This is a real-time shoot of a prototypical tracking session, with no smoke or mirrors. Going from scratch to a rough mix in an hour or so with mic choices and placements, preamp choices and mic swapping for tone shaping. All steps are explained and commented.
Tracked with Avid ProTools HD|Native, full line of Royer Ribbon mics and Mojave Condenser mics, UA 4-710, UA610, Great River MP2NV, Great River EQ1-NV preamps and eqs as well as Dangerous Music Monitor ST, Dangerous Music Summing and Focal speakers.
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- 00:00 - Start
- 00:0 - Room Microphone & Bleed
- 03:32 - Tracking the Band !
Let's just play that and listen to the...
to the room mike.
There's a Royer Ribbon, SF-24V which is a stereo tube ribbon mike.
Why did we put it here? Because those drums are loud.
Compared to that guitar.
So we moved it away from the drums and tried to have a balance between all the instruments.
Just the room mike sound like this.
Can you believe how much bass drum there is in it? Considering how far it is from the bass drum.
You are a mean bass drum player.
This gives you an idea of what it sounds like on stage.
Tomorrow when I mix the song I'll be able to use this to give kind of a messy vibe to it so it doesn't sound so clean.
How about you play the bass microphone? You hear a little bit of the...
Vocal, a little bit of the drums.
But the bleed is clean because it's a ribbon so it's nice...
How about the vocal mike? Sounds great.
And what's going on with the violin microphone? That's not as good but once he switches to the bow it will be perfect.
This to show, don't be afraid of the bleed.
If the bleed is clean, if the drums aren't sounding **** in the violin microphone then it won't ruin your drum sound. I saw you.
Bleed is not necessarily bad. Bleed is the sound of the records we like.
You know like everybody talks about, whatever, The Beatles, Pink Floyd or whatever.
Bled like crazy.
And it's OK, it won't hurt you. It won't bite.
- What do you mean by clean bleed? The way I see it and that's a very personal thing, you have to form your own taste.
The way I see it is, if I bring a microphone up and there's another instrument bleeding, for example in the violin microphone I'm hearing the drums.
If I like the tone of the drums in the violin microphone I consider that clean.
Very often, for certain microphones maybe of lesser quality, or maybe if you pick the wrong microphone, when you bring up the violin microphone the sound of the drums in it is horrible.
It's honky and peaky.
So whenever you're gonna push your violin microphone your drum sound is ruined.
It's the same principle we showed you about moving the microphones a little bit.
It's the same principle for recording drums.
Although we love to think of it as one instrument, it's hell, there's eight of them right there.
And they all bleed into each other.
Don't try to make them don't bleed.
Just try and make sure that the bleed is OK.
Move this way, try a different pattern.
Try a different microphone.
Make sure the phase is not off.
Try a different preamp.
Try a different player.
Now we're gonna record the whole song.
And then we're gonna listen to the whole song.
And see what we've done together today in tracking a band from scratch in about 1 hour and 50 minutes.
The first thing we're gonna do is ask the phenomenal Will Knox band to record the whole song without me interrupting. Isn't that amazing? Here we go.
Rocking! Notice how nobody touched any faders while we played it back.
Your head didn't get cut off.
Everything kind of worked together as a band.
Microphone into preamp into converter thing sounds as good as many records that you hear out there.
Because care was taken into placing the microphones in the right place and because it's also the phenomenal Will Knox Band.
And the phenomenal Meredith McCandless is the engineer.
I'd like to remind you that the seminar was put on by, can you put the thing on.
Organized by Dangerous Music, who's very dear to me. As and engineer they help me get to where I am as far as my knowledge base.
And they make phenomenal monitoring and summing.
It was put together also with the help of Mojave and Royer Microphones.
It's all Mojave and Royer microphones on the stage right now.
Universal Audio who provided some of the preamps and compressors and also and also the plug-ins that I'm gonna use tomorrow to mix the song.
Great River who provided EQs and preamps for this.
Focal who put the speakers and then Avid and Pro Tools.
These are the people who made it possible for you to see this so please be kind enough to come back tomorrow at 11:30 to see the song being mixed and hear it. And lastly as a thank if you like the song it's on the first Will Knox record which they have here for sell.
Because they are professional musicians.
And then there's also a second record and both those records, the second record came out as a comic book, it's pretty cool.
You don't get a CD you get a comic book and then you download the songs.
Which is pretty nice.
And both these records were produced by moi and recorded and mixed by Meredith and moi.
Thank you very much, I hope to see you tomorrow at 11:30 AM.
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Fab Dupont is a Grammy winning NYC based record producer, mixing/mastering engineer and co-founder of pureMix.net.
Fab has been playing, writing, producing and mixing music both live and in studios all over the world. He's worked in cities like Paris, Boston, Brussels, Stockholm, London and New York just to name a few.
He has his own studio called FLUX Studios in the East Village of New York City.
Fab has been nominated for Grammys 6 times, including two Latin Grammys and has received many other accolades around the world, including Victoires de la Musique, South African Music awards, Pan African Music Awards and US independent music awards.
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