I love how direct and no-nonsense George is about engineering. There are no sacred cows for him -- the sound is everything, no matter how you get to it.
Hey George, was remembering my days working at the Complex and found this. Haven't forgotten you or having made you laugh a few times. Also remembering Harry G, Richie S., E,W& F, Linda R, many more, including your friend Renee (?) at the time. Haha. Oh yeah and Sharon R. Great memories.... One other unforgettable memory, for me, was you finding me recycling Harry's quarters to play Pac Man. 🤣 Hell, he got them back, cheap bastard. 🙈 😂😂 You're still looking good. 😊 - Mary
it would be easier to simply use a cabling solution. An XLR cable splitter could run you a couple hundred dollars or some cheaper options are available. He was talking about running one mic into two inputs with different mic pre-amp settings to avoid distorting the mic and having better control over dynamics without a compressor. Sending to another channel would just be the same signal on two faders which dosnt really do what he was going for. :)
I like add EQ and comp's while tracking to add character to a track. The important thing is to do it gently. Like George said, if you over compress, and then try to fix it later, you will have problems.
Ok, so the two vox tracks 15dB apart are all well and good, but what happens when the vocalist leans into the mic and hears that distortion in the cue? That's not something an engineer ever wants the artist to ever hear. Is the idea to send the 'backup' copy cue to the vocalist and just boost signal to an appropriate playback level (since it won't be overdriven)? I'd like to know a bit more about this technique.
I truely hate over compression and have been useing a metric halo ULN8 all in the box. I have a real need to not filter or compress or limit. Hey Im new school.LOL
I love how direct and no-nonsense George is about engineering. There are no sacred cows for him -- the sound is everything, no matter how you get to it.
A true master with the class and patience to share information. One of the good guys.
It's humbling to hear the best say, "and you break the rules once you make them. "
Great mic pres on the front end, vibe in the room, mixes in the box, George knows what's up.
Gotta love George!! The Master!
Massenburg is an icon !
I am glad to see that this is an older gent. All knowledge!
That 2 mic pre technique on voice is clever .
Hey George, was remembering my days working at the Complex and found this. Haven't forgotten you or having made you laugh a few times. Also remembering Harry G, Richie S., E,W& F, Linda R, many more, including your friend Renee (?) at the time. Haha. Oh yeah and Sharon R. Great memories....
One other unforgettable memory, for me, was you finding me recycling Harry's quarters to play Pac Man. 🤣 Hell, he got them back, cheap bastard. 🙈 😂😂
You're still looking good. 😊 - Mary
love this guy
great stuff. thanks guys.
Thank you
"I remember also sneaking into this room to smoke pot......you can cut that out" HA!!!
I've done exactly what he was talking about compression before the box with a lot of low end
it would be easier to simply use a cabling solution. An XLR cable splitter could run you a couple hundred dollars or some cheaper options are available. He was talking about running one mic into two inputs with different mic pre-amp settings to avoid distorting the mic and having better control over dynamics without a compressor. Sending to another channel would just be the same signal on two faders which dosnt really do what he was going for. :)
Good GOD guys...Study up! George is one of the God Fathers of this business!
Art Vandelay: yes he is!
I like add EQ and comp's while tracking to add character to a track. The important thing is to do it gently. Like George said, if you over compress, and then try to fix it later, you will have problems.
il me semble bien qu'il dit à 0,37 : "i think that it variably sounds better than mixing trough an analog console"
Ok, so the two vox tracks 15dB apart are all well and good, but what happens when the vocalist leans into the mic and hears that distortion in the cue? That's not something an engineer ever wants the artist to ever hear. Is the idea to send the 'backup' copy cue to the vocalist and just boost signal to an appropriate playback level (since it won't be overdriven)? I'd like to know a bit more about this technique.
Does anyone know specifically how he's running one mic to two different preamps? Balanced xlr cable?
Mic splitters
My guess is he’s multing the signal I. The patchbay before it’s sent to the preamp
I truely hate over compression and have been useing a metric halo ULN8 all in the box. I have a real need to not filter or compress or limit. Hey Im new school.LOL
Where can I get that Black Bird Studio C impulse response?!?!?!?!?!
Denzel: "My Nigga" 5:56
Bon,j'adore Gorege ,mais il fait quand meme la pub pr GML là...les preamps les tranches,bon...normal!
5:56 🤣
I like that he mispronounces 'timbre' as tom-burr, instead of tam-burr...or maybe tom-bruh...?