Must have gear in a rented room...
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GooberNumber9
- tinnitus
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fossiltooth
- carpal tunnel
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jrsgodfrey
- re-cappin' neve
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orksnork
- alignin' 24-trk
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ok let's get a little more specific here guys....
let's say you needed 8-16 channels of pres, a few compressors, microphones, the basics...as mentioned, you have a nice clean usable console, good monitors and a great listening environment and tracking room...
what are those pres, compressors, and microphones that you are going to absolutely want...everytime...
that you'd walk over to the mic cabinet, look around, go where is the., and then call the owner and say
"hey, i can't find your ____ "
and if he responded "oh, we don't have any ____ " you'd be like
0_o
*percoset post*
let's say you needed 8-16 channels of pres, a few compressors, microphones, the basics...as mentioned, you have a nice clean usable console, good monitors and a great listening environment and tracking room...
what are those pres, compressors, and microphones that you are going to absolutely want...everytime...
that you'd walk over to the mic cabinet, look around, go where is the., and then call the owner and say
"hey, i can't find your ____ "
and if he responded "oh, we don't have any ____ " you'd be like
0_o
*percoset post*
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chrissss
- audio school graduate
- Posts: 10
- Joined: Tue Oct 12, 2004 7:19 pm
- Location: Bahston, dude
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As long as there is an intern or assistant who knows the (newer/weirder/techmade) equipment, isn't afraid to say if something isn't good, and isn't snotty, I can get by with most setups. I get a kick out of trying some locally made piece of gear or something new, as long as the bases are covered.
but to respond to what you're asking, i guess the basses are:
yes, definitely a working patchbay, working cables, working channels (at least the first few), and working snakes. the right version of protools (or someone who can tell me what version they are using when i call before hand).
a working cd player that's already set up so i can easily hear what the room sounds like.
those things keep the mechanical processes lubricated and allow for creativity.
a good condenser kick mic (huuuuuugeeee!!!!!) they've got to have a fet47 or at least an at4033. now I bring mine, but in the past it's really bothered me to not have something that's known to handle high spl and have good lows. I went to a studio with a bunch of brand new neumanns and none of them had any low end. It took me out of my game for the first hour or so and no one could tell me which mic might sound similar to a fet47.
a good dynamic for kick (i like a 609, but that's not as common, i guess a d112 is a better bet).
57's
421's or even more 57s (for toms) and some good condensers for toms are also a bonus
i usually bring my own overheads, but hey, 414's don't hurt, and if i don't use them as overheads, they can always be used for something else.
some more low endy dynamics
more 57's
a couple of 58's
a good vocal condenser (u47 or clone, u67, u87, manley gold, se gemini, etc. . .)
decent di's (anything from a country man to an avalon)
some chunky pre's (ie: this sounds like an 1073) or ideally a couple of 1073s.
some "transparent" / fast / faster pre's
i like seeing good dbx comps as a staring point for the kick, 160vu's are ideal, but other stuff works. i feel like if i need to, i can pretty much use them for anything else too, which is cool.
a sweet vocal comp is nice too, like an la2a, but really, just something decent i can run vocals through on the way in, it doesn't need to be anything crazy.
i guess for the comps, i could grudgingly admit that a pair of distressors would cover a lot of those basses, but i have a soft spot for stuff that's more specific or quirky and takes up more than one rack space!
oh, a cool mixbus comp is always appreciated, like a manley variable mu or alan smart, or whatever, but probably not necessary.
definitely have at least the waves plugins up through the renaissance stuff (and working ones, that don't cause pt to crash).
a pair of ns10's that are hooked up and ready to go (i don't really mix on them, but i like being able to reference with them, and i feel like a lot of other people feel the same way)
i dunno that's my list, i guess if i walk into a relatively shiny studio i expect to see those things ready to go. but honestly one of the most pleasurable recording sessions i've had was overdubbing a guitar part in the guitar player's basement (that i had to crawl through a window to get into) using my laptop and his locally made preamp. he had a bassman head with a cool sounding cab and knew his parts.
-chris
but to respond to what you're asking, i guess the basses are:
yes, definitely a working patchbay, working cables, working channels (at least the first few), and working snakes. the right version of protools (or someone who can tell me what version they are using when i call before hand).
a working cd player that's already set up so i can easily hear what the room sounds like.
those things keep the mechanical processes lubricated and allow for creativity.
a good condenser kick mic (huuuuuugeeee!!!!!) they've got to have a fet47 or at least an at4033. now I bring mine, but in the past it's really bothered me to not have something that's known to handle high spl and have good lows. I went to a studio with a bunch of brand new neumanns and none of them had any low end. It took me out of my game for the first hour or so and no one could tell me which mic might sound similar to a fet47.
a good dynamic for kick (i like a 609, but that's not as common, i guess a d112 is a better bet).
57's
421's or even more 57s (for toms) and some good condensers for toms are also a bonus
i usually bring my own overheads, but hey, 414's don't hurt, and if i don't use them as overheads, they can always be used for something else.
some more low endy dynamics
more 57's
a couple of 58's
a good vocal condenser (u47 or clone, u67, u87, manley gold, se gemini, etc. . .)
decent di's (anything from a country man to an avalon)
some chunky pre's (ie: this sounds like an 1073) or ideally a couple of 1073s.
some "transparent" / fast / faster pre's
i like seeing good dbx comps as a staring point for the kick, 160vu's are ideal, but other stuff works. i feel like if i need to, i can pretty much use them for anything else too, which is cool.
a sweet vocal comp is nice too, like an la2a, but really, just something decent i can run vocals through on the way in, it doesn't need to be anything crazy.
i guess for the comps, i could grudgingly admit that a pair of distressors would cover a lot of those basses, but i have a soft spot for stuff that's more specific or quirky and takes up more than one rack space!
oh, a cool mixbus comp is always appreciated, like a manley variable mu or alan smart, or whatever, but probably not necessary.
definitely have at least the waves plugins up through the renaissance stuff (and working ones, that don't cause pt to crash).
a pair of ns10's that are hooked up and ready to go (i don't really mix on them, but i like being able to reference with them, and i feel like a lot of other people feel the same way)
i dunno that's my list, i guess if i walk into a relatively shiny studio i expect to see those things ready to go. but honestly one of the most pleasurable recording sessions i've had was overdubbing a guitar part in the guitar player's basement (that i had to crawl through a window to get into) using my laptop and his locally made preamp. he had a bassman head with a cool sounding cab and knew his parts.
-chris
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tomberdude
- pushin' record
- Posts: 227
- Joined: Wed Jul 11, 2007 5:18 pm
12 channels ssl or neve racked.
57s, 7's, 81s, 414s, 421s, d112s, blue cactus, any two ldc by rode or neumann, any two royer's or aea's.
4 JDIs
4 J48
4 X-amps
2 usa les pauls 1 w/ seymour duncan b-jb/n-'59, 1 with emg b-81/n-85
1 mex. or usa jazzbass w/ emg or bartolini
1 dw or sonor drumkit w/ 24in. kick, 16in. floor tom, 14in. rack tom, 12in. racktom w/ porkpie 13in. snare. w/ zildjian a's and z's.
2 dual recs and match cabs
2 jcm 900s and match cabs
2 ac30s
1 sans amp rbi w/ crown poweramp
1 trace elliot or ampeg 8x10
1 ampeg b15
and most important...............
12 quality and sizable GOBOS!!!!!!!!!
57s, 7's, 81s, 414s, 421s, d112s, blue cactus, any two ldc by rode or neumann, any two royer's or aea's.
4 JDIs
4 J48
4 X-amps
2 usa les pauls 1 w/ seymour duncan b-jb/n-'59, 1 with emg b-81/n-85
1 mex. or usa jazzbass w/ emg or bartolini
1 dw or sonor drumkit w/ 24in. kick, 16in. floor tom, 14in. rack tom, 12in. racktom w/ porkpie 13in. snare. w/ zildjian a's and z's.
2 dual recs and match cabs
2 jcm 900s and match cabs
2 ac30s
1 sans amp rbi w/ crown poweramp
1 trace elliot or ampeg 8x10
1 ampeg b15
and most important...............
12 quality and sizable GOBOS!!!!!!!!!
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calaverasgrandes
- ghost haunting audio students
- Posts: 3233
- Joined: Wed Jul 25, 2007 11:23 pm
- Location: Oakland
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I guess I went out of my way not to name gear, but to name workflow savers. Thats something a lot of project studios that try to go big overlook.
AS far as pres, I always just use whatever they have in their board, then if something isnt popping up just right then I start looking for those outbaord pres. 1073, TAB v72/v78s API 312/512. Though part of the fun of going into other studios is different pres. I really only lean on must have stuff when I am totally sleep deprived and my brain is off. Oh yeah, 1176, 160, 166, oh yeah, A TONE GENERATOR! This comes in handy for everything.
ps yeah the binder full of takeout menus was something I saw once. It rules if you are out of town, its late, and you are hungry! though a discussion over what food to get can fast splinter a band..
AS far as pres, I always just use whatever they have in their board, then if something isnt popping up just right then I start looking for those outbaord pres. 1073, TAB v72/v78s API 312/512. Though part of the fun of going into other studios is different pres. I really only lean on must have stuff when I am totally sleep deprived and my brain is off. Oh yeah, 1176, 160, 166, oh yeah, A TONE GENERATOR! This comes in handy for everything.
ps yeah the binder full of takeout menus was something I saw once. It rules if you are out of town, its late, and you are hungry! though a discussion over what food to get can fast splinter a band..
??????? wrote: "everything sounds best right before it blows up."
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calaverasgrandes
- ghost haunting audio students
- Posts: 3233
- Joined: Wed Jul 25, 2007 11:23 pm
- Location: Oakland
- Contact:
yeah but you know how it goes, the vocalist and guitarist are doing their type a personality thing. Pushing everybody else back into the corners of the room. then when it comes time to order food the drummer gets all passive agressive about it and insists they only get all meat pizza. Which causes the bass player to throw a fit about how they are "always" picking on him. Then that leads to why cant you hear the bass and the drum fills. Where is the chorus you spent 8 hours doing? stuff gets thrown, somebody punches the manager. You are moving drinks away from the outboard and putting away all the nice mics as fast as you can.
the preceding is not based on any persons living or dead and any resemblance to actual events is purely conicedental.
the preceding is not based on any persons living or dead and any resemblance to actual events is purely conicedental.
??????? wrote: "everything sounds best right before it blows up."
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calaverasgrandes
- ghost haunting audio students
- Posts: 3233
- Joined: Wed Jul 25, 2007 11:23 pm
- Location: Oakland
- Contact:
oops, wrong thread, how'd that happen?
Last edited by calaverasgrandes on Wed Jan 30, 2008 8:15 pm, edited 1 time in total.
??????? wrote: "everything sounds best right before it blows up."
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