Thank you for the video guys. I like how you simulate the real recording situation in the video. I am sure a lot of younger guys will get a nice view into, how things work in the studio. Very good ,informative video, with 0% of any bs. By the way, the snare sounds so good, in tune and popping. and the room has a very nice, short bright echo and a good stereo spread. You've got a really good thing going in there.
Thanks! Ludwig Coliseum. is our favorite at the moment, also surprisingly the room mics help a lot with snare sound most of the "depth" comes form there.
A lot of videos don't show the trial and error part of mic'ing a kit. Having only been able to work with the tracks I'm given, I don't have much experience with how mic placement will affect the sound as well as I know my EQ and compression.
Hi! The micing part is very important and is essentially like having EQ even before pressing the EQ button. Also interesting fact that back in the day the EQs were pretty basic, our console for example has only a 3 band one with a semi parametric mids and the bell is very broad.
Cool, just wondering, why don't you monitor straight off the tape while it's recording? I got a MCI JH24, when recording drums i always monitor off tape to adjust levels, and find myself often hitting the tape way harder by listening off tape then i would by just looking at the meter. the JH16 is a gorgeous machine i bet you can hit those levels way harder!!
There's a bit too much bleed from the live room so we usually just do a couple of test cuts to make sure we like what comes off the tape. But yeah, monitoring off the tape is a big one! The machine probably can handle anything you throw at it but the console( MCI JH-636) is a lot more conservative when it comes to levels so it implodes pretty quickly if you cut too hot. Also the JH-16 has a more archaic erase circuit(and an inline erase head vs the staggered one on later machines) so it doesn't always erase hotter cuts thus we're kinda used to keep our levels pretty conservative. But we definitely want to try that sometime!
@@fluxmagneticstudios4046 Ah I get what you mean, I had the same ''problem'' where my console would start saturating before my tape machine, then i re-calibrated my machine, basicly turned all the input levels way up and the output levels down, in which the machine goes into tape saturation earlier. Hmmm and this problem of the tape not fully erasing with loud levels, that must be fixable? The JH-16 is such a beautiful machine, i'm jalous..it must sound amazing when you'd hit the tape hard. But yeah it already sounds awesome, anyway! Cool studio!!
We made an adapter for the AKG d12 which is just an XLR to TS jack adapter with the "cold" lug shorted to ground. For the MD 421 there are some adapters that you can get from ebay to convert those to XLR. The Toshiba mic had a female XLR retrofitted onto it from before. Hope this helps!
Thanks for the upload! I've actually enjoyed the final dry mix before verb & eq, at least to me was a great example of mic choice&placement + room techniques. Subscribed instantly for the non-BS non-fluff, real-world and honest production, including the errors/trials. Keep it up!
Thank you so much! Actually all the "console feed" parts are that same dry mix except it's not coming from the machine playback, just a pass through. It is awesome, nothing can beat a good room and a well tuned kit. Imagine what you could get at Olympic Studios that had 20 foot ceilings, that's why those records sound so good!
Wow!beautiful old school setup,if i win the lottery im getting one,blue vista lite kit,and reel to reel,so cool
Those big diameter Ludwig kits sound fantastic. Believe it or not Vistalite is relatively inexpensive comparing to their wooden shell kits.
so informative please make more videos like this!
Thank you for the video guys. I like how you simulate the real recording situation in the video. I am sure a lot of younger guys will get a nice view into, how things work in the studio.
Very good ,informative video, with 0% of any bs.
By the way, the snare sounds so good, in tune and popping. and the room has a very nice, short bright echo and a good stereo spread. You've got a really good thing going in there.
Thanks! Ludwig Coliseum. is our favorite at the moment, also surprisingly the room mics help a lot with snare sound most of the "depth" comes form there.
Great Video amazing Studio :D
Sweet !❤
Thank you for watching!
Nice window to history!
loved that „CONOSLE feed“ 😂
Man them drums sound killer
Nice set up, I have a 1976 Mci’s 428 console & a JH-24.
Thanks! The 428 is a very nice board!
Great sound! It's so refreshing to see some real recording on YT these days. Good luck with the channel!
Thank you so much! Glad you enjoyed it!
Great video!
Sounds very similar to John Boham's studio drums, awesome!
It's the same kit he used live - Ludwig Vistalite. In studio he used the wooden kits mostly. The snare drum is Ludwig Coliseum.
this was so awesome
Thanks!
Great sounding kit! love the sound of tape, what comps did you use on the Kick and snare and the rest? 1176?
Hi! There's only an 1176 on the kick drum and no compression on anything else. Sometimes we put another 1176 on the snare but in this case we didn't.
Rock it brothas!
A lot of videos don't show the trial and error part of mic'ing a kit. Having only been able to work with the tracks I'm given, I don't have much experience with how mic placement will affect the sound as well as I know my EQ and compression.
Hi! The micing part is very important and is essentially like having EQ even before pressing the EQ button. Also interesting fact that back in the day the EQs were pretty basic, our console for example has only a 3 band one with a semi parametric mids and the bell is very broad.
Your 421‘s are really old, they have amphenol to xlr adaptors.
Yep, they're from the 60s. Great for toms and acoustic guitars!
Cool, just wondering, why don't you monitor straight off the tape while it's recording? I got a MCI JH24, when recording drums i always monitor off tape to adjust levels, and find myself often hitting the tape way harder by listening off tape then i would by just looking at the meter. the JH16 is a gorgeous machine i bet you can hit those levels way harder!!
There's a bit too much bleed from the live room so we usually just do a couple of test cuts to make sure we like what comes off the tape. But yeah, monitoring off the tape is a big one! The machine probably can handle anything you throw at it but the console( MCI JH-636) is a lot more conservative when it comes to levels so it implodes pretty quickly if you cut too hot. Also the JH-16 has a more archaic erase circuit(and an inline erase head vs the staggered one on later machines) so it doesn't always erase hotter cuts thus we're kinda used to keep our levels pretty conservative. But we definitely want to try that sometime!
@@fluxmagneticstudios4046 Ah I get what you mean, I had the same ''problem'' where my console would start saturating before my tape machine, then i re-calibrated my machine, basicly turned all the input levels way up and the output levels down, in which the machine goes into tape saturation earlier. Hmmm and this problem of the tape not fully erasing with loud levels, that must be fixable? The JH-16 is such a beautiful machine, i'm jalous..it must sound amazing when you'd hit the tape hard. But yeah it already sounds awesome, anyway! Cool studio!!
What snare is that if I may ask?
Hi! It's Ludwig Coliseum.
How did you get XLR outputs on these old mics?
We made an adapter for the AKG d12 which is just an XLR to TS jack adapter with the "cold" lug shorted to ground.
For the MD 421 there are some adapters that you can get from ebay to convert those to XLR. The Toshiba mic had a female XLR retrofitted onto it from before. Hope this helps!
Thanks for the upload! I've actually enjoyed the final dry mix before verb & eq, at least to me was a great example of mic choice&placement + room techniques. Subscribed instantly for the non-BS non-fluff, real-world and honest production, including the errors/trials. Keep it up!
Thank you so much! Actually all the "console feed" parts are that same dry mix except it's not coming from the machine playback, just a pass through. It is awesome, nothing can beat a good room and a well tuned kit. Imagine what you could get at Olympic Studios that had 20 foot ceilings, that's why those records sound so good!
Check phase always,