I mean, I pretty much have to make the first post here.

[Drew]

Because my recording prowess, especially my lightning-fast workflow, is the stuff of legend. \m/


EDIT - actually, I'll make this more meaningful - these boxes below showed up yesterday, acroustic treatment going up the weekend after this one.

[zepp]

I just got a recording setup again at the beginning of the month. It looks cool and so far I have recorded nothing

Things are going according to plan.

[Drew]

Actually, I do have something to post here so I eded my first post. Pardon the disorder!

[zepp]

Actually, I do have something to post here so I eded my first post. Pardon the disorder!

Details on that channel strip thing I see in your desk? Is that 500 series gear?

[Markus]

I'm slowly proceeding on a doom metal album based on my SAW contributions. Nobody will probably ever listen to it, but it's fun anyway.

I've finished 2 songs, and have started recording a third. From the SAW stuff, there's about 6-7 song ideas in total that I'm happy enough with to work further on.

[Drew]

Details on that channel strip thing I see in your desk? Is that 500 series gear?

The blue thing is, yeah. It's a 10-space Midas 500-series chassis which currently holds a pair of CAPI V28s, fed into a pair of Neve 551 EQs, all on the left. Below it is a BAE 1073MP dual channel pre, each run into another pair of Neve 551s, off screen to the right. Midas is now owned by Behringer so I was a little hesitant, but the initial post-aquisition reviews were pretty good and it had features I wanted (including internal routing where you can flip switches to either run one unit into its neighbor, or configure two units to run in parallel for stereo operation) so I figured I'd give it a shot, and so far it's been great.

The CAPIs are very "modern" sounding with what feels like a very fast transient response, and very low lows and high highs. I've been using them mostly on acoustics, as I think they sound awesome there. The BAE is a Neve-style pre using the original transformers, and I tend to use that for electric guitar and bass (where, run direct and pushing the front end hard, it just sounds fat). And I've fallen in love with Neve style EQ - it's impossible to make them sound bad. I've been happier with my recorded tone since I started using two mics rather than just a SM57 anyway, but honestly even just taking a tough of high end off the SM57 running alone with a Neve gets me most of the way there - its high band seems to hit at right around the point, and with the taper, where a little bit of roll-off sounds totally transparent yet takes off just the right amount of fizz.

The power unit for the BAE can power two strips rather than one, so I'm toying with grabbing another, but I feel like getting something else before I get another two channels of Neve-style preamps might make more sense (and they're fuckin' not cheap, lol). My goal here is to get to a point where when I retire my Apogee, I can just buy a dedicated I/O box because I already have enough channels of dedicated outboard preamps and don't need an integrated preamp/conversion interface, so I don't have to go and get used to a new set of preamps.

[Budda]

Im going to blame lack of recording on not having my new external HD instead of lack of alotting time

[Chris]

[zepp]

The blue thing is, yeah. It's a 10-space Midas 500-series chassis which currently holds a pair of CAPI V28s, fed into a pair of Neve 551 EQs, all on the left. Below it is a BAE 1073MP dual channel pre, each run into another pair of Neve 551s, off screen to the right. Midas is now owned by Behringer so I was a little hesitant, but the initial post-aquisition reviews were pretty good and it had features I wanted (including internal routing where you can flip switches to either run one unit into its neighbor, or configure two units to run in parallel for stereo operation) so I figured I'd give it a shot, and so far it's been great.

The CAPIs are very "modern" sounding with what feels like a very fast transient response, and very low lows and high highs. I've been using them mostly on acoustics, as I think they sound awesome there. The BAE is a Neve-style pre using the original transformers, and I tend to use that for electric guitar and bass (where, run direct and pushing the front end hard, it just sounds fat). And I've fallen in love with Neve style EQ - it's impossible to make them sound bad. I've been happier with my recorded tone since I started using two mics rather than just a SM57 anyway, but honestly even just taking a tough of high end off the SM57 running alone with a Neve gets me most of the way there - its high band seems to hit at right around the point, and with the taper, where a little bit of roll-off sounds totally transparent yet takes off just the right amount of fizz.

The power unit for the BAE can power two strips rather than one, so I'm toying with grabbing another, but I feel like getting something else before I get another two channels of Neve-style preamps might make more sense (and they're fuckin' not cheap, lol). My goal here is to get to a point where when I retire my Apogee, I can just buy a dedicated I/O box because I already have enough channels of dedicated outboard preamps and don't need an integrated preamp/conversion interface, so I don't have to go and get used to a new set of preamps.

That is some high speed shit. I like.

[Drew]

Yeah man, I'm running out of excuses for my recordings sucking. I've actually started writing again though and I'm kinda stoked to try to at least do an EP or something before much longer. It's been really rewarding to feel like I'm creating something again.

[metalheadpunk]

Yeah man, I'm running out of excuses for my recordings sucking.

This is definitely where I'm at , gear-wise at least

[Bloody_Inferno]

Yeah man, I'm running out of excuses for my recordings sucking.

Same issue here.

The last year I've written and preproduced 3 albums of material and get hurdled by tripping over self doubts about recording and everything about post production...

[Drew]

I hear you. For me the real challenge has been just not putting the time in to take a quick sketch of a promising idea, and fleshing it out into a full demo with a proper arrangement, an interesting solo section, bridges (Chris yells at me if I don't write bridges ), and at least a first crack at something like how I want the solo to go. I've been working on that lately, though, and have made progress towards at least havng an EP's worth of materials. So, here's hoping.

[Alan]

That's a lovely rack you have there Drew!

[Drew]

It's getting there! I'll try to take some proper studio pics once I get the acoustic treatment up.

[Mike]

[Bloody_Inferno]

I hear you. For me the real challenge has been just not putting the time in to take a quick sketch of a promising idea, and fleshing it out into a full demo with a proper arrangement, an interesting solo section, bridges (Chris yells at me if I don't write bridges ), and at least a first crack at something like how I want the solo to go. I've been working on that lately, though, and have made progress towards at least havng an EP's worth of materials. So, here's hoping.

Yeah bridges an overlooked part of a song. Especially in instrumentals. I need to pay more attention to it more than just cramming a 'cut loose' solo.

My problem is the exact opposite. Songwriting is thr easy part. But I become a deer in headlights when it comes to production. I'm scared to death of mic'ing an acoustic on my own. I get apprehensive about choosing a drummer or my programmed drums, my tripe mixing skills, etc. In fact my first album was a small miracle because I have a co-producer to kick my ass into gear.

I wish I had Rocka's time and prolific drive. I would have released my second album, 2 pop experiment albums, a compilation of podcast background stuff by now.

[zepp]

Yeah man, I'm running out of excuses for my recordings sucking. I've actually started writing again though and I'm kinda stoked to try to at least do an EP or something before much longer. It's been really rewarding to feel like I'm creating something again.

Shiny gear adds too much pressure! I'm slightly hesitant to fill my rack up with cool shit because I'd probably end up just tweaking that thing all day and not play or record anything at all.

[Drew]

Yeah bridges an overlooked part of a song. Especially in instrumentals. I need to pay more attention to it more than just cramming a 'cut loose' solo.

My problem is the exact opposite. Songwriting is thr easy part. But I become a deer in headlights when it comes to production. I'm scared to death of mic'ing an acoustic on my own. I get apprehensive about choosing a drummer or my programmed drums, my tripe mixing skills, etc. In fact my first album was a small miracle because I have a co-producer to kick my ass into gear.

I wish I had Rocka's time and prolific drive. I would have released my second album, 2 pop experiment albums, a compilation of podcast background stuff by now.

Shit, I wish we lived closer. All that stuff is pretty easy for me, or at least is stuff I don't overthink. I'm comfortable with my ability to get t least "good enough" acoustic and electric tones down, drum programming takes forever but I'm satisfied with the output (and Superior 3 is fucking awesome, I've been stoked with how natural things sound), and while I could spend a LONG time tweaking mixes, the times where I've mixed for someone else I've been reasonably happy with both the output, and the process of getting there.

I'd be happy to engineer the sessions for you and then spend a couple weeks sequencing drums and mixing it, if you could just periodically tell me "that solo section sucks, that one sounds good, the arrangement here flows pretty well, this one doesn't," and then stand next to me while I was tracking and told me when a solo was a keeper, and when I should scrap it and do another take.

Fuck it, the drums are extremely crude and the mix is nonexistent, but maybe I'll post up the last demo I was working on, with that in mind.

[Kim]

Are you "working" on any albums these days? Looking forward to getting mine in, say, ten years time

[Drew]

Are you "working" on any albums these days? Looking forward to getting mine in, say, ten years time

Go down a thread or two in this forum, dick.

[Bloody_Inferno]

Shit, I wish we lived closer. All that stuff is pretty easy for me, or at least is stuff I don't overthink. I'm comfortable with my ability to get t least "good enough" acoustic and electric tones down, drum programming takes forever but I'm satisfied with the output (and Superior 3 is fucking awesome, I've been stoked with how natural things sound), and while I could spend a LONG time tweaking mixes, the times where I've mixed for someone else I've been reasonably happy with both the output, and the process of getting there.

I'd be happy to engineer the sessions for you and then spend a couple weeks sequencing drums and mixing it, if you could just periodically tell me "that solo section sucks, that one sounds good, the arrangement here flows pretty well, this one doesn't," and then stand next to me while I was tracking and told me when a solo was a keeper, and when I should scrap it and do another take.

Yeah, being in 2 different hemispheres is a bit of a hurdle.

Regarding drums, I'm fine with programming them. All my drum patterns are transcribed on Sibelius before converting to midi. When I did my first album, I was talked out of using them and getting a real drummer, and we did and I enjoyed the album better for it. All my demos are fully arranged and orchestrated, but for my upcoming album I managed to get a sick rhythm section (drummer has played with Paul Gilbert and bassist has toured with Eric Martin) and they're dead set keen on playing on my album (hence why I'm opting out on midi drums). Of course some life circumstances, then 2020 got in the way to side track it.

That said, the offer is pretty cool. I should send you a FB friend request and IM you some demos. Heard your recent one on the other thread and I enjoyed it.

[Drew]

Yeah, being in 2 different hemispheres is a bit of a hurdle.

Regarding drums, I'm fine with programming them. All my drum patterns are transcribed on Sibelius before converting to midi. When I did my first album, I was talked out of using them and getting a real drummer, and we did and I enjoyed the album better for it. All my demos are fully arranged and orchestrated, but for my upcoming album I managed to get a sick rhythm section (drummer has played with Paul Gilbert and bassist has toured with Eric Martin) and they're dead set keen on playing on my album (hence why I'm opting out on midi drums). Of course some life circumstances, then 2020 got in the way to side track it.

That said, the offer is pretty cool. I should send you a FB friend request and IM you some demos. Heard your recent one on the other thread and I enjoyed it.

It took me a second to figure out who you were, and then another to wonder why we aren't already FB friends. The whole real name/user name thing can get confusing.

[RevDrucifer]

Yeah man, I'm running out of excuses for my recordings sucking. I've actually started writing again though and I'm kinda stoked to try to at least do an EP or something before much longer. It's been really rewarding to feel like I'm creating something again.

Shall we see which Drew takes the longest to release something? I’ve got a 4 year head start on you and just finally start re-recording the demos, so I’ve probably got another 5 years until it’s done.

[Mike]

Shall we see which Drew takes the longest to release something? I’ve got a 4 year head start on you and just finally start re-recording the demos, so I’ve probably got another 5 years until it’s done.

I started the Division album I'm mixing when Dave was still in the band. I don't think anyone's touching me.