Happy May Day! I’m trying to post more, so I thought this warranted a few words…
I’m not a fan of contradicting myself, especially publicly, and in writing, but I’m breaking my own self imposed moratorium on plugin purchases. Yes, I continue to live and exercise my “keep it simple” mantra, but hell, a sale is a sale.
Slate Digital dropped the price of their Virtual Buss Compressor to an obscenely low level – one that even I, Mr. “I don’t need any new plugins-high-horse-guy”, couldn’t avoid. After about a minute of justification, I hit the “Buy Now” button. After all, I got that mixing gig I posted about recently, so I have a legitimate reason.
That’s what I keep telling myself anyway…
Wow, is this plug-in stunning? (that was rhetorical). For the last few years, my buss compression mainstay has been Cytomic’s The Glue, but this thing is in a different league. Don’t get me wrong, The Glue is awesome for it’s price and capabilities (and it will continue to be, for those reasons), but the Slate stuff just has THAT sound. It’s a premium plug.
I put it on the “audition mix” I just did, and yeah… Smile inducing, smooth, tight and round, yet simultaniously open are all words I’d use. Even though my buyers remorse is running wild, this was a good decision, and it’s never a bad decision if it’s used for paid work. At $99 bucks, this will pay for itself many times over.
Ok. I’m done. No more plug-ins. That’s it. I can do this…
until the next sale…
Another post about keeping things simple. I guess it’s an on-going quest of mine.
Got a call last week about a mixing project (one album, with 2 more in the pipeline) and after a meeting with the artist management, I was given a Pro Tools session to do an “audition mix”. I began the process in Tools – cleaning up tracks, adding crossfades, etc – but after a few days, I realized I could work much faster in Reaper, so I consolidated and bounced everything out.
Once I got all 43 tracks in Reaper, I color coded stuff, consolidated a few more parts and began mixing. It’s been awhile since I’ve had this much fun working. The music was already in stems, so I had to live with instrument elements that were printed during recording, but I was able to tame a few items with EQ, and live with what I couldn’t fix. Overall the music was mixed down well, so I didn’t have to fight too much with it.
In keeping with my “keep it simple” theme, I only used a few effects: DMG’s Equilibrium is on just about everything, as is Rob Papen’s RP-Delay, Reaper’s ReaComp and Cytomic’s The Glue for compression, Valhalla’s Vintage Verb, NI’s Driver (for distortion vox effects) and Auto Tune.
Didn’t really want to use Auto Tune, but there were some tuning issues that threw things off in the pre-chorus – and – if used sparingly, it helps to blend (or glue) background vocals together.
Finally, I used T-Racks for a quick and dirty mastering. That’s it. No need to agonize over it. In fact, recently, I cleaned out a ton of un-used plugins on both of my machines and dug into the ones that I really like. The result – in just a few hours, I had something that was ‘radio ready’, and hopefully, the client will like.
I was really impressed with Reaper’s performance. The final mix contained 92 effects and utilized 62% of my MBP’s processor – that’s right, I did the entire 36 track mix on my laptop. No need for my monstrosity of a Hackintosh. That’s how efficient Reaper is. I did most of the mix at a buffer rate of 64 (which I normally set for tracking virtual instruments), and only kicked it up to 1024 when I needed to add Auto Tune on 24 tracks.
I’m not gonna bash Pro Tools, because it’s great at what it does. That said, I work faster and more efficiently in Reaper, and as we all know, time is money.
If I go on to mix the full album, I’ll use Tools to convert sessions over to Reaper and finish there.
A quick note on my latest purchase – the Focusrite Scarlett 18i20 is a phenomenal piece of gear. My Apogee Duet has served me extremely well, but has seen better days and I simply needed more inputs. I was a bit hesitant about the purchase, as there are a number of reported problems with it on the PC side, but it’s been rock solid for me on the Mac. I took it out of the box, plugged it in, and after automatic firmware update, it hasn’t flinched. A solid performer and a great purchase.
There’s nothing here that a good mix engineer doesn’t already know, but I’ll say that keeping it simple allowed me to work not only faster, but smarter. I followed my instincts and that’s always a good thing.
I’ll let you know if I get the gig….
Just a quick note on some great customer service I received from a software developer today. I’ve just begun a 30 day trial of Pro Tools 11 and there’s a lot to like about it. After 4 days of trying, I haven’t been able to break it. The only negative so far has been with plugins. Avid dropped RTAS and is now only rolling with 64 bit/AAX, and for some, this has been a huge issue. I made the 64 bit jump this summer and dumped most, ahem… *all* of my old legacy 32 bit VST/AU plugins, and thought I had made it through this process unscathed. However, I’m still coming up short in the RTAS to AAX department.
I discovered a few painful “gotchas” during this eval period, but one of the biggest was ValhallaDSP’s Vintage Verb. Love, love, love it. Silky smooth and all that. I didn’t realize that I was missing it until I went to use it today.
So, I shot the dev an email – #1, to let them know how much I love the product, and #2, to ask when an AAX version would be available. To my surprise, Sean responded no less than 5 minutes after I sent the inquiry. Not only that, he sent me a link to a beta AAX version to try. He asked that I let him know if I have any issues, as well as providing me another install of the previous version “if things go totally crazy”.
This is why, more often than not, I’m giving my money to smaller online developers. It’s much harder to get anything from the “Triple A” of software (Apple, Avid & Adobe), let alone a response within 5 minutes and beta version to try.
I try not to come across as a shill in my blog – Ethics Statement: I do not work for any of the companies I rave about, nor am I paid in any way for said raving – but I do like to spread the word on the stuff I use and find helpful.
Today’s rave – ValhallaDSP. They make good s**t, and provide stellar customer service.
For some reason, I’ve rediscovered Ableton Live. It’s a fun program and it takes me back to my days of composing on old hardware (workstation) sequencers with independent track looping. When computers ushered in the “new era” of composition, I went linear (track based) and never looked back.
I picked up Ableton Live several years ago, and other than to help with the occasional bout of writers block, never really took to it. Loop composition is fun and inspiring, but I’m too analytical when it comes to the rest of the production process, and it’s a well known that Live isn’t (always) the best finishing program. In that regard, Logic, Pro-Tools and Reaper have served me well.
That said, the good news is the folks at Ableton have improved Live greatly, and with version 9, I find myself using it again. This newfound usage was bolstered by NI’s Maschine, which has me “performing” again (pushing buttons, twisting knobs and moving about) instead of mousing around the screen.
This weeks exercise was about getting Maschine and Live to work together. It’s a convoluted process, but once you get them talking, it makes for an awesome and creative working environment. However, this is not without it’s issues. Since Maschine is now functioning in a dual role (controller and performance tool), and it can only do one at a time, you have to switch this “hybrid” functionality back and forth, which can be a pain while working.
So, I got it all working on Thursday, and after patting myself on the back for my ingenuity, set in on Friday to work. However, overnight Live was upgraded to version 9.1, and after upgrading, the two no longer wanted to play well together. Not sure what happened there, and I lost a day troubleshooting, but whatever…
These new issues were rendered moot when I discovered touchAble 2. It’s an iPad app (natch) that effectively recreates Live’s user interface for the touch screen. Suddenly the need to get Maschine and Live talking again diminished rapidly.
The $24.99 download was quick to my iPad Mini, and after an even quicker download of the server control app for my MacPro (and MacBook Pro), the app was talking to Live.
Kudos to touchAble’s design team. The app is extremely intuitive. I was able (no pun intended) to figure most of it out without online help. I won’t go into the specifics of it here. If you’re interested in it, please check out the app’s youtube page – it contains the full specs on the info tab.
I don’t usually get excited about this kind of tool, but great tactile control enhances the Live experience tenfold. Anything that keeps your hands off the mouse and on an instrument is great for composing.
Holy Crap! I almost forgot this thing exists. I remembered it only because I stumbled onto the WordPress app while searching the App Store. I guess the larger question is, do people still blog? They must, as I find myself frequenting a number of photography blogs as of late, but I digress…
Yep, its been more than a year since I last posted, and believe me, a lot has changed. I survived a move deeper into the suburbs, my oldest heading off to college, and oh yeah, my family has grown by 3 — in the aforementioned move deeper into the burbs.
So, what have I been up to? Well quite a bit work wise. Some of it good (incredible actually), and some not so, but you live and you learn. Anywho, what I’m excited about is my newest piece of glass. Yes, I said GLASS — get your minds out of the gutter.
While out celebrating Chick Fil-A’s entrance into the Minnesota market, I found myself at National Camera Exchange in Maple Grove, and low and behold, I see a used Zeiss 28mm lens in mint (E+) condition. The guy behind the counter said in all of his years there, he’s never had a used Zeiss come in. He isn’t the only one. I’ve only seen a few here and there on Ebay, and never on Craigslist. Simply put, Zeiss owners, by and large, keep them.
I’m not going to get into the why of a Zeiss. If you’re a shooter, then you already know the brand is highly regarded in still photography as well as video. Plus, glass is highly subjective and personal – like religion, politics, Star Wars and Star Trek. It means different things to different people. Based on what I’ve read online, I’m a lens snob, and the Zeiss name means something to me — and I’m OK with that.
I had them put the lens on a 48 hour hold so that I could think it over. My buyers remorse is well documented, and the price tag was well outside “impulse buy” territory. The fact that I dreamt about the lens that night must have meant something. So, after a day of internet research and much justification (it’s an investment, tax write off, “buy once-buy right”, blah blah blah), at the 11th hour, the boss and I drove back to Maple Grove to procure it. The deciding factor was reading Ken Rockwell’s wonderful blog entry “How to afford anything“.
I laughed as each employee looked at it lovingly (and with envy) while placing it on the counter —- “Hey, the Zeiss guy is here”, one of them said. Zeiss Guy? I kinda like that. National Camera’s policy is all used merchandise must be in the case (and available to customers) for 30 days before it can be purchased by employees. Clearly they weren’t happy to see me. As an employee, I would have been counting the days. Yep, sucks to be them. I can imagine some sort of gladiatorial style contest between employees for any unsold stock that possibly ends in ones death, but again, I digress…
In any event, the lens is spectacular. The colors, stunning. It’s a MF lens, but I’m a video guy, so I’m no stranger to focusing manually, and actually prefer it. I’ve also put my head back in the books to learn all of the glass in my bag. Every lens has a sweet spot, and no two camera bodies are alike. So, it’s been all about the fundamentals for me. There’s a huge difference between video and photography, and it’s easy to mix up some of the concepts — for example, shutter speed is everything for stills, but by and large, a fixed value for video work. I’m a video guy first, photographer second. In fact, I would not consider myself a photographer at all. I know a few highly skilled photogs, and am in awe of their talent. Again, they’re two different disciplines that happen to share a few concepts, similarities and in the case of the DSLR, gear.
As I learn more, the better my video looks. Imagine that? Remember the rules:
1. Know where your stuff is.
2. Know what your stuff does.
3. Don’t break your stuff.
I’ve been hammering rule #2 hard as of late, and I figure a little RTFM never hurt anybody, right?
If there’s one constant that I can count on is my need for change. That, and my need for a good workspace. I’ve tried almost every configuration imaginable, but nothing has made me happy for any real length of time.
My last config was nice – until the headaches started. Most likely the result of sitting far too close to a 42″ LDC display. Talk about your space cadet glow (I felt warm a lot). Yep, it looked great, but was bad in practice.
This brings me to today’s entry. I was listening to NPR yesterday while on my way to a freelance gig, and the conversation headline was, “Is sitting too much killing us?”. Ok, I’m “King of the Sitters”, so they had my attention. The guest was a doctor that wrote at length about how we’ve become a sedentary society, and how that is killing us slowly. [Follow the link for a list of risk factors]. The story also featured anecdotal interviews with office folk that have transitioned to standing on the job.
I began to ponder this and realized that I sit 90% of the day. Most of my jobs involve monitors, computers and a chair. Given the fact that my freelance gig yesterday was field sound – the rare gig where one stands for a few hours with a field mixer and boom mic, it really brought the radio conversation home.
Combine all of that with my constant need to change my home setup, I found myself at it again. This time with the standing workstation concept in mind. I had my Mother’s high-top table in my garage, and it’s the perfect size to put my gear on and work while standing.
I clam-shelled the MBP and put all of my drives on the bottom shelf. I’m now limited to one monitor, but I’ve found the high resolution screen of the Macbook was getting harder to read (even with glasses) – yes, it sucks getting older. I actually prefer the (lower resolution) single 22″ monitor. The Oxygen49 keyboard, FaderPort and trackball/mouse all fit perfectly.
Two hours later, I had everything cabled up and operational, and I’m currently typing this while standing. In fact, I’ve challenged myself to stand while working for the month of July.
Can I really go 30 days of standing?
Realizing that’s a tall order, the table is part of a set with two stools, so I can sit if I have to, but they’re not made for comfort, so I won’t sit on them for long periods.
We’ll see how I do this month, and more importantly, we’ll see how I feel and if standing makes a difference.
December 23rd??? Really? That was my last entry here? 6 months ago?
Wow. What the hell?
Ok, seeing how it’s yet another holiday that I’m stuck at work, I guess I have time to play catch up. I’ve been super busy (to say the least) and freelance has been very, very good to me.
- St. Oalf Choir Holiday Concert shoot for TPT
- SNS goes HD!
- Recording sessions with Talia
- Xmas vacation out East (Happy Birthday to me)
- Shot a music doc for local band
- Fitness On Request shoot
- “Stay-cation” in town
- “Bloom Where You’re Planted” doc/shoot
- Shot and cut “We Found Love – LIVE Arrangement” video
- Audio engineer @ TPT (trained in for pledge drive relief)
- Maryland/Florida vacation
- Pre production for 2nd Fitness On Request shoot
- Home studio additions and upgrades
- Fitness On Request
- Darnell Davis Concert shoot.
- Lifetime Fitness shoot
Whew… One thing I’ve learned from the above list is that I vacation a lot, and I make no apologies for it. My motto is – work hard, play harder. My current work cycle is that the freelance funds the vacations, and that’s alright with me.
In fact, I’m currently working to fund the next big vacay as I type this, and next week promises to be no exception. I’ll be technical directing Fitness On Request shows during the day, while mixing TPT pledge at night.
Hell, the only reason I have the time to write this entry is that I brought the wrong hard drive with me to work and I can’t edit SNS. I’m almost 2 episodes ahead.
Tomorrow is more FOR pre-pro and a site survey for the upcoming concert shoot. I’m looking forward to that. It’s always a treat being around musicians with great chops (and those church boys have chops… yessiiiirrrr).
Anywho – I’ll post some pics from some of the above events so this place doesn’t seem so cold and empty.
Randomly selected six month review in photos -