Big Muff Ram's Head http://youtube.com/watch?v=wy2kiZBadtk
Big Muff Triangle http://youtube.com/watch?v=E4XaywTSYbQ
que opinan?
Rz
26 de enero de 2008
25 de enero de 2008
What is so special about a "First Series Big Muff Pi"?
So your here because you are wondering what exactly a Big Muff Pi is or you just want to learn a bit more on one of the greatest distortion/fuzz pedals ever built, well lets get started!
The Big Muff Pi is a guitar distortion box. Its very versatile, from deep creamy fuzz to smooth high tones the Big Muff Pi is proven to recreate many different sounds and create new ones in this progressive music industry. The smooth sustaining character is the muff's flagship. Instead of fuzzing out a chord it surrounds each note with a violin-like sustaining sound.
"My Big Muff Pi doesn't seem to have those qualities you are talking about Jeff..." This question is why I am here today. Unfortunately all to often I hear this from people, actually I'm happy I hear this from people cause it makes me a bit of cash! but really, its not great on their end. To explain... Throughout the years Electro-Hamronix changed the design of the circuits, thus having a great impact on the sound quailities. Over the years Electro-Harmonix made several different versions of the Big Muff Pi, they changed boxes, paint jobs and components. While, you may have a EH-3003 your buddy could have the same one but it sounds quite different!
Here are the differences...
1) Early 70's triangle knob. Transistors: 2 SPT3607, 2 SPT 87103. Very sweet, smooth and warm. Lots of variation by twiddlng the tone and sustain knobs. With sustain turned way down, you get overdrive, w/ sustain full blast, you get overkill. Best of the bunch (and one I used to have w/ 36999's sounded even better.)
2) Early 70's triangle knob. Transistors: 4 2N5133. Very close to the above but slightly bassier, sustain not as smooth.
3) Mid 70's small red logo. Transistors: 4 BC239. Less gain than any of the other Muff's tested; accordingly, better note definition. Kind of brittle sounding.
4) 1977 early large logo. Transistors: 4 BC239. More distortion than the above despite using the same transistors. Least appealing of the bunch.
5) 1981 large logo. Transistors: 4 ITT 2N5088. Very useable and cool, but doesn't have the warmth or definition of the triangle knob models.
6) 1983/84 large logo. Transistors: 4 2N5088. This one isn't quite as good-sounding as #5. Transistors aren't ITT's, don't know if that's why. The difference is minor, though.
Rz
The Big Muff Pi is a guitar distortion box. Its very versatile, from deep creamy fuzz to smooth high tones the Big Muff Pi is proven to recreate many different sounds and create new ones in this progressive music industry. The smooth sustaining character is the muff's flagship. Instead of fuzzing out a chord it surrounds each note with a violin-like sustaining sound.
"My Big Muff Pi doesn't seem to have those qualities you are talking about Jeff..." This question is why I am here today. Unfortunately all to often I hear this from people, actually I'm happy I hear this from people cause it makes me a bit of cash! but really, its not great on their end. To explain... Throughout the years Electro-Hamronix changed the design of the circuits, thus having a great impact on the sound quailities. Over the years Electro-Harmonix made several different versions of the Big Muff Pi, they changed boxes, paint jobs and components. While, you may have a EH-3003 your buddy could have the same one but it sounds quite different!
Here are the differences...
1) Early 70's triangle knob. Transistors: 2 SPT3607, 2 SPT 87103. Very sweet, smooth and warm. Lots of variation by twiddlng the tone and sustain knobs. With sustain turned way down, you get overdrive, w/ sustain full blast, you get overkill. Best of the bunch (and one I used to have w/ 36999's sounded even better.)
2) Early 70's triangle knob. Transistors: 4 2N5133. Very close to the above but slightly bassier, sustain not as smooth.
3) Mid 70's small red logo. Transistors: 4 BC239. Less gain than any of the other Muff's tested; accordingly, better note definition. Kind of brittle sounding.
4) 1977 early large logo. Transistors: 4 BC239. More distortion than the above despite using the same transistors. Least appealing of the bunch.
5) 1981 large logo. Transistors: 4 ITT 2N5088. Very useable and cool, but doesn't have the warmth or definition of the triangle knob models.
6) 1983/84 large logo. Transistors: 4 2N5088. This one isn't quite as good-sounding as #5. Transistors aren't ITT's, don't know if that's why. The difference is minor, though.
Rz
24 de enero de 2008
Recording David Gilmour's On An Island
On An Island, David Gilmour's third solo album in around 30 years, was one of the most high-profile releases of the year, yet it was recorded and mixed mainly on David's Thames-based houseboat studio, the Astoria, which has little more space than some of the home studios I've visited. Admittedly it is kitted out with Pro Tools and a lovely Neve analogue mixing console, and it has an enviable microphone collection, but a lot of what ended up on the final album started out as David's self-engineered demos. These were made in his home, before subsequently being sifted and reworked with the help of his friend and neighbour Phil Manzanera, who Gilmour has known since before Phil joined Roxy Music. Of course any project of this size needs a safe pair of hands in the engineering seat, and that task fell to Andy Jackson, who's worked with David Gilmour and Pink Floyd for well over two decades. Indeed, this interview had to be postponed for a week or so when Andy was called upon to step in and mix a couple of Gilmour's live tour dates.
"I started in 1976 when I got a job at Utopia Studios, which was came about after writing lots and lots of letters. One of the engineers there was James Guthrie, and I kind of paired off with him — we tended to work together all the time with me as his second. When he left I moved up, and when the movie for The Wall album came along, he needed more bodies and asked if I could help with that, which I did. That film turned into the Final Cut album, and after that I never escaped — I did a solo album with Roger, a solo album with David and it just rolled on and on. James moved to the States so I became the engineering branch that did everything here. That was 1981, and here I am 25 years later still doing it!"
Bringing Things Together
A lot of the album's songs started life as bits and pieces David had been working on over the years, and he enlisted the help of Phil Manzanera in a production role to help him go through his ideas and see which ones fitted together. It was at this stage that Andy first heard the ideas. "It was all on hard drives as Pro Tools Sessions, as David has a Pro Tools setup at home, and as a musician/engineer, he's good. He also had a couple of really nice mics, Mastering Lab mic amps and EAR compressors, which we'd marked up with Chinagraph, so what we got in was pretty good. He'd started off with over 100 different ideas, where an idea could be as simple as just a few bars of chords or it could be an almost complete song. This was quite familiar to me as Floyd albums also tended to start life like that. He'd worked with Phil Manzanera to whittle it down and to see which bits might work together, moving it more towards finished songs.
"The indulgent part of the project was that we went into Abbey Road Studio One with a band and screened it off to one third of its size with a curtain. We used a six-piece rhythm section just to knock some of the ideas about really. Then we did another session in Studio Two, which was more of a rock band. The first session was more of a jazz band with Jools Holland on piano, Chris Stainton — Nick France on drums. It also included Bob Close, who had been with Floyd in the old days when they were still the Abdabs or whatever they were. He's a good jazz guitarist so we cut a few tracks like that. This was all recorded simultaneously to Pro Tools and analogue. We all liked the idea of doing everything analogue but I thought that it just wouldn't happen — Pro Tools is like being a kid in a sweet shop and you're just not going to not do that stuff! You move things, copy things, tighten things up and all the other things we can do, and what I didn't want was for us to record on analogue, copy it into Pro Tools for editing, then copy it back to analogue again! So I was fairly insistent that we recorded to both at the same time, which was a bit tricky, but we're fairly body-heavy and we had the people so that's what we did.
"This was forming the backbone of the album up until the time we broke for the summer holidays and everybody took away a CD of work in progress to listen to. Then David came back and said he didn't like it — he wanted to go back to his demos so we started again. In fact on 'Take A Breath', the drum track that we recorded survived, and we managed to pull some of Jools's playing and some of Chris Stainton playing off those sessions, then lined them up with the demos so we could use it. At that point we were still trying to keep as much as possible on analogue but then David brought in Chris Thomas to oversee the workflow — to wield the cattle prod and get it done.
"One of the things Chris felt is that a lot of the tempos were too slow. It's a fairly laid-back album anyway, completely overtly so, and David's never been apologetic about that. He said 'That's where my head's at, that's what I want to do.' But Chris still felt some of the tracks were too slow so we ended up, after a lot of experimentation, time-compressing some things using Serato Pitch 'n Time in Pro Tools, which is generally regarded as being the best-sounding time-manipulation plug-in out there. The time-compression was a very laborious process, but fortunately somebody else did it — listening to each part, deciding which algorithm worked best for which type of material! This was all done on a second Pro Tools rig in another room.
"There were a few things Serato didn't do so well, but we got round it. For example, it really messed up the kick drum — it added some kind of backwards echo — so we just took some of the uncompressed ones and replaced them manually, lining them up in the waveform display. That didn't take as long as you might think — maybe half an hour to an hour per song. It also enabled us to find a good loud one, a good quiet one, which suited Chris as he likes the kicks to be consistent and well behaved. It worked fine and it didn't end up sounding like a drum kit made of bits.
"It sounds like a lot of cutting and pasting but we did really try to keep some sense of performance. In fact some of the smaller songs, such as 'Walk Yourself Weary', are 90 percent David's demos. In some ways that gives it more of a relaxed feel than if he'd tried to replace some of the parts later.
"'Take A Breath' comprises two pieces that were originally very different — they were even at different tempos and I can't remember now whether we kept the tempo changes or used time-stretching to get them the same. But there's very little of the original that survived, whereas something like 'Smile' is almost entirely David's original demo. That's why I insisted we say the album was recorded by me and him because he did so much of the original recording. If it's good I get the credit and if it's bad he gets the blame!"
An Easy Person To Record
David Gilmour's voice and guitar are both very distinctive, but according to Andy, there's no mystery about how he records them. "Actually, it's very straightforward — voice — nice microphone, nice mic amp, nice compressor. There you go. For reverbs I tend to be old-school and use an EMT plate. I had a couple of plates and a Lexicon Hall — that was our palette. The vocal chain starts with that Sony tube mic with the heatsink on the side, the C800G, and it is the most fantastic microphone. We have a couple of those, one in the studio and one for David to use at home, which is another reason his demos sounded so good. That feeds an old Neumann V72 mic preamp and then EAR EQs and compressors like the ones I use here in my mastering system. I would compress his voice but only fairly gently with a tickle of 2:1, then maybe do that again on the mix. That's with the exception of the rock songs of course, which were completely mashed in a Fairchild! The thing is, David makes my life easy — stick him on the phone and he sounds great! He is not a difficult person to record — great technique and a great voice."
During live Pink Floyd concerts, David Gilmour was renowned for using a lot of guitar effects and big amplifiers. I was curious to know what setup he used for recording. "Everyone asks what reverbs David uses, and the answer is none! He uses delays, and it's usually around 700 milliseconds or so. That's on his pedalboard, but apart from that there's probably only one or two different distortion boxes and maybe a compressor. It's not that complex — it's just finely tinkered with and he's got some nice guitars and good fingers. The amp was generally an old Fender Tweed Twin Reverb, with a little bit from his Hi-Watts occasionally. When he's recording at home, he just kind of sticks that Sony mic in a non-specific place in front of the speaker and I tried to replicate that in the studio, but it wasn't really working in our room. Chris wanted to stick an SM57 on it, maybe four inches from the grille cloth and a bit off-axis, but then I put a Coles 4040 ribbon mic next to it, dead in the middle of the cone, and we found that mixing that in behind the 57 really worked. What you hear is mainly the 57, but when you bring up the Coles, the sound just goes 'expensive'. Nearly all the guitar I recorded ended up being done like that — you just have to be really careful about the mic positions and make sure both are exactly the same distance from the speaker.
"Some of the guitars would be from David's home recording as he has a similar amp and effects setup at home. In fact on the guitar solo for 'On An Island' where there are two guitars, the first is a Les Paul and the second one a Strat. He recorded the Les Paul at home using the Sony mic and I recorded the Strat in the studio using the SM57 and the Coles ribbon, so if you want to hear how the two approaches compare, that's a good place to do it.
"With that combination of mics, the guitar had a real bite to it and it's very different to what we have done before. On Division Bell, we used a U87 eight inches to a foot away, a bit off-axis, and the floor of the room on Astoria is carpeted. It's actually very small — around 14 feet square — and sounds fairly dead, so when we record vocals, I just make sure the mic isn't right in the middle of the room as that gives a little 'boing'. All the drums were done there apart from a couple of the really live-sounding ones, as were all the Division Bell drums, and it's good for that typical Pink Floyd drum sound — even though it is [Andy] Newmark on that album, it still sounds like Pink Floyd."
At one time David used a guitar fitted with EMG pickups to play live, but does he record using that too? "He has done, but mostly he's reverted to his old guitar. Division Bell was mostly his red Strat with the EMGs, but Phil Taylor, his guitar tech, thrust his old passive one into his hands and said 'Play that!' He plugged it in and it sounded great — it is a good one. I think he bought it new in 1971 or something, but he's swapped pickups and parts on it over the years and it does sound good. Of course, with those passive single-coil pickups, you have to face Mecca when recording to avoid hum problems! Usually we don't need to do any cleaning up afterwards, other than topping and tailing the various sections so they start and finish cleanly."
The album also sees Gilmour playing lap steel, with what sounds like a ton of compression to make it sustain — but isn't. "Actually that guitar just sounds like that. It's a very old Gibson lap steel and it has an unbelievably hot pickup. He just plugs it into his rig and that's what comes out. I might occasionally compress some of the guitars on the album, but it was an 'icing on the cake' type of compression with just a couple of dBs here or there because it helped the focus. We have almost the opposite problem, because David plays so loud that when he stops playing everything squeals! When he's setting up, he turns up the levels so it's just about to go, so that he gets the sustain he needs without having to use lots of distortion. Certainly, on stage his amplifier is frighteningly loud, but it's remarkable — he's still got really good ears."
The Measured Approach
As you might expect, Andy is strongly of the opinion that making the right choices at the recording stage is the key to a successful mix. "It's got the point where I keep everything very simple, but then I suppose I've had 25 years of making the choices that have got me to that point. I know what's going to work in terms of what mics I put on things. I always think that if you simply take a microphone and record the world, it's a rather boxy and low middly place. You spend the rest of your life trying to get rid of that stuff. I tend to pull out a lot of low-mid, and with vocals it might be up to 500Hz. That's just automatic for me, then I'll add a little fairly dust. Ditto drums. The way I approach overheads is that I take the old-school Glyn Johns approach and use the overheads as kit mics rather than just cymbal mics.
"One of my favourite tools for recording is a tape measure! It sounds really anal but it's worth it. If you get the two drum overheads exactly the same distance from the snare, it sits bang in the middle of them with no phase problems, and in fact on this project, a lot was recorded for surround as well so I used four overheads set up as a square, all equidistant from the snare. The overheads were exactly a metre and a half from the snare, and I used Coles 4038 ribbon mics, which of course have a figure-of-eight pattern so you get a bit of the room in it, but it sounded good. I had to take out some low mid, but then most of the drum mics get the low mid taken out somewhere or another. I try to pay a lot of attention to what goes on at the bottom end really — the relationship between the kick and the bass. I don't know if I can put my finger on any magic technique, it's somehow just a sum of everything — of experience.
"With bass guitars I often find myself pulling out stuff that seems unlikely at around 80 to 100 Hz, which is where all the action is. But you still get the whole sense of weight below it and it just cleans up the whole mix. Same with the kick — sometimes I'll be pulling out stuff in the high bass region and leaving the low stuff in.
"One nice thing about having a pet studio you can go and play in is that myself, and Damon who works there, can try things out without time pressures. There is a studio kit that's left set up there so one day we decided to try out absolutely everything we had to see what sounded the best on kick. I started off with all the things I'd normally choose but ended up liking none of them, which I found really interesting. Finally we tried a Neumann FET47 capacitor mic, and I've stuck with that ever since. It's not the instinctive first choice — most people think of D12s or D112s, but I really liked the result. I believe George Massenburg also likes to use a 47 FET on kicks, and it's fine. Once you stick the pad in it's absolutely happy. I also use a little Beyer M160 ribbon on the snare — there seems to be a phase coherence or something about a ribbon, and it's the same with the overheads. The Coles 4038s are not very bright so it seems odd to choose something that needs a lot of EQ, but once you add some top it sounds great — and somehow better than using a mic that has a naturally extended high end in the first place."
Mix & Mix Again
Despite his emphasis on traditional techniques, Andy is certainly not averse to using new technology where it helps. "Having recall has made such a difference to mixing. Even when we did [Pink Floyd's] Division Bell we didn't have a recallable mixing board, but there are so many times when you just need to go back and change something by a little bit that it's great to have it now. Of course all the home studio software has it as standard now, but working on an analogue board that doesn't have recall seems preposterous now. I'd be interested to try to do some serious mixing in the box, but I'd need to have first-class interfaces to do that. I'd also need a really good control surface.
"David's album was done on Pro Tools, but we used it as a tape machine where everything came out of 48 outputs and got mixed on the Neve analogue board. There was some submixing inside Pro Tools, but then if we'd been working on two analogue 24-tracks locked up, we would have had to bounce some things down to stay within the track count anyway. In that case it means you're doing the summing digitally rather than analogue, which means you can undo the bounce if you have to, which we did on occasions. We had to do a little processing with plug-ins within these submixes, for example, when we recorded the Crosby and Nash vocal parts for 'On An Island'.
"I must admit that it quite surprised me that they recorded their parts one at a time when I'd set up assuming they'd sing together, perhaps with David adding a third part — a kind of Crosby Gils and Nash! That ended up coming up on the board as a stereo pair, but then I had to use a plug-in to EQ Crosby relative to Nash, just to tip him up a little brighter to match Nash. But the bulk of the EQ was done analogue afterwards."
The rest of the album was also recorded and mixed in fairly traditional fashion. "There are odd bits of Kurzweil and maybe the odd bit of synthetic Rhodes, but mainly it was old-school mic recordings plus using the EMT plate and things like that. It was mixed through the Neve analogue board and onto half-inch analogue tape. I think David looks back to some of the things we did in the '80s using AMS reverbs and things like that and says 'What were we thinking?' You can listen to the plate all this time later and it still doesn't sound old-fashioned.
"I did use a Lexicon 480 for the preset hall used on the orchestra and things like that — you'd think that when you record in Abbey Road Studio One the last thing you need is more reverb, but we did! On this album it felt like I needed to have a great deal of control so I could always get back to where we were, and the EMT plates plus the Lexicon were all we needed. But I'm a great fan of things like the TC System 6000 and we did use Altiverb on a few daft things, such as to get the effect of the fireworks in the opening section sounding as though they were outside [using the 'Forest by Lake' impulse response]. I think they originally came from a stock sound effects library. We had a flirtation with trying to record our own sound effects using Holophonics back in the '80s, but it's really hard to get anything that's any good."
http://www.soundonsound.com/sos/jul06/articles/andyjackson.htm
"I started in 1976 when I got a job at Utopia Studios, which was came about after writing lots and lots of letters. One of the engineers there was James Guthrie, and I kind of paired off with him — we tended to work together all the time with me as his second. When he left I moved up, and when the movie for The Wall album came along, he needed more bodies and asked if I could help with that, which I did. That film turned into the Final Cut album, and after that I never escaped — I did a solo album with Roger, a solo album with David and it just rolled on and on. James moved to the States so I became the engineering branch that did everything here. That was 1981, and here I am 25 years later still doing it!"
Bringing Things Together
A lot of the album's songs started life as bits and pieces David had been working on over the years, and he enlisted the help of Phil Manzanera in a production role to help him go through his ideas and see which ones fitted together. It was at this stage that Andy first heard the ideas. "It was all on hard drives as Pro Tools Sessions, as David has a Pro Tools setup at home, and as a musician/engineer, he's good. He also had a couple of really nice mics, Mastering Lab mic amps and EAR compressors, which we'd marked up with Chinagraph, so what we got in was pretty good. He'd started off with over 100 different ideas, where an idea could be as simple as just a few bars of chords or it could be an almost complete song. This was quite familiar to me as Floyd albums also tended to start life like that. He'd worked with Phil Manzanera to whittle it down and to see which bits might work together, moving it more towards finished songs.
"The indulgent part of the project was that we went into Abbey Road Studio One with a band and screened it off to one third of its size with a curtain. We used a six-piece rhythm section just to knock some of the ideas about really. Then we did another session in Studio Two, which was more of a rock band. The first session was more of a jazz band with Jools Holland on piano, Chris Stainton — Nick France on drums. It also included Bob Close, who had been with Floyd in the old days when they were still the Abdabs or whatever they were. He's a good jazz guitarist so we cut a few tracks like that. This was all recorded simultaneously to Pro Tools and analogue. We all liked the idea of doing everything analogue but I thought that it just wouldn't happen — Pro Tools is like being a kid in a sweet shop and you're just not going to not do that stuff! You move things, copy things, tighten things up and all the other things we can do, and what I didn't want was for us to record on analogue, copy it into Pro Tools for editing, then copy it back to analogue again! So I was fairly insistent that we recorded to both at the same time, which was a bit tricky, but we're fairly body-heavy and we had the people so that's what we did.
"This was forming the backbone of the album up until the time we broke for the summer holidays and everybody took away a CD of work in progress to listen to. Then David came back and said he didn't like it — he wanted to go back to his demos so we started again. In fact on 'Take A Breath', the drum track that we recorded survived, and we managed to pull some of Jools's playing and some of Chris Stainton playing off those sessions, then lined them up with the demos so we could use it. At that point we were still trying to keep as much as possible on analogue but then David brought in Chris Thomas to oversee the workflow — to wield the cattle prod and get it done.
"One of the things Chris felt is that a lot of the tempos were too slow. It's a fairly laid-back album anyway, completely overtly so, and David's never been apologetic about that. He said 'That's where my head's at, that's what I want to do.' But Chris still felt some of the tracks were too slow so we ended up, after a lot of experimentation, time-compressing some things using Serato Pitch 'n Time in Pro Tools, which is generally regarded as being the best-sounding time-manipulation plug-in out there. The time-compression was a very laborious process, but fortunately somebody else did it — listening to each part, deciding which algorithm worked best for which type of material! This was all done on a second Pro Tools rig in another room.
"There were a few things Serato didn't do so well, but we got round it. For example, it really messed up the kick drum — it added some kind of backwards echo — so we just took some of the uncompressed ones and replaced them manually, lining them up in the waveform display. That didn't take as long as you might think — maybe half an hour to an hour per song. It also enabled us to find a good loud one, a good quiet one, which suited Chris as he likes the kicks to be consistent and well behaved. It worked fine and it didn't end up sounding like a drum kit made of bits.
"It sounds like a lot of cutting and pasting but we did really try to keep some sense of performance. In fact some of the smaller songs, such as 'Walk Yourself Weary', are 90 percent David's demos. In some ways that gives it more of a relaxed feel than if he'd tried to replace some of the parts later.
"'Take A Breath' comprises two pieces that were originally very different — they were even at different tempos and I can't remember now whether we kept the tempo changes or used time-stretching to get them the same. But there's very little of the original that survived, whereas something like 'Smile' is almost entirely David's original demo. That's why I insisted we say the album was recorded by me and him because he did so much of the original recording. If it's good I get the credit and if it's bad he gets the blame!"
An Easy Person To Record
David Gilmour's voice and guitar are both very distinctive, but according to Andy, there's no mystery about how he records them. "Actually, it's very straightforward — voice — nice microphone, nice mic amp, nice compressor. There you go. For reverbs I tend to be old-school and use an EMT plate. I had a couple of plates and a Lexicon Hall — that was our palette. The vocal chain starts with that Sony tube mic with the heatsink on the side, the C800G, and it is the most fantastic microphone. We have a couple of those, one in the studio and one for David to use at home, which is another reason his demos sounded so good. That feeds an old Neumann V72 mic preamp and then EAR EQs and compressors like the ones I use here in my mastering system. I would compress his voice but only fairly gently with a tickle of 2:1, then maybe do that again on the mix. That's with the exception of the rock songs of course, which were completely mashed in a Fairchild! The thing is, David makes my life easy — stick him on the phone and he sounds great! He is not a difficult person to record — great technique and a great voice."
During live Pink Floyd concerts, David Gilmour was renowned for using a lot of guitar effects and big amplifiers. I was curious to know what setup he used for recording. "Everyone asks what reverbs David uses, and the answer is none! He uses delays, and it's usually around 700 milliseconds or so. That's on his pedalboard, but apart from that there's probably only one or two different distortion boxes and maybe a compressor. It's not that complex — it's just finely tinkered with and he's got some nice guitars and good fingers. The amp was generally an old Fender Tweed Twin Reverb, with a little bit from his Hi-Watts occasionally. When he's recording at home, he just kind of sticks that Sony mic in a non-specific place in front of the speaker and I tried to replicate that in the studio, but it wasn't really working in our room. Chris wanted to stick an SM57 on it, maybe four inches from the grille cloth and a bit off-axis, but then I put a Coles 4040 ribbon mic next to it, dead in the middle of the cone, and we found that mixing that in behind the 57 really worked. What you hear is mainly the 57, but when you bring up the Coles, the sound just goes 'expensive'. Nearly all the guitar I recorded ended up being done like that — you just have to be really careful about the mic positions and make sure both are exactly the same distance from the speaker.
"Some of the guitars would be from David's home recording as he has a similar amp and effects setup at home. In fact on the guitar solo for 'On An Island' where there are two guitars, the first is a Les Paul and the second one a Strat. He recorded the Les Paul at home using the Sony mic and I recorded the Strat in the studio using the SM57 and the Coles ribbon, so if you want to hear how the two approaches compare, that's a good place to do it.
"With that combination of mics, the guitar had a real bite to it and it's very different to what we have done before. On Division Bell, we used a U87 eight inches to a foot away, a bit off-axis, and the floor of the room on Astoria is carpeted. It's actually very small — around 14 feet square — and sounds fairly dead, so when we record vocals, I just make sure the mic isn't right in the middle of the room as that gives a little 'boing'. All the drums were done there apart from a couple of the really live-sounding ones, as were all the Division Bell drums, and it's good for that typical Pink Floyd drum sound — even though it is [Andy] Newmark on that album, it still sounds like Pink Floyd."
At one time David used a guitar fitted with EMG pickups to play live, but does he record using that too? "He has done, but mostly he's reverted to his old guitar. Division Bell was mostly his red Strat with the EMGs, but Phil Taylor, his guitar tech, thrust his old passive one into his hands and said 'Play that!' He plugged it in and it sounded great — it is a good one. I think he bought it new in 1971 or something, but he's swapped pickups and parts on it over the years and it does sound good. Of course, with those passive single-coil pickups, you have to face Mecca when recording to avoid hum problems! Usually we don't need to do any cleaning up afterwards, other than topping and tailing the various sections so they start and finish cleanly."
The album also sees Gilmour playing lap steel, with what sounds like a ton of compression to make it sustain — but isn't. "Actually that guitar just sounds like that. It's a very old Gibson lap steel and it has an unbelievably hot pickup. He just plugs it into his rig and that's what comes out. I might occasionally compress some of the guitars on the album, but it was an 'icing on the cake' type of compression with just a couple of dBs here or there because it helped the focus. We have almost the opposite problem, because David plays so loud that when he stops playing everything squeals! When he's setting up, he turns up the levels so it's just about to go, so that he gets the sustain he needs without having to use lots of distortion. Certainly, on stage his amplifier is frighteningly loud, but it's remarkable — he's still got really good ears."
The Measured Approach
As you might expect, Andy is strongly of the opinion that making the right choices at the recording stage is the key to a successful mix. "It's got the point where I keep everything very simple, but then I suppose I've had 25 years of making the choices that have got me to that point. I know what's going to work in terms of what mics I put on things. I always think that if you simply take a microphone and record the world, it's a rather boxy and low middly place. You spend the rest of your life trying to get rid of that stuff. I tend to pull out a lot of low-mid, and with vocals it might be up to 500Hz. That's just automatic for me, then I'll add a little fairly dust. Ditto drums. The way I approach overheads is that I take the old-school Glyn Johns approach and use the overheads as kit mics rather than just cymbal mics.
"One of my favourite tools for recording is a tape measure! It sounds really anal but it's worth it. If you get the two drum overheads exactly the same distance from the snare, it sits bang in the middle of them with no phase problems, and in fact on this project, a lot was recorded for surround as well so I used four overheads set up as a square, all equidistant from the snare. The overheads were exactly a metre and a half from the snare, and I used Coles 4038 ribbon mics, which of course have a figure-of-eight pattern so you get a bit of the room in it, but it sounded good. I had to take out some low mid, but then most of the drum mics get the low mid taken out somewhere or another. I try to pay a lot of attention to what goes on at the bottom end really — the relationship between the kick and the bass. I don't know if I can put my finger on any magic technique, it's somehow just a sum of everything — of experience.
"With bass guitars I often find myself pulling out stuff that seems unlikely at around 80 to 100 Hz, which is where all the action is. But you still get the whole sense of weight below it and it just cleans up the whole mix. Same with the kick — sometimes I'll be pulling out stuff in the high bass region and leaving the low stuff in.
"One nice thing about having a pet studio you can go and play in is that myself, and Damon who works there, can try things out without time pressures. There is a studio kit that's left set up there so one day we decided to try out absolutely everything we had to see what sounded the best on kick. I started off with all the things I'd normally choose but ended up liking none of them, which I found really interesting. Finally we tried a Neumann FET47 capacitor mic, and I've stuck with that ever since. It's not the instinctive first choice — most people think of D12s or D112s, but I really liked the result. I believe George Massenburg also likes to use a 47 FET on kicks, and it's fine. Once you stick the pad in it's absolutely happy. I also use a little Beyer M160 ribbon on the snare — there seems to be a phase coherence or something about a ribbon, and it's the same with the overheads. The Coles 4038s are not very bright so it seems odd to choose something that needs a lot of EQ, but once you add some top it sounds great — and somehow better than using a mic that has a naturally extended high end in the first place."
Mix & Mix Again
Despite his emphasis on traditional techniques, Andy is certainly not averse to using new technology where it helps. "Having recall has made such a difference to mixing. Even when we did [Pink Floyd's] Division Bell we didn't have a recallable mixing board, but there are so many times when you just need to go back and change something by a little bit that it's great to have it now. Of course all the home studio software has it as standard now, but working on an analogue board that doesn't have recall seems preposterous now. I'd be interested to try to do some serious mixing in the box, but I'd need to have first-class interfaces to do that. I'd also need a really good control surface.
"David's album was done on Pro Tools, but we used it as a tape machine where everything came out of 48 outputs and got mixed on the Neve analogue board. There was some submixing inside Pro Tools, but then if we'd been working on two analogue 24-tracks locked up, we would have had to bounce some things down to stay within the track count anyway. In that case it means you're doing the summing digitally rather than analogue, which means you can undo the bounce if you have to, which we did on occasions. We had to do a little processing with plug-ins within these submixes, for example, when we recorded the Crosby and Nash vocal parts for 'On An Island'.
"I must admit that it quite surprised me that they recorded their parts one at a time when I'd set up assuming they'd sing together, perhaps with David adding a third part — a kind of Crosby Gils and Nash! That ended up coming up on the board as a stereo pair, but then I had to use a plug-in to EQ Crosby relative to Nash, just to tip him up a little brighter to match Nash. But the bulk of the EQ was done analogue afterwards."
The rest of the album was also recorded and mixed in fairly traditional fashion. "There are odd bits of Kurzweil and maybe the odd bit of synthetic Rhodes, but mainly it was old-school mic recordings plus using the EMT plate and things like that. It was mixed through the Neve analogue board and onto half-inch analogue tape. I think David looks back to some of the things we did in the '80s using AMS reverbs and things like that and says 'What were we thinking?' You can listen to the plate all this time later and it still doesn't sound old-fashioned.
"I did use a Lexicon 480 for the preset hall used on the orchestra and things like that — you'd think that when you record in Abbey Road Studio One the last thing you need is more reverb, but we did! On this album it felt like I needed to have a great deal of control so I could always get back to where we were, and the EMT plates plus the Lexicon were all we needed. But I'm a great fan of things like the TC System 6000 and we did use Altiverb on a few daft things, such as to get the effect of the fireworks in the opening section sounding as though they were outside [using the 'Forest by Lake' impulse response]. I think they originally came from a stock sound effects library. We had a flirtation with trying to record our own sound effects using Holophonics back in the '80s, but it's really hard to get anything that's any good."
http://www.soundonsound.com/sos/jul06/articles/andyjackson.htm
David Gilmour's On an Island Tour
Just a few hours before David Gilmour hits the stage in one of the most anticipated shows to come to the United States this spring, front of house engineer Colin Norfield and monitor engineer John Roden are sitting in the plush seats of the Paramount Theater (Oakland, Calif.) and laughing.Any other audio duo might be a tad nervous before a show of this stature, but Norfield and Roden have been around the block; Norfield mixed the last Pink Floyd tour 12 years ago. They also know they have a team of seasoned veterans, both onstage and in support positions, and they have already worked one of the hardest shows of the tour.
“We rehearsed the band for a week and then we did David's birthday party — a private gig in front of his peers. It was a bit brave of him and it was a bit brave for us,” Roden recalls while pointing to Norfield, “because we were off the stage side by side.”
“I couldn't hear anything,” Norfield adds with his own laugh, “and I spent the night leaning over the console.”
After the birthday gig at Porchester Hall in London, the cast and crew of the On An Island tour made their way from Germany to France and Italy before North American dates in New York City, Toronto, Chicago, Oakland and Los Angeles. Gilmour's touring band includes keyboardist/singer Richard Wright (who sang the lead on Pink Floyd's first single “Arnold Layne,” which was performed for the first time since 1969), guitarist (and Gilmour's co-producer) Phil Manzanera, bassist Guy Pratt, keyboardist Jon Carin and drummer Steve DiStanislao.
The jump across the pond was made a bit easier by the fact that they carried the same gear in the States as they did overseas. “We are both running [DiGiCo] D5s,” Roden reports. “Colin has the same [Turbosound] Aspect P.A. and I've got the same Turbo wedges [TFM-420s and TFM-450s]. Of course, the amps are different and the power is different, but in theory, it's the same gig. At the end of the day, it was the most sensible option, because at least there is some consistency to what the musicians see and hear coming off of the back of the cabinets.”
At FOH, Norfield is using a D5 and outboard gear that includes a TC Electronic M6000, TC's D-Two and three Yamaha SPX990s. “That's about it,” he says. “My view of all gigs is simplicity, because the simpler you make it, the more you can concentrate on mixing and not messing around with other stuff.”
Indeed, other than standard delays and reverbs that come from the players themselves, the only time that Norfield played up an effected track was when Gilmour sang “Coming Back to Life” and a delay was used in the first chorus. He doesn't believe it's his job to alter the band's sound to his ear. “Everything comes from the band, and to mess around with it too much would change the thing it's about. The dynamics are coming from the band, and I deal with it as it comes. I just put it in its right place, but the actual essence comes from the band. It would be wrong for me to try and change that.”
The Turbosound Aspect system was selected before rehearsals started. “David told me he didn't really like line array systems, so my options were really cut down because that's all there was out there,” Norfield says. “We used a Turbosound Flashlight/Floodlight combination on the last tour, and we went down and did an A/B comparison with the new stuff. It's nice. The high end is lovely and the top is very sweet. It's working very well.”
Norfield went conventional while miking the band, putting a Shure Beta SM91 and Beta 52 on kick, Sennheiser 421s on the toms, an SM57 on snare, and Beta 98s on the Roto Toms; hi-hats are miked with an SM81, with AKG 414s on overheads. Shure KSM-32s are on guitar cabinets (for Gilmour and Manzanera). The bass inputs are direct, and the pair of Leslie cabinets (both Wright and Carin each use one) are miked with a 421 on the bottom of the Leslie and a 57 on the top. The sax microphone is also a Sennheiser 421. All of the vocal mics are Neumann KSM-105s.
Norfield has a stock of dbx 166 compressor/limiters, dbx 160As and Drawmer DS-201 noise gates, but they are used sparingly. “The more open the better,” he says. “I'm pretty well known for open mixing and I try not to do too much. There's not much compression, because everyone is singing — nobody's really screaming.”
Roden selected a D5 on monitors because he looked at the tour and realized, “big input, no room. I think we're both using the digital formats because of the limitations we've been given. It would not have been my first choice. If we were doing stadiums or arenas, I would probably have been using a couple of Midas H-3000s, but we just don't have the space.”
The power of the D5 also gives a number of options, yet Roden points out he's mixing in a very analog way. “I'm not using any of the preset scenes. The basic thing is exactly the same on each song, but because of way they play, Rick [Wright] might get excited one night and you'll get loads of level off the Leslie, and one night he might not be quite so excited. You can put yourself in the ballpark, but it's not a machine playing. They are human beings and they make mistakes and we make mistakes and hopefully they make more than we do,” he says with a laugh.
There was no talk of using personal monitors on Gilmour. “What I do for David is very simple: vocal, acoustic guitar, a couple of cues here and there,” says Roden. “When he plays the guitar, he puts himself in a spot that's sweet for him, where he can hear everything he needs to hear, and plays — letting the band do all the work. He finds that sweet spot.” The only person using a personal monitor — and only in one ear — is the drummer.
Of course, the use of wedges has caused Norfield some worry at FOH. “I did mention my concerns at rehearsal about volume at some of the venues, but after that it's up to me to deal with it,” he explains.
As the clock ticks closer to showtime, Roden and Norfield think about the impact of this tour as well as Gilmour's catalog of songs on the fans. “When we were in Toronto, there was a woman who cried through every Pink Floyd song that David played,” Roden remembers.
“People go right back to where they were when they heard these songs,” Norfield adds. “When ‘Wish You Were Here’ comes on, people go back 30 years. They aren't here anymore.”
http://mixonline.com/livesound/tours/audio_david_gilmours_island/
The Grial - ahora se llama The Bundler
Daniel, de Noisemaker me esta construyendome un Tube Driver (Chandler).
conociendolo, va a quedar a toda raja ...
en cuanto lo tenga ponemos fotos y sonidos.
Rz
conociendolo, va a quedar a toda raja ...
en cuanto lo tenga ponemos fotos y sonidos.
Rz
DSM Noisemaker y su nuevo rack
hechenle una mirada al nuevo efecto que daniel esta haciendo, se ve MUY bacan!
DOUBLE SHOT II...LA VERSIÓN RACK
http://dsmnoisemaker.blogspot.com/
Rz
DOUBLE SHOT II...LA VERSIÓN RACK
http://dsmnoisemaker.blogspot.com/
Rz
21 de enero de 2008
Mi quadraverb ha vuelto a casa: El Delay y Pink Floyd
Mi Quadraverb GT ha vuelto a su lugar, es decir hacerse cargo de repetir por un tiempo definido, una serie de repeticiones que disminuyen de amplitud ...
entonces, quiero experimentar con los tiempos del delay (Delay Time Settings), razón por la cual es conocido David Gilmour, el heroe aqui.
hice un recorrido no exhaustivo por la web, y en los sitios dedicados al tema encontre diferentes alternativas ... elijan, prueben y entretenganse.
yo estoy en lo mismo.
Todos los tiempos son relativos ... sugieran:
General Use 440ms, set it for a long delay
General shorter delay about 150 ms
General On an Island songs times: 680ms
General Floyd songs times: 300ms and 370ms
Echoes : 300ms
Delay - Time : 418ms
Note: This seems to be the typical time for the delays, normally with 5-6 repeats and volume at 30%. I have listed below where the feedback/repeats are increased.
Coming back to life 380ms. on the solos, 600ms en la intro
Time 120 ms and the second around 500 ms.
The Wall
Tiempo principal 370ms
Another Brick 1/ Last Few Brick 440ms
Another brick in the wall 2 440ms
Run Like Hell time 380ms
Remember that night Delays times:
Breathe: 960ms (slide solo)
Time intro: 450ms (long) and 120ms (slapback)
Shine On: 370ms
Echoes: 300ms (MXR)
Rz
entonces, quiero experimentar con los tiempos del delay (Delay Time Settings), razón por la cual es conocido David Gilmour, el heroe aqui.
hice un recorrido no exhaustivo por la web, y en los sitios dedicados al tema encontre diferentes alternativas ... elijan, prueben y entretenganse.
yo estoy en lo mismo.
Todos los tiempos son relativos ... sugieran:
General Use 440ms, set it for a long delay
General shorter delay about 150 ms
General On an Island songs times: 680ms
General Floyd songs times: 300ms and 370ms
Echoes : 300ms
Delay - Time : 418ms
Note: This seems to be the typical time for the delays, normally with 5-6 repeats and volume at 30%. I have listed below where the feedback/repeats are increased.
Coming back to life 380ms. on the solos, 600ms en la intro
Time 120 ms and the second around 500 ms.
The Wall
Tiempo principal 370ms
Another Brick 1/ Last Few Brick 440ms
Another brick in the wall 2 440ms
Run Like Hell time 380ms
Remember that night Delays times:
Breathe: 960ms (slide solo)
Time intro: 450ms (long) and 120ms (slapback)
Shine On: 370ms
Echoes: 300ms (MXR)
Rz
11 de enero de 2008
He empezado ...
pretendo subir las libros de las Tablaturas/Partituras de Pink Floyd, estan extensamente disponibles en Internet.
obviamente, es solo material de estudio, y no debe ser reproducido con fines comerciales ...
- The Division Bell
- Playing like Gilmour
Rz
obviamente, es solo material de estudio, y no debe ser reproducido con fines comerciales ...
- The Division Bell
- Playing like Gilmour
Rz
10 de enero de 2008
esperando mi Quadraverb
estoy esperando que me entreguen mi Quadraverb GT reparada. con el cambio de la pantalla LCD.
Rz
Rz
8 de enero de 2008
nuevos tracks de Pink Floyd
Estan super buenos, gracias a los compositores ...
Us And Them:
http://www.filerom.com/es/download.php?id=7F22B1A11
In The Flesh:
http://www.filerom.com/es/download.php?id=0C3812851
Brain Damage:
http://www.filerom.com/es/download.php?id=C9EA749E1
Us And Them:
http://www.filerom.com/es/download.php?id=7F22B1A11
In The Flesh:
http://www.filerom.com/es/download.php?id=0C3812851
Brain Damage:
http://www.filerom.com/es/download.php?id=C9EA749E1
6 de enero de 2008
1 de enero de 2008
Una introducción a Frank Zappa
El editor de esta publicación me sugirió que les hiciera una invitación al universo de FZ y así poder articular un camino a través de su extensa discografía. Este prolífico compositor norteamericano que abarcó más estilos que ninguno otro (hasta ahora), representa el punto más cercano donde se fusiona la música docta (o de “hall”) y la música popular (o de “recital”).
Esta diferencia nunca agradó en particular a FZ, pero es la mejor forma de poder explicar la situación musical de este imaginativo compositor y virtuoso ejecutante de la guitarra, su instrumento de toda la vida. Zappa no sólo toco guitarra en conciertos y compuso muchos discos, sino que además fue tocado y dirigido por grandes músicos contemporáneos como son: Pierre Boulez, Peter Rundal, La orquesta sinfónica de Londres, El Ensamble Intercontemporáneo, entre otros.
Los aficionados a su música hemos descubierto como sus bandas, que variaron muchísimo a través del tiempo, se transformó en un nido de virtuosos. La escuela que entregó a sus músicos no a podido ser igualada, es por ello que encontramos a grandes figuras actuales iniciadas en sus bandas; algunos músicos que han participado en los discos son: Steve Vai, Vinnie Calaiutta, Mick Mars, Chester Thompson, Jean-Luc Ponty, Adrian Belew, Terri Bozzio, Mike Keneally, entre otros.
El legado más grande de este maestro es, sin duda alguna, su capacidad de trabajo duro, amor por el arte y su hilaridad extrema con el resto del mundo, y por sobre todo, consigo mismo. El trabajo duro, más de 16 hrs. de trabajo diario, el dominio de la música formal y el llamado a ser concierte del mundo donde vivimos, nos deja la sensación de un hombre correcto y por sobre cualquier cosa, humano.
FZ tiene una de las discografías más extensas (parte, editado oficial y muchísimo material “bootleg” o pirata que deambula por ahí) con cerca de 60 discos editados. FZ nunca confió en la visión de negocios de los sellos y productores, razón por la cual desarrolló sus habilidades como productor e ingeniero en la ya mítica UMRK (Utility Muffin Research Kitchen), su estudio de grabación en Los Angeles.
Mi experiencia indica que su recopilación “Strictly Comercial” es una de las mejores formas de comenzar a escuchar a este músico. Por un lado contiene sus “grandes éxitos” (?) y por otro, obras realmente exquisitas y delicadas como “sexual harresment at the workplace” tocada apaciblemente con una de las guitarras de Jimi Hendrix.
Por el lado “docto” de su música, existe una recopilación de excelente calidad llamada, obviamente, “Strictly Genteel”. Pero sin lugar a dudas es su disco “The Yellow Shark” el que lo hace miembro de los grande maestros de la música contemporánea, así como lo había hecho décadas antes su mentor más reconocido, Edgar Varese. El proyecto “shark” fue grabado y tocado en Berlin, Viena y Frankfurt, entre el 17 y 28 de septiembre de 1992.
A través del tiempo, FZ pasó y se paseo por una amplia gama de estilos musicales como los mencionados anteriormente: rock, jazz, docta, progresivo, entre otros.
La pregunta clave al terminar este artículo es: ¿qué debo escuchar en la música de FZ?
La respuesta no es nada simple aunque podemos comenzar con: la métrica musical (11/8, 7/4, poliritmos), las letras (FZ es reconocido como un ácido crítico de la sociedad norteamericana de consumo) y por supuesto es MUY destacable el lote de músicos que cumplían a cabalidad las atroces exigencias musicales y de trabajo de este maravilloso hombre.
Sin dudad alguna “la mejor banda que nunca han escuchado” y “lejos adelante de este de tiempo”
Esta diferencia nunca agradó en particular a FZ, pero es la mejor forma de poder explicar la situación musical de este imaginativo compositor y virtuoso ejecutante de la guitarra, su instrumento de toda la vida. Zappa no sólo toco guitarra en conciertos y compuso muchos discos, sino que además fue tocado y dirigido por grandes músicos contemporáneos como son: Pierre Boulez, Peter Rundal, La orquesta sinfónica de Londres, El Ensamble Intercontemporáneo, entre otros.
Los aficionados a su música hemos descubierto como sus bandas, que variaron muchísimo a través del tiempo, se transformó en un nido de virtuosos. La escuela que entregó a sus músicos no a podido ser igualada, es por ello que encontramos a grandes figuras actuales iniciadas en sus bandas; algunos músicos que han participado en los discos son: Steve Vai, Vinnie Calaiutta, Mick Mars, Chester Thompson, Jean-Luc Ponty, Adrian Belew, Terri Bozzio, Mike Keneally, entre otros.
El legado más grande de este maestro es, sin duda alguna, su capacidad de trabajo duro, amor por el arte y su hilaridad extrema con el resto del mundo, y por sobre todo, consigo mismo. El trabajo duro, más de 16 hrs. de trabajo diario, el dominio de la música formal y el llamado a ser concierte del mundo donde vivimos, nos deja la sensación de un hombre correcto y por sobre cualquier cosa, humano.
FZ tiene una de las discografías más extensas (parte, editado oficial y muchísimo material “bootleg” o pirata que deambula por ahí) con cerca de 60 discos editados. FZ nunca confió en la visión de negocios de los sellos y productores, razón por la cual desarrolló sus habilidades como productor e ingeniero en la ya mítica UMRK (Utility Muffin Research Kitchen), su estudio de grabación en Los Angeles.
Mi experiencia indica que su recopilación “Strictly Comercial” es una de las mejores formas de comenzar a escuchar a este músico. Por un lado contiene sus “grandes éxitos” (?) y por otro, obras realmente exquisitas y delicadas como “sexual harresment at the workplace” tocada apaciblemente con una de las guitarras de Jimi Hendrix.
Por el lado “docto” de su música, existe una recopilación de excelente calidad llamada, obviamente, “Strictly Genteel”. Pero sin lugar a dudas es su disco “The Yellow Shark” el que lo hace miembro de los grande maestros de la música contemporánea, así como lo había hecho décadas antes su mentor más reconocido, Edgar Varese. El proyecto “shark” fue grabado y tocado en Berlin, Viena y Frankfurt, entre el 17 y 28 de septiembre de 1992.
A través del tiempo, FZ pasó y se paseo por una amplia gama de estilos musicales como los mencionados anteriormente: rock, jazz, docta, progresivo, entre otros.
La pregunta clave al terminar este artículo es: ¿qué debo escuchar en la música de FZ?
La respuesta no es nada simple aunque podemos comenzar con: la métrica musical (11/8, 7/4, poliritmos), las letras (FZ es reconocido como un ácido crítico de la sociedad norteamericana de consumo) y por supuesto es MUY destacable el lote de músicos que cumplían a cabalidad las atroces exigencias musicales y de trabajo de este maravilloso hombre.
Sin dudad alguna “la mejor banda que nunca han escuchado” y “lejos adelante de este de tiempo”
Suscribirse a:
Entradas (Atom)