Holy grail is a great pedal for mix down reverb! Also, I have noticed the same "vibe" loss when bouncing down to the computer, don't know what's up with that. Crazy, right?
Yeah, I'm not sure what that's about. I wondered if it could be the converters in my interface, or maybe my choice of DAW? (Garageband) I dunno. Digital stuff kind of perplexes me. ...And yes, the Holy Grail is awesome. Eventually I want to get a real spring reverb rackmount box, but the pedal actually does a great job.
Yeah, it's weird. I feel like bouncing to the computer "flattens" the sound of the tape, if that makes any sense. It goes from sounding 3d to 2d. Still sounds great, but when it lives solely on the tape, man... I regret selling my Holy Grail. Great on vocals, too. I was looking into different "analog" reverb pedals at one point, but came to the conclusion that the Holy Grail was all I needed at the time. Just snagged a used JHS Alpine reverb... I'll let you know how that one works out...
Back in the late 90's I had this Zoom multi-effect pedal made for guitar, which sucked for guitar, but it was actually brilliant as an outboard effects unit for my 4-track. You could dial in different kinds of reverb, delays, modulation, all with full parameter control. All digital, of course, and probably not good by modern standards, but very useful. I should look for another one on eBay or something. I'm sure they're dirt-cheap now.
Yeah it's funny. Some stuff that is not by any standard "good" sounding for guitar works wonders on the 4-track and probably just recording in general. That's what I enjoy about recording - no rules, experiment, do what you think sounds good. In other words, that sounds like you may be on to something 😎
Glad to see someone still doing this. I did this back in the 90's, I should release the cassettes, but I don't know if the other bands would like me to do that.
Depends on your mixer, but a separate sub-mix is the best way with drums in mono, bass on another track, guitar on the third and vocals on the fourth (as the most simplistic example).
I did exactly what you did except for the micing if the drum. I used one kick and one overhead. Otherwise I found a great sound! Thanks for sharing the idea.
Always record room sound. One left, one right. Pan em. Try a slight delay on one of them. Very very slight. And go into the 4-track LOUD AS HELL so you don’t have to use the shitty trim knobs or EQ bands. That is where all the awful noise comes from on 4track recordings - not from tape hiss. Keep the trim knobs set to ZERO.
No reason why you couldn’t do that or any method you like. I wanted as much control over the individual instruments as possible for mixing. I’ve done other live recordings where I just put up two room mics in X/Y sent to two tracks, but I wasn’t as happy with it.
Whaaa!? Thanks for the shout out, ya nerd! Made my day. Awesome vid, David. Been meaning to make one with the 424, too...
Holy grail is a great pedal for mix down reverb! Also, I have noticed the same "vibe" loss when bouncing down to the computer, don't know what's up with that. Crazy, right?
Yeah, I'm not sure what that's about. I wondered if it could be the converters in my interface, or maybe my choice of DAW? (Garageband) I dunno. Digital stuff kind of perplexes me.
...And yes, the Holy Grail is awesome. Eventually I want to get a real spring reverb rackmount box, but the pedal actually does a great job.
Yeah, it's weird. I feel like bouncing to the computer "flattens" the sound of the tape, if that makes any sense. It goes from sounding 3d to 2d. Still sounds great, but when it lives solely on the tape, man...
I regret selling my Holy Grail. Great on vocals, too. I was looking into different "analog" reverb pedals at one point, but came to the conclusion that the Holy Grail was all I needed at the time. Just snagged a used JHS Alpine reverb... I'll let you know how that one works out...
Back in the late 90's I had this Zoom multi-effect pedal made for guitar, which sucked for guitar, but it was actually brilliant as an outboard effects unit for my 4-track. You could dial in different kinds of reverb, delays, modulation, all with full parameter control. All digital, of course, and probably not good by modern standards, but very useful. I should look for another one on eBay or something. I'm sure they're dirt-cheap now.
Yeah it's funny. Some stuff that is not by any standard "good" sounding for guitar works wonders on the 4-track and probably just recording in general. That's what I enjoy about recording - no rules, experiment, do what you think sounds good. In other words, that sounds like you may be on to something 😎
Glad to see someone still doing this. I did this back in the 90's, I should release the cassettes, but I don't know if the other bands would like me to do that.
I Love Recording fuck them, drop it and let me know
I Love Recording If you do end up posting anything I would love to hear it. ✌️😎
very informative! the trick of using the line output of the speaker is great!
Dom the Sleaze Thank you, Dom!
Depends on your mixer, but a separate sub-mix is the best way with drums in mono, bass on another track, guitar on the third and vocals on the fourth (as the most simplistic example).
If I had another mixer I might have tried to do that, but we were using my little mixer for the vocals and sax. ✌️
I did exactly what you did except for the micing if the drum. I used one kick and one overhead. Otherwise I found a great sound! Thanks for sharing the idea.
Marc Wolff Awesome! 😎👍
My brain just exploded.
Always record room sound. One left, one right. Pan em. Try a slight delay on one of them. Very very slight. And go into the 4-track LOUD AS HELL so you don’t have to use the shitty trim knobs or EQ bands. That is where all the awful noise comes from on 4track recordings - not from tape hiss. Keep the trim knobs set to ZERO.
Brad Field Good advice. Thanks for watching!
But what about the sound of the room? I have never played or seen a show in a room that had good "room sound"
Why not just run two tracks into the aux outs and mix the miked instruments and vocals on the fly and set up two room mics for ambient room sounds ?
No reason why you couldn’t do that or any method you like. I wanted as much control over the individual instruments as possible for mixing. I’ve done other live recordings where I just put up two room mics in X/Y sent to two tracks, but I wasn’t as happy with it.
What’s the microphone you use?
EV RE-20 for the voiceover, but the vocals on the song are with SM58s