![]() ![]() Or let’s say like in 2006-7 ish, pro tools added a shortcut and new playlist / comp features and all the vocal engineers quickly added playlisting about every take to their normal routine. New converters, remakes of the same dozen preamp/comp/eq… that stuff is normal, but like artists wanting (expecting) a bluetooth quick access is definitely something that was handled with an aux cable 10 years ago. Yeah, I get that’s how it is for niche studios today … and studios liiike forever ago, but i’m talking post DAW and more recently, post bedroom studio boom. For those who don’t know, you typically just go for a few dB of gain reduction on those at most this one was hitting like 15-20dB of squash at all times. I remember one time that the artist was complaining that every time he got loud, he got quieter than before in his headphones - turned out that the engineer was overly excited about the chance to use the SSL’s bus compressor, and had it absolutely cranked with a slow release. ![]() Like if I didn’t set up the vocal chain, they wouldn’t have been able to, because they don’t know their way around a patch-bay or a console center section. ![]() One thing that always struck me about those sessions (that I’m sure is even more common now), is how many of those outside engineers brought in by the clients were just Pro Tools guys. I did a shit-ton of assisting sessions around then that pretty much involved putting up a vocal chain (C800G -> 1073 -> CL1B) and checking it before the session, sitting around for 10-12 hours while the artist wrote and tracked vocals with their engineer, then took it down at the end of the night while the engineer bounced a rough mix and emailed an mp3 to the artist and A&R rep. I feel like it was probably about 15 years ago that the “two-faders up on the SSL” sessions became the majority at the studios I worked at. I dunno… is it still, artist comes in late, gets you mp3, you load & loop, and go smoke a cig till they’re ready to lay one down?Īctually, i’m thinking have you seen any mics/hardware/plug-in/workflow format/editing/software/things not being done anymore (printing mix to 1/2” tape etc)?Įvery decade has an identifiable style of repeat fav gear or engineering styles that are identifiable. Sessions were clean, heavily edited and the rough mix is kind of built as you go… things definitely get hand nudged for just about any instrument or anything, and you couldn’t really just snap to grid cause you lose too much soul. Tracking bands: i’m wondering, have any new mics or mic’ing styles or pieces of gear you’ve seen come into play and just take over that scene in the last 10 years?Įditing: 10 years ago, the melodyne game was shifting to where you had guys who only tuned vocals and made bank to now what seems like the vocal tracking engineer is supposed to melodyne as part of the post editing that day? and we’d use various trigger plugins like slate or even just sound replacer to support at least kik snr toms. after a rough mix, you might send a password protected file, or give physical media. if it’s rap, it’s maybe 87-avalon / c-800-avalon … otherwise, maybe a 1073 and a cl1b, into PT, and you playlist takes, and build your comp take as you go. For me, particular to vocals working for a major studio for example: used to be you setup, open the session, if you have the files, you load em and tempo map it, find the key, have some tracks with your aux chain and fx. ![]()
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