Default Chain & Settings

[vvv]

Aiight, does anybody do this like I do, or am I a spoiled-brat, lazy SOB dumb-arse?

I have a default chain for DI bass: I use a GT The Brick, maxed out, into a dbx160A, overeasy off, 7:1 as a kinda standard bass chain - I leave it set up that way for 90% of their use.

I have a cuppla channel strips - a Eureka and a VC1Q and a VC3Q - and I leave 'em in my fave vocal settings for certain mic's (the VC1Q gets large dynamics, the VC3Q gets Chinese condensors, the Eureka gets various). I do adjust these for other uses, but then revert back to my "default" settings.

I have a RNC that I leave set up to go after a Summit 2BA-221, just tweaking it according to source and mic, but usually it's for vocals. (The Summit gets used for lotsa stuff - nice cleanish but very flexible pre.)

I have a VLA II and a dbx166XT where I have the left channel defaulted to vocal settings, and the right channel to bass. I have a ART TPS I leave set for bass on one side, A/E bass on the other.

I don't only and always use this stuff this way, but do find I hesitate sometimes to change the "default" settings and so use another pre or whatever. As I think about it, while developing some speed and convenience and consistency of sound, I'm probably also kinda limiting myself ...

Anywhat, anyone else do this? And should I stop before I go blind or something?

[Nick Sevilla]

Change everything.

Don't compress the bass, if you play it the right way, it will not need it.

Use the "wrong" mic on everything you think that it would suck the most.

BE STRICT about this.

Then laugh.

Cheers

[vvv]

Yeah, it's mebbe time to "change everything"; I think my subconscious was tellin' me that as I started this thread.

As far as bass compression, FWIW, I do have the technique (usually, or at least often) to not need it, but I like the sound.

I've years of experience - prob'ly we all do - using the "wrong" mic. Lately I've been recording vocals with a GAP D2, for example, a silly and cheap Elvis-looking thing that is clearly intended to be a stage mic, and I've been using reporter's omis (Shure 63L, AT802, as well as the ubiquitous EV635a/PL5) for BV's. My guitar amps are often thru a Shinybox 23L where I replaced the ribbon with - ready? - Reynolds Wrap tin foil, serrated onna comb.

I am become very regimented in my personal recording anarchy.

[IanWalker]

I don't see anything wrong with having go-to setups for particular sounds. I think we all do that to a certain extent.

The best thing is to know what that gives you, and be willing to change it as necessary.

[MoreSpaceEcho]

do you mean a default chain for tracking? i'm usually recording myself, so my chain is almost always just mic-pre-converter...the last thing i want to do is worry about compressor settings or blah blah, i just want to get whatever needs recording recorded.

i do have a stock setting on the blockfish for drum room mics...as i type that i realize i've been using the same settings for over a decade now and it's never occurred to me to save it as a preset....

[Gregg Juke]

>>>>i do have a stock setting on the blockfish for drum room mics...as i type that i realize i've been using the same settings for over a decade now and it's never occurred to me to save it as a preset...<<<<

Sounds like something I would do!
(did. have done. whatever.)

GJ

[accordion squeezist]

If you get that Shinybox mic properly re-ribboned it will earn you a better parking space at your fancy studio, I can guarantee you that.

[vvv]

Fancy studio?

Ha-ha-ha!

It's a bedio.

Quick explanation: I bought the mic for a decent price offa the evil-Bog but the ribbon was rubbing. I tried to fix it and tore the ribbon. But it's US$150 per Shinybox to replace it; I can't justify that cost.

Now, I did buy some 4 micron ribbon material (I know the original is supposed to be 2.5 or so) that I haven't tried installing because the tin-foil I used to practice on sounds kinda cool.

You can hear it on this chain
(LdGtr: Hamer-ProJr-ShinyboxMod-ISA1 ) here,
and (LdGtr: Hamer-digiSpring-TrdMrk10-ShinyboxModRbn-ISA1) here,
and (LdGtr: Paul-Marshall-ShinyBox-Altec 1589B), here.

[cgarges]

I did a session at a studio one time where I was recording basic tracks for a full band and then I went back to the same studio for a different project about two months later. It was then that I noticed that no one had used the first Distressor in the rack since my previous session. It was still set with my fairly standard rock snare drum tracking limiter setup. I mentioned it to the studio assistant who said that indeed, no one had used that Distressor recently.

Chris Garges
Charlotte, NC

[losthighway]

On the one hand having something you know, and know works can save time during setup. People don't have to wait for every channel to be an experiment you tinker with.

On the other hand, everything you record comes in sounding different so a standard setup could be holding you back with assumptions.

I tend to go back and forth with these thoughts. Usually I'll do my 9 times out of 10 setup and see how it works. It usually works. Sometimes I try something new to see if its cool. If its cool I stick with it for the session.

Today I reamped a bass track through a Fender Blues Jr. with an overdrive pedal in front of it and recorded it with a Beyer m201 (not what I think of as a bass amp). Blending it with the Ampeg into a d112 track made for a nice low slow mixed with fizzy growl from the Fender.

[vvv]

I did a session at a studio one time where I was recording basic tracks for a full band and then I went back to the same studio for a different project about two months later. It was then that I noticed that no one had used the first Distressor in the rack since my previous session. It was still set with my fairly standard rock snare drum tracking limiter setup. I mentioned it to the studio assistant who said that indeed, no one had used that Distressor recently.

Chris Garges
Charlotte, NC

And having just broke up my band, I have my bass rig back; I may try that ProJr thing ...

[drumsound]

I totally have "GOTOS" for many things. I make some changer here and there, if my first choice doesn't sound right for a certain thing, or if I have a bug up my butt to hear how mic X sounds on source Y. Most things go through the console, and compressors are patched as needed. With bands especially, I'm striving to get recording, get them comfortable and get keepers. There's rarely time for "shootouts," it's realy about "does that sound make sense?" if it does then off we go!

When I mix I put the Drawmer '69 on the mix bus and an RNC on bus 1-2 for drum parallel even before I start playback. I might patch in a few FX just so they are at the ready, but I don't have the programs set, I start going through the lists when I think its time.