This is the level that sets apart the striving engineers from the inspired engineers.The skill to ”assist the music” is usually lost on the bands and performers who need it the most — however for the vetted specialists, groups, producers who hear and feel musicality — this is the true litmus test.
The engineer hears the essential blend and starts to translate the musical expectations.
There’s a bunch of means in which musicality is indicated, converted, and hence helped along — and a lot of it is intuition — however when you hear it you hear it.
Everything I can say is a lot of this methodology includes automation— bringing key components out at fastidious experiences.
As a maker, a standout amongst the most vital aptitudes I’ve required to create is sympathy.
I’m alluding to having the capacity to comprehend the sentiments of the specialists I work with. Craftsmen are glorious and intriguing individuals, and they’ve all got an extremely individual (even private) and serious association with their music. Through the years and in the wake of gathering several specialists, I’ve gotten interested with investigating the likenesses and contrasts.
As you know, accomplishment in this industry is dependent on a great deal more than specialized (counting musical) aptitudes. Variables, for example, duty, ability to learn, valor, solid respect toward oneself and quietude are significantly more imperative.
Through the years, I’ve gotten much better at judging individuals’ character. I can tell when an individual I meet is somebody I’d need to work with. Clearly, this included some significant downfalls. As the truism goes: great judgment originates for a fact; experience originates from terrible judgment. I’ve absolutely had a decent amount of terrible careful decisions!
So while whatever is left of the online maker world is discussing Pro Tools and drum specimens, I’m making a feature arrangement that doesn’t manage gear whatsoever. Rather, its about sentiments.
I talked with some of my craftsmen from a year ago and got some information about music, life, insecurities, fervor and pushing send through troublesome times.
In this way, this is the third feature in the arrangement. Here the specialists are discussing whether they discover it less demanding or more troublesome now, contrasted with when they began making music.
I’m distributed one consistently for whatever remains of the year. Stay tuned.
Universal Audio is pleased to announce the Neve 1073 Preamp & EQ Collection for the UAD Powered Plug-Ins platform and Apollo audio interfaces.
The Neve 1073 channel amplifier is easily the most revered preamp and EQ circuit ever designed. Introduced in 1970, this hallowed class-A, transistor mic/line amp with EQ epitomizes the beautiful “Neve sound,” with unparalleled clarity, sheen, and bite.
In 2006, Universal Audio released the legacy Neve 1073 and 1073SE plug-ins, which quickly became a staple for in-the-box mixing and mastering engineers worldwide. Today, UA’s team of engineers have improved upon the original and incorporated — for the first time ever — all 10 clipping points from the preamp and EQ circuitry, as well as Unison™ technology integration with the award-winning Apollo and Apollo Twin audio interfaces. The result is the all-new Neve 1073 plug-in — a true end-to-end circuit emulation of the original Neve 1073 channel amplifier that delivers its trademark grit and harmonically rich class-A saturation.
In addition, the all-new Neve 1073 Preamp & EQ plug-in features presets from famous Neve 1073 users, including Joe Chiccarelli (The Strokes, U2), Ed Cherney (Bonnie Raitt, The Rolling Stones), Jacquire King (Kings of Leon, Norah Jones), Joel Hamilton (Pretty Lights, Sparklehorse), Dave Isaac (Prince, Marcus Miller), Ryan Hewitt (Red Hot Chili Peppers, The Avett Brothers), and more.
“The new Neve 1073 plug-in is one of our most ambitious projects to date,” says Universal Audio CEO Bill Putnam Jr. “We are proud to bring such an exacting emulation of this legendary piece of hardware to the UAD Powered Plug-Ins platform.”
Available for purchase from UA’s Online Store for $299 ($149 for owners of the legacy Neve 1073/1073SE Classic Console EQ Plug-Ins), the Neve 1073 Preamp & EQ Collection also includes the legacy Neve 1073 and 1073SE “DSP light” plug-ins and is part of the new UAD Software v7.7.
For years, I’ve been using the Combinator as my main live instrument of choice. It affords me a method for combining several instruments, and then mapping these instruments across different key zones. And, while this sounds terribly basic, having a complex arp on one octave, a thick lead on another that’s been stacked a few times over, and a huge pad on another octave, built of several synthesizers is actually no joke.
Establish an Internal Mix
Let’s use an example song: I have a song where I’d like to play a light synth bass, and a pad. I’ll start by bringing up a Line Mixer 6:2, otherwise known as the MicroMix. Since the bad ass SSL-ish mixer was added in Reason, mixers aren’t used as much as they used to be. But, in Combinators, you want them! They allow you to patch multiple instruments easily within the Combinator. I often start with this device because it keeps you from having to do any extra rewiring later.
Once the mixer is created, I’ll right-click on it and select Combine. Because the MicroMix is the first device, anything that I add to this Combinator will automatically patch to the MicroMix. No extra routing!
The kind of tasks that need to happen on a location recording are actually not at all dissimilar to what happens in the studio. You’ll need to provide the singing group with some means of hearing the track. This will probably mean a using a pair of small speakers in the ambient singing area, since it’s unlikely there will be enough sets of headphones to go around. But you will also want to capture their performance with a suitable microphone set-up, and in such a way that there is a minimum of track spilling back through the microphones.
Ideally, you will want to set yourself up somewhere away from the singers in another room, to give yourself the best hope of hearing exactly what you are recording without the interference of the ‘live’ sound coming from the hall. If you are anything like me, you’ll be wanting to set up a few equipment bits and pieces in this new ‘control room’; either a set of speakers or a good pair of headphones to monitor with, some means of providing compression and maybe a little eq to the vocals.
On the DAW side, you’ll want to be able to run the track but also have several tracks instantly available for an assortment of vocal takes, as well as the option to drop-in. I tend to use a laptop connected to an audio interface when travelling; it might be possible to do it all with an iPad or even a hi-end professional field recorder, but I’ve yet to be totally convinced!