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WinterMute

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Everything posted by WinterMute

  1. WinterMute
    Me neither, but he learned to sing in tune.
  2. WinterMute
    She definitely had talent, but the lack of autotune on her early recordings is covered by the layers of unison multi tracking to cover her tuning and timing variations. No doubt she learned to sing and became a great artist, as any others have, Seal couldn't sing when he started, look what Trevor Horn managed with Kiss from a Rose, Simon LeBon was abysmal at the beginning of his career and became a very passable singer.
  3. WinterMute
    Oooo, that's pretty. Too many strings for me, I had an early 5 string, but you do get a hell of a lot of bass even for the high price. GLWTS.
  4. WinterMute
    Percy Plant was well known for singing flat, didn't slow them down much. However, Waterman was bang on the money with his comments about Kylie Minogue, PWL really began the whole business of the face selling the music. Speaking as someone whose engineered my fair share of pop and boy/girl band titles, I can honestly say the the general rule is that the prettier the face, the more work I had to do to make them sound like they could sing. Obvious exceptions apply, but they are generally very rare.
  5. WinterMute
    Seems like an arbitrary place to draw a line on electronics and technology in music, no pitch correction, but yes to EQ, compression, distortion, amp modelling, reverb, delay, stereo mixing of mono signals, amplification, samplers, synthesisers, sequencers, DJ decks...? Remember the stick Dylan got for picking up an electric guitar? Its a tool like any other, you chose which tools to employ.
  6. WinterMute
    I fix my fretless playing with Melodyn, I don't see a problem with it, I love playing fretless but I don't practise it enough to be perfect. I also change the parts around once the tracks are complete to make a better overall song, sometimes changing a note here or there makes al the difference.
  7. WinterMute
    Chances are, if you're hearing it, it's there for an effect, most pitch correction, as opposed to auto-tuning, is entirely inaudible if used properly. Auto tuning ruins recordings and live performances for me as it's so obvious. I use Melodyn extensively in the studio, tuning errant vocals, sorting my dodgy intonation on the fretless aligning BV's to lead vocals, creating harmony parts as guides for singers, re-arranging performances, it's an incredible and slightly scary bit of technology.
  8. WinterMute
    Alan's now got round to starting the Krell, cutting paduak for the body and neck accents. Very early days and it seems almost impossible that this stack of wood cuts will become a bass someday... Can't wait.
  9. WinterMute
    I've one of these, and it's the best SR5 you can buy, whatever they did with the construction, the pup and the pre works a charm. My favourite 5 string. GLWTS.
  10. WinterMute
    Rooms are acoustically treated, mics are top notch, preamps and dynamics are (usually) analogue and classy, most of the audio is in the analogue domain I suspect, plus the engineers are very experienced at voice recording. The output from the production will be in line with whatever multi band processing the broadcast chain has, rather than fighting with it, so level and loudness content will be tailored to the broadcast output.
  11. WinterMute
    Love the SR5s, ditto the scratch plate, bought a 20th Anniversary, job done. Lovely basses, congrats,
  12. WinterMute
    I'd have said 2, one fretted, one fretless, but then these things accrete don't they? I have 3 currently, and a 4th in construction, I have a 20th Anniversary MM SR5, which is a perfect bass, I have a Stealth Bongo 5 which was a 50th birthday present and I have a 5 string fretless built around a great MM SR5 Neck. Alan at ACG is building me a new fretless 5 string, but I can't see much point in shifting a Frankenstein bass on, so I'll probably stick with 4. Don't have enough wall space in the studio for any more frankly, unless I get a bigger studio... My guitarist says the formula for guitars is (number of existing guitars)+1
  13. WinterMute
    Agreed on Windows, never used it, never will, but I know a lot of very serious engineers and producers who use Windows machines to run audio production with great success. My take has always been that Mac OS tends to take less time to manage than windows, but it's not bomb proof, nothing is. My point was chose your weapon and get busy.
  14. WinterMute
    The Apple vs PC debate has been over since pretty much all processor models will run multitrack audio without problems, RAM is the issue, 16Gb is barely enough these days, 32 or 64 is much better and prevents all the DAW variants from accessing the HD so much, also get a separate HD for the audio, so that your OS drive is for nothing but apps and OS, make the audio drive an SSD if you can afford it. If you don't want pay to play Apple/Avid games, then don't, it's completely irrelevant now. Discussion of relative feature sets and workflows in DAWs is much more interesting, as is ultimately, what we all do with them.
  15. WinterMute
    The magic triangle, equilateral and tweeters level with your ears...! If you're in the right spot, you won't be able to see the sides or top of the cabinets at all, just the fronts. Then all you need to do is move the triangle around in the room to find the best acoustics... Then buy some treatment, or maybe build a new room... Perhaps move house...
  16. WinterMute
    It's stable as far as I ran it, which was not very far, I have UA interfaces and DSP expanders in the studio and I downloaded it out of curiosity, but was pleasantly surprised. All the plug-ins and the app instantiate from the UA hardware, so not iLok is needed, it will run AU plug-ins though, so I imagine iLok support isn't too far away. I'm keeping an eye on the updates for controller support, once that lands I'll take a very serious look at it.
  17. WinterMute
    It's good, there are a few things it doesn't do well, elastic audio for instance, but more importantly, it sounds good. I think I'll be moving over to Luna once Protools becomes un-wieldy, if it ever does. It's quite a learning curve, as it looks similar but is quite different to Protools. Edit: One thing, I use an Avid S3 control surface, and Luna doesn't;t support any external surfaces at all, HUI, Eucon etc. So I'll have t wait for that support before I switch permanently.
  18. WinterMute
    That's gotta hurt, I've all but given up the idea of owning another Wal, I had a 4 string Pro 2 in the 80's and I'd love a Mark 2 or 3 5 string fretless, but I have neither the patience or the money.
  19. WinterMute
    My all time favourite Joni Mitchell recording, very rare that I prefer a live recording to the studio version, but this one surpasses the originals with ease. Absolutely stellar. Jaco's white strides are something else...
  20. WinterMute
    Increasingly I find parallel compression on a separate buss yields great results, sure the kick and snare get some Distressor love, but having that compressed signal to ride in under the drum mix as the main mix progresses is a thing of beauty... Love me some Shadow Hills.
  21. WinterMute
    I have a Furman in my room, I use their bigger versions in most studio builds I do as an easy way to power multiple units in a rack tidily, they do clean up noise that comes up the mains, EM and RF stuff which is what your noisy dimmers chuck out. They won't do a lot for earth loops, those need tracking down and fixing, but fluorescents and dimmers, sure. The added bonus is the voltage smoothing and the surge protection, plus you can turn everything off at once, just make sure the monitors and amps are "last on, first off". https://furmanpower.com/pro-av-power/merit-series-export/
  22. WinterMute
    Room plays such a big part in recording an upright, it's such a physically big instrument that close mics never really do it justice, other advice about multiple mics is solid, I've found something bright and present close into the finger board, around the centre of the speaking length of the string, works very well for the detail, but the essential mic is always something big and sensitive a bit further out, mix to taste. If the scary expensive mics are beyond you, there are some excellent offerings form people like Sontronics these days, particularly second hand, the Orpheus isn't bad at all, but if you can pick up an Omega second hand, that's a great valve mic for around £300. Their STC3 solid state is cheap and cheerful. Rode do some good cheap large diaphragm condensers, as do SE.
  23. WinterMute
    I've been very impressed with Universal Audio's Luna platform, it's probably where I'll head once Protools keels over, the admission price is a bit high, in that you have to buy one of the UAD interfaces to get hold of it, but it's integration with the hardware is stellar and it's a very powerful and developing system. Logic remain my second choice if only for the huge amount it gives you out of the box, but it's never sounded as good as Protools to me, regardless of the hardware involved. I may run it up for a test with my UAD hardware and plug-ins, see if that makes a difference, I find it difficult to navigate around.
  24. WinterMute

    Which DAW?

    WinterMute replied to PatrickJ's topic in Recording

    I'm not sure it really matters much anymore, most of my work comes in either Protools or WAV audio files so I choose to work in Protools, but grab whichever looks good to you and you can afford and get working, they all have great features these days, and you can work around the shortcomings of any system. The learning curves are steep unless you're into Fruity Loops...
  25. WinterMute

    Which DAW?

    WinterMute replied to PatrickJ's topic in Recording

    I'm still a Pro Tools guy, I've worked with all the others, I have Logic X and Universal Audio Luna on my system, but I've always come back to PT for big sessions. It's built to behave the way an audio engineer expects and it does the job very well, if you're audio recording, editing and mixing, it's still streets ahead IMO. if you're producing EDM or anything using a lot of soft-synth etc. others will be more useful. We develop demos in Logic X, then track, edit and mix in Protools.
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