New pictures/gear porn

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joel hamilton
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New pictures/gear porn

Post by joel hamilton » Fri Jan 30, 2009 3:18 pm

Added a ton of random pictures to this site:

http://www.joelhamiltonrecording.com/

Check it out!!!
Fun gear shots...

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NeglectedFred
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Post by NeglectedFred » Fri Jan 30, 2009 4:49 pm

Thanks for the eye candy.

....Jerk.

Envy...
I eat glue.

stereopathetic_banjo
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Post by stereopathetic_banjo » Sat Jan 31, 2009 5:28 am

I dig the shot of you with the MCI 500 console, since I just bought one...Keep on keepin' on, Joel!!!

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the finger genius
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Post by the finger genius » Sat Jan 31, 2009 6:41 am

Joel, I didn't know you worked on The Farewell Bend record. I love that album. Do you have any recollection of how you got the drum and guitar sounds (assuming you tracked the drums of course.)
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That said, what I'm gettin' at is, perfectionism is for the truly defective.

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Post by joel hamilton » Sat Jan 31, 2009 10:31 am

the finger genius wrote:Joel, I didn't know you worked on The Farewell Bend record. I love that album. Do you have any recollection of how you got the drum and guitar sounds (assuming you tracked the drums of course.)
I did track the drums. I produced that whole record.
wow. i didnt know anyone would even know what the farewell bend record IS!!! :)
I tracked those drums in 1997 (i think) with the pre's in my first auditronics console, and a totally customized, weird little TLaudio two channel tube pre for the snare and one of the rooms.
The drum room at the studio (called trainwreck) was really great. we built it ourselves. Brick, hardwood, and plaster walls with a weird ceiling o wood and hung tile stuff.
I know I used a pair of 414's on pauls drums as OH, with a 57 on the snare top, probably a 421 on snare bottom. I used a kick drum in front of another kick drum on that whole record, doghoused a little bit, with probably an EV RE38 in the kick ( i loved it at the time) and probably a 4033 in front of the resonant head of the second kick. One kick in front of the other, for resonance. not double kick like van halen...:)
I used some AKG thing, like the original black and green C series... the 3000? whatever looked like a rounded 414: that one. I used that as a mono room mic really far away, and a pair of crown PZM's (again, SO 90's!!!) taped to the control room wall about 20 feet apart, and 20 feet from the kick each, in a triangle.
That was tracked to my MCI JH24 with no compression on the way in. I mixed it at a studio called westend in Kansas City, KS, on their MCI500 series console, to 1/2" analog.
I remember using two U87's up at that studio for the vocals. weird. like sort of stereo type of thing? I dunno If I used both tracks in the mix. I think I used one as just an FX send or something. Most of the vocal FX were the "pitch change C" on an SPX90...wow, that feels like a long time ago. No computers involved. That record was not mastered at ALL. Just me loading it into soundtools/ soundesigner to burn a CD to send to the label. WIth an old protools 442 interface because I wanted to use something better than my AMIII card!!!! wow.

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the finger genius
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Post by the finger genius » Sat Jan 31, 2009 1:06 pm

Thanks for all the great info Joel! Listening back to that record, its obvious that it was done in a great drum room.

I remember when it first came out, I had a really hard time listening to it (I had been a big Boys Life fan), but it's really grown on me over the past ten years, to the point where it's definitely one of my favorite records.

I'll have to go back and look at my liner notes, but have you done any work with Brandon Butler since? Canyon is another pretty big departure from what he'd done in the past, but they also made some great records, if you haven't heard them.
vvv wrote:
That said, what I'm gettin' at is, perfectionism is for the truly defective.

You may quote me.
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stereopathetic_banjo
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Post by stereopathetic_banjo » Sat Jan 31, 2009 3:05 pm

I was wondering if that was the 500 at Westend! I talked to Mike Miller after yours and Steve Sadler's recommendations, and the guy is super nice and helpful- offered to build the discrete mix buss for mine and everything. Very cool. I love hearing 'old' stories from 10 years ago or whatever, when people were in completely different situations. Keep it coming!

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Electro-Voice 664
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Post by Electro-Voice 664 » Sat Jan 31, 2009 10:22 pm

"Play ethnicky jazz to parade your snazz. On your five grand stereo."

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Post by joel hamilton » Sun Feb 01, 2009 6:56 pm

the finger genius wrote:Thanks for all the great info Joel! Listening back to that record, its obvious that it was done in a great drum room.

I remember when it first came out, I had a really hard time listening to it (I had been a big Boys Life fan), but it's really grown on me over the past ten years, to the point where it's definitely one of my favorite records.

I'll have to go back and look at my liner notes, but have you done any work with Brandon Butler since? Canyon is another pretty big departure from what he'd done in the past, but they also made some great records, if you haven't heard them.
I love the canyon records. Empty rooms is awesome.

hey and THANKS to EV664 for the heads up on the Aengus EQ's!!!!! Totally jumping on those so CLEAR OUT ANYONE ELSE!!! ;)

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Post by cgarges » Sun Feb 01, 2009 7:46 pm

joel hamilton wrote:loading it into soundtools
I think I just had a seizure.

Chris Garges
Charlotte, NC

joel hamilton
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Post by joel hamilton » Mon Feb 02, 2009 5:17 am

cgarges wrote:
joel hamilton wrote:loading it into soundtools
I think I just had a seizure.

Chris Garges
Charlotte, NC
LOL... yeah... I kind of did when I thought about that.
"AWESOME, its like a DAT, that we can EDIT!!!!!!!!!"
We were stoked at the time.
so funny. 16 bit sweetness. Loaded in off 1/2" analog. ouch.

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Post by cgarges » Mon Feb 02, 2009 9:09 am

Yeah and it only took like 30 minutes to try an edit and find out it didn't work! Ah, good times!

Chris Garges
Charlotte, NC

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Post by Electro-Voice 664 » Mon Feb 02, 2009 5:29 pm

joel hamilton wrote: hey and THANKS to EV664 for the heads up on the Aengus EQ's!!!!! Totally jumping on those so CLEAR OUT ANYONE ELSE!!! ;)
Did you bite that Bullet? Any idea how these compare to the Electrodyne and Sphere graphic eqs?
"Play ethnicky jazz to parade your snazz. On your five grand stereo."

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Post by scott macdonald » Mon Feb 02, 2009 6:25 pm

Woah! Where can we hear an example of that snare reamp technique?

Three snares, recorded in stereo. Woah.

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Post by joel hamilton » Tue Feb 03, 2009 6:34 pm

Electro-Voice 664 wrote:
joel hamilton wrote: hey and THANKS to EV664 for the heads up on the Aengus EQ's!!!!! Totally jumping on those so CLEAR OUT ANYONE ELSE!!! ;)
Did you bite that Bullet? Any idea how these compare to the Electrodyne and Sphere graphic eqs?
I use the aengus;s's's's all the time. They are incredible.
I dont know about the electrodynes. I love my melcor's though, and I also dont know much about the sphere stuff. Never chased that down.

In regards to the snare thing, that diagram was made by a house artist at EQ or electronic musician I think.... to illustrate my description of how I will reamp a snare that has too much of a weird tone in it, I will trigger an original linn drum snare (the real thing) that I recorded and use in drumagog, and then send the trigger out through an amp with three differently tuned snares in front of it (just random, wherever they are tuned when i grab them), and I will run that in the live room as a chamber type thing, and re-record the snare that way, then run it along side the original snare, just to kill some of the fundamental of the riging snare with a more complex overtone series, and ONLY use the trigger sound that got thorugh the amp and three snares, rather than directly in the mix. blah blah... its on a bunch of stuff I have mixed. Its on the song "you make me feel like a freak" by travis morrison and the hellfighters. Thats a good example of it because I hated the way the snare sounded on that in the basic tracks.

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