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Looper's Delight
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| 3 D seems to be the big current buzzword among studio geeks these days. I first heard it from Gavin Lurssen, 3 time Grammy winner who mastered the last Hayley Sales record (07). At the time, he said, "I don't know how they do it (he was being deferential) but I think it's by running out from digital to analogue and then back in." My paraphrase. So as part of this studio revamp I got a Dangerous 2 Bus summing mixer and a bunch of other Dangerous stuff to go 'out and in'. Great company, great stuff. Am I getting the 3D yet? It's definitely WAY massively improved, I can't say that enough... but I'm still doing the mixes so can't comment yet. But I'm quite excited by what I'm hearing. Have had the new setup running for about 4 months and it's SO MUCH EASIER to get THAT sound. DEFINITELY better converters is an incredible improvement. At first I got the Digidesign 192 which is good enough - way better than what I had before. I shopped for more analogue I/O and was going to buy another Digi I/O but ended up - after much study and consulting various sound sages - getting an AUrora Lynx VT. 16 analogue in and out and it sounds really great. I highly recommend the Aurora Lynx stuff. A little more klugey to set up than the DIGI stuff but well worth the effort. And their tech support is stellar. You probably don't need the VT model unless you want to calibrate the I/O. I've heard (thru very reliable sources) the APogee, through a flaw in its design, puts DC offset in the signal. I also heard from a very well known guitar maker who's ears I really respect that he ran deep tests on all the I/O systems and that Apogee was not good at all. Of course, great records are made on APogee converters, Digi converters, Mytek, Prizm, Weiss... all of them. So much of it is ears and good old hard work. I did work on some stuff that was done on a MOTU Traveler that I thought was good. They had used a bunch of Earthworks mics that sounded surprisingly good! In general, samples themselves can be sort of flat - especially older samples. So your samples have to be the highest quality you can find. This is IF you're trying to make an organic, real sounding record. That's my obsession. If it's techno, then that's another story. Nothing beats a really good drummer with really good mics and mic pre's. It just sounds better from the get go. A great clock is a big help. I use an Apogee Big Ben. The Antelope is reputedly better. Sony Oxford should be good. I love the WAVES SSL plug ins. Haven't used the Oxford stuff yet, but I hear really good things about it. It's all so expensive - esp as TDM plugs.. You know, you might consider taking some of your work as separate channels to a really good studio (that has achieved the 3D sound you're thinking of) and mix one song. See if it happens! I personally think a lot of the 3D thing is the mix itself, how the eq's all work together to make parts sort of stand out (or recede) on their own. ANd then the arrangement of the music. When it's thick, it's harder in every dimension! In the old days we believed reverb was the key to depth dimension. But reverb's sort of lost some luster in recent years, at least in the kind of stuff I'm doing now, so we've gotta get that mysterious 3D element through mixing, eq etc. I know you know too much compression could flatten the Alps. I personally like slower attacks so the transients pop out. Personally, I've loved the things I've heard from you, Rune. Great player, great ideas, hard working guy, obviously. I hope what I've said hasn't been irrelevant or stupid. Richard richard sales On Jul 12, 2009, at 3:52 AM, rune_fagereng@yahoo.no wrote:
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