Great stuff. Phoenix of 18 min live. The first 4 - 5 minutes i had to laugh when Andy was pissed off by Mark guitar's too loud feedback. Overal great music.
But if you had an old Neve, like me? Or Bob Clearmountain. We couldn't do that kind of EQ. With limited 1073, equalizers. So those are no good. You can't cut any hit records with those, can you? I think we all did? But we didn't engineer like George Massenburg taught everybody. Like you can do with an SSL 4000 EQ. Oh well? I guess it all comes out bad then? And you can't do, minus 14,, LUFS's? Without an SSL 4000 EQ? And an SSL Bus Limiter. You can't dial it in then. You might as well give up now. And call Bob Clearmountain. Or George Massenburg. Because Bruce Swedien is dead. Oh well. And it'll cost you. They won't touch your junk without a good contract. You can mortgage your home. If you really want to get ahead? But no. You think you're going to do it yourself. Ha ha ha ha ha! Ha! That's what you think. You don't even know how to push into a limiter. You are so timid. And reading junk. About only 1 DB of limiting. What a bunch of malarkey! They don't want you to get a good mix. They want you to contract them. That's why they give you misinformation. It'll never work that way. You have to push into it on an FET limiter hard. All buttons in, 50:1. And make that meter look like it's your windshield wipers. On your car. Driving through a Florida hurricane at 70 mph. That's the way you want to see that meter swinging. When you are recording a vocal at 50:1, all buttons in on a, 1176 of any variety. I and Bob Clearmountain personally like the, Rev. G & H, versions. They have no input transformer. Nothing to make the sound mushy at the input. And either output type is okay. He likes the 1178 of a single channel for vocals. Which is the G circuitry. And I had a pair of H's. Which were the same as the G. But an integrated circuit chip. To drive the Gain Reduction, metering. So no difference in sound. As it does not affect the sound any. It's actually better. Cleaner yet still. And that's what Bob and I particularly like on vocals. And so most of the clones are that way. No input transformer. You don't want the input transformer on any 1176 clone. Though I have one. You represent a Rev. D version. When you want that mushy input transformer sound. Chris Lord Algae does on vocals. Unlike Bob Clearmountain. Who doesn't. And he wants to sound like Bob Clearmountain. So I don't know? Maybe it's because he's Italian? We may never know? Because I'm Jewish and a Tranny now. I wasn't when I worked with Bob Clearmountain. Nor George Massenburg. Because I never worked with George Massenburg per se. But we were raised by the same mentor.. So we are kind of related that way. Kind of like half siblings. But I don't engineer like George. Because I didn't have George's, ITI Parametric Equalizers. He created back in 1972.. With the help of Burgess McNeil his Electrical Engineer. That really worked out the circuitry for him. And then all of George's limiters are based on DBX RMS sensors and VCA's. Not always my favorite sound. But still really good nevertheless. Without those stupid transformers. For those guys that had a hair up their ass. About transformers. I never did. Overall I like transformers. They are very handy. They do cool things. They are bisexual. You can run them in either direction. In or out. From either end. And you can't with active FET DI boxes. So don't even think about trying it that way. They are Mono Sexual. They only go one way. You can even coax them to go the other way. It won't work. But it will with the transformer. Or a Splitter. You can take the direct or the split. Your choice. Most guys like myself. With similar recording facilities in trucks. Never wanted to, take the split. I don't give a damn. Nobody really cares. Nobody really knows. It really makes no difference in the end. People can complain all they want to. Oh my God a transformer! Screw them! So I like it both ways. Sometimes direct. Sometimes with a transformer. As, unlike Bruce Swedien. We both started off as Live Broadcasters. And so you get what you can. When you can. However you can. Get it. In the can. And on the air. With no mess, no fuss. No OCD jumping through hoops, gyrations necessary. We just do it. We take the bull microphone by the horns. And we put them over by the woodwinds. So they do not blare into the vocal microphones. When you can. But only, when you can. Otherwise the sound is all up to your techniques. Behind the mixing desk. Like this: soundcloud.com/remyrad/track08 Another one recorded without a microphone or sound check. There were better musicians and better instruments on this one. Still fly by the seat of my pants mixing. For live FM broadcast. And a accompanying video. Which I have not yet posted on RU-vid.. From the summer of 1996. And the whole set sounds like this. But no vocals for this band. For the Washington DC Capital Jazz Fest. That took place on the grounds of, Army Base, Fort Meade, Maryland. It was a lot of fun all day long. Great acts. Just like this one. And then you get a Bass Musician. With a rig that sounds good! Not over bloated blotto sound. You hear from most. This guys crystal clear and in your face. I didn't really have to do, NUTHIN' much to it. But a bit of limiting and a touch of EQ. And it sounds Super! The saxophones on a wireless. The lead guitar is on a wireless. And I've taken everything from the, microphone splitter transformers. And so this is not good enough? I think it's good enough. When one knows. When good is good enough. Without getting all psycho every time. Because you're not gonna live long that way. You're going to burn out. And then produce a bunch of mechanized sounding, dreck. Ugh! Yeah I don't swing that way. I used to love working in the studio. And I still would. If somebody offered me a decent contract. But nobody's got any money anymore. Only rich guys do. So they are the only ones who are going to get ahead and their children. Like Justin Bieber and Taylor Swift and others like that. Not worth the salt, on your food. Without computer enhancement and corrections. Because they have no talent. They have nothing to offer. Their parents funded their careers. Mommy, daddy I want to be a rock star! Okay here my darling is $4 million. Go get yourself a manager, a publicist and a producer. And they will make you famous. Go now.… Go get famous for mommy and daddy. It really is that simple. And those guys are experts. Playing their video games with audio software. They are very good at that. You could hear it in those fake recordings they make. Nobody can sing on pitch like that. Especially those losers. As they practiced in the shower for a few weeks. Before they decided to become famous. That's when everything has been reduced to, today. It's perfect. With, software. RemyRAD
Surely, these guys made a live audio recording of themselves? You might want to try to obtain that for yourself? Whatever it costs? And then lay it into your, Timeline. And synchronize every song independently. And then you'll have something. Then you can also take your, Locked Down, camera. And it might be high enough and resolution? You can zoom in on people. Using, Vegas, Software. As it was originally developed by Sony. And they do some special signal processing. That holds up when you zoom. It's amazing. I've been using it since it came out.. But it was just a multitrack audio program. And I was not impressed.. Then they included video. And this took me so much further than,, Adobe Premier Pro and Avid Media Composer. Because Sony invented this shit. And they know how to handle it better than anybody. They really do. Now it's been sold off to, MAGIX of Germany. They are no slouches either. It's really great software. Especially for video. It is very user-friendly and intuitive to use. At least it is for me. As I was only a Audio Engineer. Over at NBC-TV News in Washington DC for a couple of decades. I'm not really a video guy. But I produced a feature long documentary video production. Much in the same way. And the zooming I did on a 525 line SD digital video file. What have ended up completely pixilated and unreviewable. It looked fabulous! I was dumbfounded. It created a 16 x 9, SD Video File. That looked like it was Produced in 1080P. But it's not. It's SD. But it doesn't look it. It's crazy. What that software did what it can do. Sony invented it all. It's No Baloney! I mean when something should be completely pixelated and undoable. Because I blew it up full frame. From about, 1/8 th, of the frame of 525 SD 4 x 3. And blown up full frame 16 x 9 SD. You should see no detail, no resolution, whatsoever. It's absolutely Bonkers! It's all there! Resolution. That shouldn't be. And I had to do digital color correction and compositing on it. No less. Which is beyond Bonkers. And done from, Avid, Media Composer, editing Proxy Files. And so I am a Monster! And so this rock 'n' roll documentary video. It's got its artifacting, sure. You might see it here and there? And you might not. The resolution was awful. And so everything has a, Luminance, Sharpening Filter on it throughout. And I've blown the focus out. Of the Chrominance, channel. Throughout. To reduce the color video noise. From saturating of the color. Changing, enhancing and augmenting with, Digital Lighting. Cutting people out. So I could, color correct and adjust exposure and depth of field. On their faces. Then on their shirts. Then on their pants. Then their background. Sometimes completely rearranged and fully color corrected and enhanced. And composited all back together. And I had no idea what I was doing? I just knew what I wanted it to look like. And I wanted to see lots of color. Decent exposures. Good lighting. None of it had good lighting. It was the worst awful lighting and over exposures. It was simply horrible. The whole damn thing. It was a Cable Axis Production. Originally. And I took it away. I hijacked it. For reasons I shall not go into here. Aunt delivered it back to the Dying Producer. This way. Not exactly his way. Not exactly the subject's way. But that's how amateurs act. They all freak out. When you let them see and hear themselves, professionally. They don't understand. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0zvrzuqvZQI.html And this is a first crack at me trying to edit and Post. A rock 'n' roll documentary video.. I inherited. And the, Video was technically awful. The soundtrack even worse. The epitome of Cable Axis Evil. And they got the entire concept, wrong. They never really listened, to their subject. I did. That's why I changed this for them. To be what it's supposed to be. A rock 'n' roll documentary video. About a fabulous singer-songwriter. (And nonperson) Who also happens to be Transsexual. And the kind of performing bitch. You would expect. Nice on the outside. Cat scratch fever on the inside. But she is a wonderful songwriter with a message. That should be heard. Even if she's not real. Her message, is. I can attest to that. I was interviewed for this. But ended up on the editing room floor. Where I left me. Even though I ended up being the Primary Editor. Of this Production. This particular one. Not the earlier, 60 minute version. That runs, 61:30. Because they did not know how to edit out the dead spaces. The College Professor teaching their course didn't know how to. I'll just leave that with you. When I got all the elements of Proxy Files. To work from. Yikes! I mean this was like trying to produce a Record Album. From 128 kb per second, low resolution MP3 files loaded with artifacting. Yeah no. Don't do that. But that's what this is. With video. It's all from proxy files. For Avid Media Composer, editing systems. Which I do not have, I do not run. Oh well? I work with what I've been given to work with. And make the best of it. What other choice do I have? And so most of the modern still photos, I took. All of the live musical selections except for one of Channel-67. I recorded. And they used my elements for their production.. Then they destroyed my audio. Then they gave me a screen credit. And that's how I came into this production. Requesting they remove my screen credit. Or please let me fix my audio track for you? So they did. It was the biggest mistake of their lives. Paul the dying producer. Wanted a different edit. From the original. Since he could not be present. During the editing session. It wasn't to his liking. So he let me fix the audio track. I offered to fix the video edit. One of the biggest mistakes of my life. And after months and months. I'm going to Paul's house. With a bunch of gear. For a, video editing session. Paul got sicker. And we could not finish the project. It was at that time. After putting in months of effort and work. I decided I must finish this. And that is what you see here. Even though Georgie. Reamed me a new ass hole over this edit. And only posted it. Because of one couple, interview. That wasn't in the original. Because it was so awful looking and sounding. They deemed they couldn't use it. And it is in this video. It is Snow Owl and his wife. That came from a single wide 2 shot. And it looked simply horrid. There is no resolution in that picture whatsoever. Yet you see resolution. I don't know how Sony, did it? But they created this stuff. They know how to handle it better than anybody. And I had no real idea what I was doing. I never tried anything like this before. I mean who would? Oh? They tried to. It was a good effort. I was able to salvage it. And make it better than they had ever imagined. And a full 1 1/2 hours long at 1:28:30. And fade to black. For cutaways to commercials. And enough for 30 minutes worth of commercials. In a 2 hour block special. Or a 1 1/2 hour feature-length video for Cable Axis of Arlington County Virginia. Where it originated. You just have to go for it. Do not be timid. Take risks. Make commitments. Do it. RemyRAD
Well my Wishbone Ash would have rise up. Like a Phoenix. By taking a direct feed. Off the PA system. And combining it. From your stereo solid-state digital recorder. With the ambient sound of your, video recording microphones. To have presented something decent here. But no. More amateur hour. With the great sounding band. And a dismal sounding video recording, yet again. But at least. He made the mistake. Of setting up by the Bass Guitar. So it wasn't just screaming guitar riffing. It offered up almost a decent balance. Musically speaking. At least the PA guy did a decent job on the vocal microphones. Without excessive muddy, overwhelming, Proximity Effect. It wasn't too horrible. But no direct feed. No direct sound. Just nice bloated blubbery sound. Ugh! What a terrible thing to do to Wishbone Ash I think you made a real Ash yourself here. And you broke your Wishbone in half. And got the short end. Oh well? It would've been good. Had it been, good. It sounded like a nice set. But no stereo solid-state digital recorder on the output of the PA board. I guess they didn't know the PA guy? I just walk up and tell them I'd like to make a recording. Can you help me out? I'll take any kind of feed you can give me. Sure just give me the vocal mics out and unused effect send. But no! Again it's amateur hour. And can hardly wait to posted like a little child. Without doing the right thing first. Getting a direct feed recording to couple with your camera. And then you ask a couple of other people. If you can get copies of their video. And you synchronize it altogether. And it stays in sync. Because it's digital. Every frame has a serial number. And they lock the frames together. Automatically. Once you get them set. But no! Nobody goes to any effort anymore. There is no RU-vid videos how to? RemyRAD PS You can tell I have many years of experience doing that. Like over 30. More like 40 actually. I started doing this. Back in 1982 VHS. Because you could also get VHS machines to synchronize. Was tricky but. Some of us are crazy. And I could synchronize a reel to reel tape to, VHS Video. If you know how to drag your fingers on the reel Flange. Tricky but some of us were doing that for Flanging Effects, anyhow. So no big deal synchronizing to video that way also. And then you re-record that onto another video recorder. And your video goes down another generation. So you want to put that through a Proc Amp. So you could tweak the picture of its, black level, white level, gamma, color saturation, tint/hue. Turn up the sharpening control. And Voilà! Homemade music video productions in 1982. 42 years ago. I was doing it. Then in the 1990s. I was able to get my hands on a Panasonic, 4 input Video Switcher. And that changed everything! Especially with VHS, hi-fi. And then I got this, live. With video. But this is just the audio track. soundcloud.com/remyrad Go Fever. This, Production, was a test. Unfortunately, I had to take the live vocal microphones. Out of the split. From a, $40, six input, Barringer microphone mixer. With 6 volume controls on it! To a single output. Ugh! And so… It took me a couple of minutes. To try and dial that into sound like something. As I do this. Without a microphone nor sound check. I establish the mix. Usually within the first, 60, seconds of the band's first song. This presented a bit more of a challenge. It sounded awful. I had to do something with it. Lots and lots of EQ. Roll off the high-end. With the noise.. Roll off the low end. With the overwhelming distortion.... EQ it. To make it sound more like a telephone.. And put a gob of, heavy, 1176, limiting upon it. And then the, fast, Downward Expander. To get rid of the hideous noise. Between words. Ugh! And then getting more of the drums. In the vocal microphones. Then the vocals. Certainly presented, a challenge. For this live FM Mix I do by the seat of my pants. And oh by the way. This thing has Zero Dynamic Range. There is a, 1176 or DBX limiters. On virtually every microphone input. I had a lot of them. A gross of them. To use for such recordings. Along with a little bit of Bus Limiting. And it's rock 'n' roll. The epitome thereof. The way it's supposed to be done. And not most of those boring, Beatles style attempts. Amateurs do at home. This is the real deal.. There is no, Fakery here. This is, RAW, at its best. And having a 1972 Vintage Neve. Certainly didn't hurt any. I was only about one of Three, Recording Trucks. In the USA. To be equipped with such an implement. For over 25 years. And well it helps. When you overload it just right. When you do it wrong just the right way. But only with, Discrete Transistor Circuitry. Don't try that with integrated circuit chips, kids. It just all falls apart. It all sounds like garbage if you do. Peaks? What peaks? Peekaboo? No they are all gone. Mine never are. Not even with a cheap, mixer. Because that's what that -14 bullshit is all about. Tape recorders didn't give you any more headroom than that above 0-VU, Operating Level. And so that gives you, all of, 15 actual DB of limited dynamic range LOL. It's very funny. Everybody's got a hair up their ass over this. Because they want everybody. To sound, the same. In a, homogeneous way. Everything has to sound, Homogenized. Everybody has to engineer. The same way. With, Notch Cuts Only,, EQ! You should never Boost, anything! (More Rock Ash Holes in the following post)
