" > Sent: Friday, June 22, 2012 2:18 AM > To: > Subject: Re: Mainstream Recording? > >> This is a really interesting thread! >> >> For anyone that might care to listen, my band tracked this tune >> entirely in a spare bedroom. Thanks to the modern miracles of DI and >> MIDI triggering, the most noisy member was our vocalist. So far, we're >> two albums down the line and haven't touched what most people would >> consider to be a proper studio yet during tracking and production >> stages. >> http://www.youtube.com/watch?v=NI8Xrup5akw >> >> Cheers >> Scott >> >> >> On 6/21/12, Chris Norman wrote: >>> Please, when you read this, note, I'm not saying anyone who's >>> responded to these messages is wrong, there's some great people who >>> know infinitely more about what they're talking about than I, but I'd >>> like to give the view of a hobbiest. >>> >>> I have a studio in my spare bedroom, it's not professional in any way, >>> shape or form. I'm sure if anyone who turned up and knew their stuff, >>> they'd probably leave on a stretcher from laughing so hard, but, the >>> point is, it works for me. >>> >>> I have spent a fair amount of money over the last couple of years >>> getting the stuff I wanted. I do not know what's good or bad, but I >>> followed the suggestions of people on this list, and others, and got >>> stuff which
Re: Controling Waves plugins
Hi Kevin, Any body that wants the Waves presets can contact myself off list. :) Talk soon CHUCK REICHEL soundpicturerecord...@gmail.com www.SoundPictureRecording.com 954-742-0019 Isaiah 26 : 3 Thou wilt keep him in perfect peace, whose mind is stayed on thee: because he trusteth in thee. In GOD I Trust On Jun 22, 2012, at 7:19 AM, Kevin Reeves wrote: > Hey chuck. Could you send me the waves presets? I'll put them up on the PT > Access site. > > Kevin > On Jun 21, 2012, at 7:27 PM, Christopher-Mark Gilland wrote: > >> Chuck, >> >> Do you have Skype by chance? >> >> BTW, beautiful verse you have there in your signature. I won't go into a >> long rant about that, don't worry, but wow. Very nice. >> >> Chris. >> >> - Original Message - >> From: CHUCK REICHEL >> To: ptaccess@googlegroups.com >> Sent: Thursday, June 21, 2012 6:15 PM >> Subject: Re: Controling Waves plugins >> >> Hi Poppa, >> Heres my contact info again. :) >> Talk soon >> >> >> CHUCK REICHEL >> soundpicturerecord...@gmail.com >> www.SoundPictureRecording.com >> 954-742-0019 >> Isaiah 26 : 3 >> Thou wilt keep him in perfect peace, whose mind is stayed on thee: because >> he trusteth in thee. >> >> In GOD I Trust >> >> On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: >> >>> I do remember something like that, I will try to dig up his email, or maybe >>> he will chime in. >>> - Original Message - >>> From: Brian Casey >>> To: ptaccess@googlegroups.com >>> Sent: Thursday, June 21, 2012 12:56 PM >>> Subject: Re: Controling Waves plugins >>> >>> Chuck is the man for that from what I've seen in my time here! >>> >>> I think he has settings and stuff that he kindly shares. >>> >>> HTH >>> Brian. >>> >>> From: Poppa Bear >>> Sent: Thursday, June 21, 2012 9:49 PM >>> To: ptaccess@googlegroups.com >>> Subject: Controling Waves plugins >>> >>> Does anybody on here have the time to give me a step by step on using my >>> 002 to start controling my waves Silver bundle in PT? If not, can somebody >>> stear me to a resource that is accessible? >>> Thanks >>> www.soundclick.com/ghettomissionary for your Christian Hip-hop. >>> Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering >>> and all your audio needs. www.crossroadrecording.com >
Re: Mainstream Recording?
Scot, fantastic production, and while we're swopping heres my band, an album tracked in about 5 days in a ttics spare bedrooms and a very bad attempt at a drum isolation booth a friend constructed, but that's another days discussion. http://www.youtube.com/watch?v=SFl7vPZTjo8 Not as slick as your production but it was my first major mix, and its hit national radio quite a bit, so its probably close to an acceptable professional standard. My major point here though is, I mixed this in an attic in my house, but have since moved into a purpose built studio, with piles of money gone into acoustically treating the rooms, and using the same speakers and same computer/interface I could definitely say that mixing the album would have been so much easier in this better room. Also, the drums for this were recorded in a muddy sounding room where someone thought acoustically treating it meant sucking out all the life out of the room and not treating the bass/low mid frequencies at all, which seriously restricted mixing options. Having said all this, even if I didn't have the new studio for my next project, it would be much better than this work I've l inked to here, simply because I've learned quickly from getting deep into one album production, and have done much more work since. I would say good acoustics/listening environment and the right pair of ears are all that's needed beyond a basic computer and DAW setup these days for good results. By using D I and triggars, you bypassed that acoustic elements some what, though you obviously didn't have the ideal mixing environment, but what you did have was the good or great pair of ears and artistic vision. Which brings me to my final point, and this is an important one, your setup got a high budget sound for your band in my opinion at l east and I think most would agree with that, however, bring in the Dixy Chicks and they ain't going to sound so good with triggars and D I, well you might get some part of the way, but commercial recording studios are meant to be able to take anything thrown at them to a certain extent. But again I say, the right pair of ears for the project is at least half the battle, and the acoustics is the other half, so that great pair of ears can better t ell what they're actually listening to. Great stuff again Scot, killer guitar tones and great writing. Brian. -- From: "Scott Chesworth" Sent: Friday, June 22, 2012 2:18 AM To: Subject: Re: Mainstream Recording? This is a really interesting thread! For anyone that might care to listen, my band tracked this tune entirely in a spare bedroom. Thanks to the modern miracles of DI and MIDI triggering, the most noisy member was our vocalist. So far, we're two albums down the line and haven't touched what most people would consider to be a proper studio yet during tracking and production stages. http://www.youtube.com/watch?v=NI8Xrup5akw Cheers Scott On 6/21/12, Chris Norman wrote: Please, when you read this, note, I'm not saying anyone who's responded to these messages is wrong, there's some great people who know infinitely more about what they're talking about than I, but I'd like to give the view of a hobbiest. I have a studio in my spare bedroom, it's not professional in any way, shape or form. I'm sure if anyone who turned up and knew their stuff, they'd probably leave on a stretcher from laughing so hard, but, the point is, it works for me. I have spent a fair amount of money over the last couple of years getting the stuff I wanted. I do not know what's good or bad, but I followed the suggestions of people on this list, and others, and got stuff which was affordable, and good. With this stuff, I can get the sounds I want and rely upon. They might not be radio quality, or up to the standard of Lianne Rhymes, or anyone like that, but they work for me. Judging by the stuff you've written Christopher, you're in a similar situation to myself, you're just recording for fun, and you probably don't want to do it seriously. Even if you do, I see no reason this stuff, with some modifications, could get you a fairly decent recorded sound, which you could sell to people. Below is my gear list, as far as I know it. I'm actually not sure what my monitors are, but they're MAudio somethings, and they were were some £300 for the pair. I'm using Pro Tools 10, running on a MacBook Pro. It's not the latest one, but the one before that I think. I (stupidly), brought it about a week before the new MacBook Pro with the Thunderbalt ports came out. Off course I use a full sized apple keyboard, and, when I've saved up all the money for my iMac, I'll be using the Magic Trackpad too, so I can sit of my sofa to record, instead of cluttering up space I don't have, with another chair. I'm using a Euphonix Artist Mix control surface, and an MBox Pro (which I find quite unstable with Pro Tools and Mac OS X 10.7.whatever i
Re: Controling Waves plugins
Hey chuck. Could you send me the waves presets? I'll put them up on the PT Access site. Kevin On Jun 21, 2012, at 7:27 PM, Christopher-Mark Gilland wrote: > Chuck, > > Do you have Skype by chance? > > BTW, beautiful verse you have there in your signature. I won't go into a > long rant about that, don't worry, but wow. Very nice. > > Chris. > > - Original Message - > From: CHUCK REICHEL > To: ptaccess@googlegroups.com > Sent: Thursday, June 21, 2012 6:15 PM > Subject: Re: Controling Waves plugins > > Hi Poppa, > Heres my contact info again. :) > Talk soon > > > CHUCK REICHEL > soundpicturerecord...@gmail.com > www.SoundPictureRecording.com > 954-742-0019 > Isaiah 26 : 3 > Thou wilt keep him in perfect peace, whose mind is stayed on thee: because > he trusteth in thee. > > In GOD I Trust > > On Jun 21, 2012, at 5:49 PM, Poppa Bear wrote: > >> I do remember something like that, I will try to dig up his email, or maybe >> he will chime in. >> - Original Message - >> From: Brian Casey >> To: ptaccess@googlegroups.com >> Sent: Thursday, June 21, 2012 12:56 PM >> Subject: Re: Controling Waves plugins >> >> Chuck is the man for that from what I've seen in my time here! >> >> I think he has settings and stuff that he kindly shares. >> >> HTH >> Brian. >> >> From: Poppa Bear >> Sent: Thursday, June 21, 2012 9:49 PM >> To: ptaccess@googlegroups.com >> Subject: Controling Waves plugins >> >> Does anybody on here have the time to give me a step by step on using my 002 >> to start controling my waves Silver bundle in PT? If not, can somebody stear >> me to a resource that is accessible? >> Thanks >> www.soundclick.com/ghettomissionary for your Christian Hip-hop. >> Nate Kile, Cross Road Recording Studios, specializing in Mixing, Mastering >> and all your audio needs. www.crossroadrecording.com
Re: Mainstream Recording?
Great stuff. Let's do some colabo sometime. You guys rock. Kevin
