Pensado's Place #73 - Engineer, Mixer, Producer Andrew Scheps
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- Опубликовано: 20 июн 2012
- In the 73rd episode of Pensado's Place, Dave and Herb are joined by GRAMMY award winning engineer, mixer and producer Andrew Scheps! Andrew has credits ranging from Red Hot Chili Peppers to Adele, to Metallica and Jay-Z.
For more information on Andrew Scheps, visit his website:
- www.mcdman.com/scheps.html
- www.discogs.com/artist/Andrew+...
- www.punkerpad.com/
This week's ITL is a special mic shootout/listening test with Telefunken's RFT and Diamond series of microphones with Chris Baseford at the Atrium Studio.
You can download the Pro Tools files for this session here: ge.tt/3vCtP0K/v/0
To enter the Avid FastTrack C400 giveaway:
pensadosplace.tv/avid
To enter the Telefunken M80 giveaway:
pensadosplace.tv/telefunken
To enter the IndabaMusic.com mixing competition:
awe.sm/auEM
Winning mix will be chosen by Dave Pensado! Prizes include $1399 SSL Duende Plug-In bundle and an appearance on the show!
Thanks to our other three incredible title sponsors:
Avid: avid.com
Vintage King: vintageking.com
Telefunken: www.telefunken-elektroakustik....
For all of our episodes, contests, news and other opportunities, check us out at: www.pensadosplace.tv
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Развлечения
just discovered this show now. This show is awesome! And Andrew Scheps is such a pure dude!
Andrew deserves to be #73!
I love Andrew Scheps. Ever since I heard his work with The Mars Volta, I've been hooked. Cool dude and SUPER knowledgable. Great episode.
I wonder how much hair is inside Andrew's Neve console.
Enough for a whole 'nother beard
It's a reserve for what he's lost up top.
@@Hexspa Good to know you are focusing on the man's knowledge and achievements
Yea definitely worth watching more than once.A lot of knowledge coming from Andrew.Awesome work Dave & Herb.
this is the best show EVER. Thank you for taking the time
Scheps 73
Can't thank you enough for doing this show, I'm watching every episode and taking a Ton of notes!
Ha, Dave mentions the Reese's cup, instantly we get a shot of Herb in deep thought. That just cracked me up!
One of the BEST shows ever!!! Thanks...
Thanks alot guys and a special thanks to Andrew Scheps. Love the Scheps73 as well!! God bless
Trying to get back into hearing this show again. Left off around the 70s long ago and this is the chosen starting point!
Excellent interview, will be re watching. Many thanks.
man... all these vids with superb dudes and the subtleties in their aproach and the respect for the artist they offer and with dave's questions it seems like iv'e never mixed, but played around with toys... thx for the effort and for sharing! U keep'm coming, I keep lookin'm :-)
"Did you say i have a big knob"? lol!
Thank you Andrew I'm an aspiring musician recording artist building my own studio... LOVE when Pensado's place does amazing stuff like this...:D
Wow! Such a nice ep!!! Thank you solo much for this!
wow! One of the best shows youve ever made! Thank you so much guys!!!
One of the best shows! %100. thank you so much for doing this. Appreciate your effort.
wonderful episode! this showed me exactly what I was hoping to learn from this show! and I have to check out some Scheps mixes now!
Andrew has become one of my new favorite engineers after this episode
Outstanding, as usual...thanks soo much. Have a great weekend : )
I love that I'm at the level where I can understand the conversation
I'ts like painters shooting shit
I'm a lead singer, composer that wants to wants to know how to get to that next level shit. without any help
what a beautiful art
Great Episode 🔥🔥🔥🔥Thank You 🙌🙌🙌🙌.
Love this episode with Andrew Scheps!
yes another awesome show….thanks my friends… Keep on..
Dave Pensado, Herb Trawick and the awesome staff madd props to each of you. Thank you guys n gals for sharing knowledge that's been hidden for way too long. Keep doing that good thing.
Ah the beginning of the Internet ❤ I miss it
Thanks for this!!
Great conversation!
+100 on that. I don't know if there's a logistical (time it takes? length of video?), legal or whatever issue to doing it, but I would also LOVE to see a whole major label mixdown in its entirety - front to end, including all the side-comments, downtime thoughts, stepping outside the room, discussions with outside personnel, calls in to producers, dealing with A&R, any recalls, etc. In other words, a very privileged real-world view of what goes on in the big leagues, that we don't see everyday.
Hi! Love the show. I am a PT user as well as a Studio One user. In the New version of Studio One on there compressor there is a Mix knob that functions like a parallel compressor, by adjusting the knob it dials in the amount of compression u need. Not pluging ST1 just sharing information.
Now I need to change my audio interface with another one with big knobs:)).Great show guys!
Woo! Shout out to UM and Kenny P.! He was my adviser while I was there and I actually have one of his old cars :) Great Episode!!
Hey, It doesn't cost $9.99 to watch and download. Keep it up Pensado's Place!
For sure the AR-51 seemed to fit that guitar with so much balance of high end and low end. Thought I was going to go for the copperhead..Woah.
Loved it. I can't believe they actually mentioned LimeWire...
Awesome!
my favorite ITL
Awesome Dave...You are my new messiah...jeje...
And the lewit 441 is very serious. Somewhere between a c12 and a 251.
I liked the ELAM 251 the best because it sounded like the acoustic guitar was right in front of me, not even going through a mic.
I've since switched to using parallel compression pretty much exclusively in my DAW mixer setup as well - largely because of Scheps. The differences ( improved) in my mixes have become quite noticeable since that switch. It's very rare that I'll insert any GR directly into a track or bus anymore. I create different aux's with different GR processing - one for 1176, one for LA2, one for Focusrite Red, etc., and then use the aux sends of discreet tracks to add the reduction as needed. I'll still occasionally add GR to a particular bus once in awhile, ( like drums for example) but I get so much more control through parallel reduction. If you haven't yet tried it, you should. ;)
Like I just commented, I used PC exclusively on my EP. I also used parallel distortion, compression and EQ which, when A/Bing it to an inserted option, won out as superior. Remember you can EQ your PC tracks too - I boosted the lows and highs tuned to the songs. YMMV. I see you like Michael White (was going to get him to master the EP but couldn't due to deadline). I'd like to hear your mixes. -m
Hexspa - www.cdbaby.com/cd/terryfairfax
They're MP3's, but it'll give you an idea. Click on the play button to the left of each song for a short excerpt. ;)
MrDonnyAir Powerful mixes
10:45 - "We set up a test that allows us to make an objective opinion about what we're hearing". Dave, you cannot possibly have an objective opinion. By definition, opinions are subjective.
one opinion is subjective, more opinions make it objective
dynamicc No. An opinion can never be objective by definition. That's the point of an opinion. To say something is objective because the majority hold the same opinion is an argumentum ad populum i.e. to say something is true because the majority said so.
okay, you are right :)
I would love an intense ITL on parallel compression. How to set it up? How to check for phase issues? And most of all, what qualities to listen for in the compressed part?
set it up using AUX/effect tracks, set the send levels to 0 (Fader scale) and send pre-Fader. To check for phase issues, insert a plugin, after your processors, that provides a phase flip button, set the parallel buss to the same level as your send bus and flip the phase. If it cancels out you don't have phase issues. Regarding listening, don't listen to a certain quality in the compressed signal, listen to what it adds to the instruments or group you are parallel-compressing, and if it is the effect you desired.
Thanks for your answer!
Basically parallel processing is taking two extremes and combining them for the best of both. In the case of compression, you'll set a fast attack and slow release on the compressor with a low threshold - basically smash the sound - then blend it in "behind" your "clean" track. This can be done with any effect or effect type such as dynamics (compression), level (EQ), and time-based (reverb - which you probably already do).
The only correction here is that you can't have your processors engaged - any processing will affect the null. Another way to do it is mix in some of your return with the dry and hear if there's any phasey sound or flamming. Either adjust delay till the bass is tightest or, alternatively, adjust till the sound is weakest then flip your phase.
Please do the PO folks show. Smiling. Show them the expensive neve 1073 then show them an inexpensive 500 series module by BAE. Show em how to get there.
my thought as well. Came to that conclusion before looking at the comments.
Call me caffeinated but I looked at the mix diagram for the nt1 and compared it with Nueman U87 and it is so close. Now I have never used a u87 sorry too expensive for me, but I have used the tlm 's and they get it down to. You do have to add to the bottom and maybe add less caffeine to the top. Smiling.
Most importantly teach grown folks not to try to rock skinny jeans, love u guys are an inspiration.
Use the force, [mix engineer]!
C6 avatone through a sick tube pre.
great
"Horrible's working pretty well."
Haha, that's cool.
Would it be possible to video record a whole mixdown and present it as an itl?
i need this view count to be higher please
This show is amazing O_O
I actually don't think there is another on youtube like this....
Too bad your competition doesn't apply to people in England
44:13 he accidently calls him Rick which is awkward
These answers are some of the best i have ever heard about mixing to for us not to be a fraud to try out ideas and if works for you keep it .
In regards to the LCR mixing and studies supporting people's inability to hear small differences in localization, there seems to be studies that suggest the opposite :-D! Grant it, i'm no expert or anything, but i remember reading an article on tests done showing people have the ability to distinguish as little as 1 or 2 degrees difference in localization. I couldn't find the original article, but here's a page from the american institute of physics which discusses it (www.aip.org/pt/nov99/locsound.html).
Of course there's a million variables in recorded music being played back through only two sound sources. And the difference between testing in rooms designed specifically for experiments in psychoacoustics and listening back on monitors is just enormous as well. But, these kinds of studies, in my mind, help to legitimize my love of interesting and intricate placement in the stereo field :-) (which, sometimes needs to be accomplished by LCR spreads so.. lol, i don't know where that really leaves this whole comment :-D!) I love your work Andrew! Thank you for engineering some of my favorite music ever! And thank you Dave and Herb for the amazing shows and videos and everything!
People can hear difference as small as 1-2 degrees but only under special conditions such as an anechoic chamber using mostly pure tones (sine waves). When the acoustic environments gets more chaotic (diffuse, even a small amount reflections) and the audio signal is complex, then the ability to distinguish small degrees becomes less. On average, and under these conditions, most people are either tolerant or can't distinguish small changes under 10 degrees. I typically use 5 degree increments in my research but this is considered "overkill".
1130 Ft Per Sec
That's so cool! Thank you for the response :-D. What kind of research are you involved in if you don't mind me asking?
It's all very interesting. There is more to it than just "hearing the panning" I've found from my experience. I use a lot of panning in my mixes. For room, expansion, and simply interest, even if the piece doesn't require it. I will pan anywhere in the spectrum, sometimes as little as 12 degrees, all the way to hard panning. When you are in the moment with the mix, you can definitely hear where you are panning fairly well I feel. However, going back to the mix, you don't usually "hear" the direction of the subtle pans so much, if at all. There is this sweet spot at a approx. 44-40 degree pan that seems to be an exception. You can definitely feel that spot where it feels as if the sound source is coming from an angle towards you... Aside from that, I feel it's hard to really pick up the difference from much else aside hard panning, regardless of how much the panning actually "did" for the track in terms of clarity and room.
From a personal stand point, when it comes to rock music, I love LCR even WITHOUT much stereo expansion in the final mix/master. Perhaps it's an antiquated notion, but I love putting on a pair of headphones and listening to a great album from the 60s that's mixed lcr with no stereo expansion (Music from Big Pink by The Band comes to mind). I feel the fidelity you gain from the expansion can often times be a trade off with the interest and creativity of the recording. It's easy to add a lot of stereo expansion on the stereo bus and say to yourself, "There that sounds much better", but it's also really easy to kill a track in the long run. I really like how Andrew Scheps speaks of going back to an earlier version of the mix after working on it for hours. Seems simply, but you cannot push this idea too much!
Well this is all just my thoughts from my personal experience, I know it's a bit of a ramble, but maybe some might find interesting...
Batter's Box 49:48
OK - you're right, they're there! - pensadosplace.tv Thanks again... (Just the youtube segments for certain episodes are abbreviated clips...)
What's the exact address of that - because I've tried several times, and only got the $9.99 youtube link for several episodes (#60-67). Thanks!
how about putting all three signals through a frequency analyzer...that'll eliminate all the opinion...you'll see the low, high, and mid frequency response of all three mics :)
47 at the hole at the rf at the 6th fret. That work?
wow Scheps is cool
Shucks u could there with 2 nt1s and just run one through tubes and the other you regular daw pre. I think you could do it. Yours might sound creamier.
+1 for those Trident EQ's
Anyone try the ones in Reason?
I am over caffeinated smile
poor dave, seems like he's kind of having a hard time here, this episode
At 44:13 Dave calls Andrew "Rick".
K2 is excellent
DAAAAAAAMN, I'm always putting 76's on hip-hop vocals :D I don't feel like such a hack anymore
they bought the patents and schematics to the classics when they bought the brand that no longer made mics... I for one am glad.
To find the new channel type: "pensadosplace" and it will come up with the new channel :)
47 round sounding nice without being to bassy
Hahaha Andrew mentions Karl Pilkington when Dave is talking about singing in the shower. I like him even more now. It's a shame they probably don't know who he is.
hey I'm little late but can I still enter the giveaway
However, the name Telefunken is *not* the german company Telefunken who used to make valves and televisions and so on from 1903 to 1996.
No, it is actually a brand mark that is owned by Larry Fishman and is a USA company. So in my opinion the brand is a bit misleading, really.
Wayne made how much money with that nt2a? Yeah. Get there in Chrysler 300 or in a Maybach just get there!
Budget guy warm audio 47 47 jr?
am I the only one that could not hear the sound difference between each mic that was used ??
no.
listening on pro (not prosumer) monitors and i couldn't heard a difference.
Bollog Nyessy from computer to monitors ???
I'm not bragging or something but both of the time choice wise, I was similar to DAVE. I was using presonus Eris 5 studio monitors to listen to.
Bereket Benti presonus eris 5s are not professional monitors.
This one was honest.
"big knobs"
damn an ar 51 is 1800 us dollars
Copperhead!
Koodoo's is not a real word? ㋡
Fatboy Herb, back in the day.
"When is he going to get a 'real' job?" :-)
death of analogue ? fool, its alive and well
+Richard James for all intensive purposes it's dead.
snapascrew
not at all, i rarely use it but its far from dead
Dude, get with the times ANALOG IS HERE TO STAY!!!!
+Sjobeck7 I think that both Pensado and Scheps were referring more to tape, and not necessarily to analog preamps or certain EQ and GR pieces; and while I came up during the age of tape, and there are some things about it that I love, I have to concede that it has become reduced to a "specialty" format, and other than that use, it is pretty much a dead format.
+Sjobeck7 One other note.. While Scheps has recently stated that he mixes almost exclusively ITB now, he's still using his classic Neve desk quite a bit as the frontload gain/EQ for the tracks he records.
I am from Los Angeles, and there's a guys here who does axcellent mixes called Raz Klinghoffer, you should check out his mixes their really good
STOP SPAMMING all these great videos with this clown Raz Klingwhocares. Anyone else tired of this trolling?
For sure.
He did see his notes and is gonA be a suck up for life #lifefail
BIG KNOBS.
analog distortion is not close to the real thing at the moment. everything else is
Analog is not dead. what a horrible thing to tell people. plugins will never replace the warmth and character of analog gear. thats silly.
All the big studios are closing down. Most people mix in the box now.
@@SlinkiestTortoise23 you can use analog gear at home
love the vids. but man, I can not stand another studder..."whwhw..whhh...what is your favorite compressor" or "now tell us about tha..thaaa.the process" so irritating after a while!
should i unsubscribe from ThisWeekIn?
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