Re: Mac Mixes!!!!!!!!
 

Wow - lots of great stuff posted here. I've been using ProTools on my Mac for about 6 months now, I've got a few tracks posted:

strange industrial music

It's pretty different from most of what I've heard here - industrial / ambient / techno, mixed entirely within PT (using Reason as well, mostly for drum sequencing). I mostly use found sounds I sample and then layer together, with plenty of effects. Comments, of course, are very welcome.

Jeff - I like your 16 Years of Grace tracks - a nice mix of haunting and hard-driving. Which disc are they from?

Keep it up!

- Eric

Re: Mac Mixes!!!!!!!!
 

Michaux, very nice, smooth, and clean -- and funky! Doesn't burn my ears off either.

Blue Ridge

Re: Amateur Tunes
 

Wow buzz awesome.
you have a real gift of resolving dissonance, makes it really interesting.
you should be shopping this stuff for movie soundtracks.

Songs from the Labor Camp
 

On behalf of the Labor Camp and Labor Camp Orchestra, I would like to invite you to join in our ongoing celebration of labor. At the following URL:

http://laborcamp.mcad.edu

you will find a selection of many sound projects constructed at the Labor Camp over last few years (1998-2004). At the moment they are grouped in several thematic threads. These are some of the themes continually pursued at the Labor Camp by means of sound or otherwise. While the body of work presented here is neither complete, nor entirely resolved, it remains a testimony of our everlasting commitment to, and love for labor. We work all the time. New components will be added, as new conclusions are reached. It is our deepest hope that in our labor you will find a ray of encouragement for your own work.

Yours,

(for Labor Camp Orchestra)

p.

P.S.
Of course, every single sound there went through PT at some point.

laborcamp.mcad.edu

Songs from the Labor Camp
 

On behalf of the Labor Camp and Labor Camp Orchestra, I would like to invite you to join in our ongoing celebration of labor. At the following URL:

http://laborcamp.mcad.edu

you will find a selection of many sound projects constructed at the Labor Camp over last few years (1998-2004). At the moment they are grouped in several thematic threads. These are some of the themes continually pursued at the Labor Camp by means of sound or otherwise. While the body of work presented here is neither complete, nor entirely resolved, it remains a testimony of our everlasting commitment to, and love for labor. We work all the time. New components will be added, as new conclusions are reached. It is our deepest hope that in our labor you will find a ray of encouragement for your own work.

Yours,

(for Labor Camp Orchestra)

p.

P.S.
Of course, every single sound there went through PT at some point.

laborcamp.mcad.edu

Re: Amateur Tunes *DELETED* *DELETED*
 

Post deleted by DR.Loop

Re: Let\'s Hear Your Latest
 

Digging around today trying to fix things with WMP, I managed to dig up an old session that I had abandoned when I lost my "day gig". I'd left it entirely in the hands of the head engineer there...and he's totally neglected the project, so I decided I'd throw a quick mix on the stuff and get it to the interested parties as an unexpected Christmas present.

Here's a couple of tunes from the last live show I recorded for them (it's a different lineup...but part of the same jazz series from which I've already posted tons of stuff). I think this could quite possibly be the cleanest live recording I've done to date. It's a very quick mix...spent just two or three minutes on it...didn't even listen all the way through...no automation yet, and it certainly isn't mastered, but I hope you like it anyway. Feedback, as always, is very welcome.

http://s94172706.onlinehome.us/temp2.mp3

Enjoy,
Chris

Re: Let\'s Hear Your Latest
 

Here's something I put together over the weekend. Considering on putting this (or some version of it) in the DUC Christmas.

Constructive criticism on performance and/or recording techniques and especially mastering techniques always welcome.

(I am aware of one spot at the end where it peaks and distorts somewhat, that should be fixed later this evening after I get home from work)

www.confuoco.net/music/silentnight.mp3

Aaron

Re: Let\'s Hear Your Latest
 

Nice job Chris, thanks for posting it !


As a side note, what was your approach to micing the ensemble ?


Take Care,
Gene

Re: Let\'s Hear Your Latest
 

Gene,

Thanks. My approach to this was pretty much the same as it's always been...try to get as natural a sound from each instrument as possible. The only exceptions to this come from the fact it's a live performance, which means certain considerations have to be made for the bass.

Bass:
Tracking double-bass live like this is always tricky...mics tend to pick up too much bleed to be of any use, and DI's tend to sound bland compared to what you hear standing in the room next to the acoustic behemoth, same goes for a mic on the amp. I usually start each gig like this by asking the bassist what he's had good results with in the past...as every single bass, player, and amp combo sound completely different...on no other instrument is the disparity in sound from one player and setup to the next so evident: what is golden for one setup sounds like unreleasable crud for another. This particular bassist had a pretty nifty setup, he used a ATM35 (typically a clip on mic) sitting/pointing directly into the top of the treble side f-hole instead of a pickup. He bypassed the pre-section on his bass amp, opting for a presonus Eureka instead. I was able to simply the XLR out of the eureka preamp...which I sent needlessly through a second pre just so I would have some trim control over it during tracking. I honestly didn't know how it was going to sound in his case, so I threw an audix D4 on the bass cab as a safety measure, in case the soundhole mic and pre combination sounded horrible. Needless to say, I've got some eq'ing to do...his eq settings on the eureka were tailored to the 1x12 bass cab he was using that night...and aren't so good for this mix...it's a bit woofy I think. He also squashed the living poop out of it at the eureka, so I won't be adding any compression at all in the mix.

Piano:
I used an AKG C422 in MS in the piano (M mic set to cardioid, and S set to figure 8 as always), about a foot up from the strings, aimed straight down about an octave up from middle C, about half way down the bar in the spine of the piano that points from that octave to the crook of the piano. (This was a large new york steinway D.) I would have like to back it out some and angle it to point at the same spot, but that would have resulted in far too much bleed from the other instument into the S capsule.

Drums:
I used a pair of Oktava MK012 cardioids in a modified XY pattern about two feet above the drummer's head (this cat was tall...at least 6'6"...so the mics were pretty high) in line with the kick drum and throne, each aimed to the outer edge of the outer cymbals...resulting in about 115 to 120 degree angle instead of the standard 90 degree x-y. I used an Audix D1 on the snare, and D2's on the toms, all secured to the drums using the older D-flex clips. The snare mic is treated as a full fledged signal, where the tom's are treated only as spot/support mics in the mix. The kick drum got an AKG D112, about 4 inches from the outer head, about three inches down from the top of the shell, angled down about 30 degrees. I like this method of kick micing, it tends to reproduce a sound that is very "realistic" no matter the kick drum or style in question... When I want a more produced/cookie-cutter sound, like that in today's modern rock, I'll use additional mics and blend them or even use a completely different mic technique.

Hall/Reverb:
I used an AKG C426b for this, configured as M/S, only the Mid mic was set to figure 8 instead of the more traditional cardioid. It was about half way back in the hall and functions purely as a reverb and applause track.

Well, I hope that sheds some light on the recording...by the way, nothing I could do could ever replace great musicians' performances: Willis Delony, director of Jazz Studies at Louisiana State University, played piano. Roland Guerrin, a very esteemed local bassist played the double bass. And Leon Anderson, director of Jazz Studies at Florida State University played drums. There was a vocalist for much of the show, but she isn't heard in that clip...I just haven't gotten around to those tunes yet...with moving and all.