Thats what I love about this channel, videos that just focus on observing these great folks work. So much to learn and unpack from this 1.5 hr video wrt to improving my own drum sound. Thanks for sharing these.
I love that victor is adding in what adjustments hes making as a player based on whats happening in the room. This is like a masterclass in studio drumming!
Victor is such an amazing drummer, and Darrell's instincts are spot on... He doesn't demand, just waits until the opportunity presents itself, then suggests.
I appreciate hearing this. It is demonstrating to me, all that old clunky gear doesn't seem to do better than the plugins I am using. Yes the outboard gear came first and I very much respect that. I can't afford a bunch of the stuff and I am quite happy us poor folk can still getter done. I am still blown away by incredible studios. Great content here! I would have fun working with these guys.
THANK YOUUS!!! JUST AWESOME!! loved watching the click trk,and the kick trk levels,his timing was inpecable!! 😮 once again,thanks the vid was sick!! Learned alotta tricks. Keep it up plse! New subscriber one the way...
I always put my moon gel between the tension rods, something Kenny Sharrets said, it actually works better I find than right in front of a tension rod, gives better dampening range
Around 45:00 they're talking about in the box processing a monitor mix while tracking and how there might be issues due to delay compensation being unequal between processed and unprocessed tracks. I don't recognize this issue. Is it a ProTools thing? At least the DAW I'm using (Reaper) automatically delays all non-muted, monitored tracks based on the most delayed track. There's no need to waste CPU cycles on extra instances of the plugin on non-processed tracks. Additionally, they suggest bypassing the plugins to make them inaudible, but then you just remove the introduced latency altogether. As they say in the video, the problem is removed if the processing is done with outboard gear prior to hitting the converters.
Reaper has a reputation for making plugin delay compensation (PDC) stuff dead simple to handle, I'm not sure if the issue they're talking about is limited to protools but as you say reaper takes care of it automatically. I know Ableton's PDC also has a few quirks and glitches to it
@@johanneseberhard9726 Clearly, you’ve never owned a 60-year-old Neve! 😄 No amount of servicing-though it gets plenty-lasts long unless you replace vintage parts with modern ones, which don’t sound the same. Only original vintage parts give it that magic. That’s part of why this Sound City Neve is so iconic-nothing else sounds like it.
@@LautenAudio well my Harrison doesn't show that behavior but there are a million reasons why that is. I still wouldn't want to record any serious stuff through that console in that state BUT I'm not Dave Grohl ;)
I liked "Outside kIck" at the first stage of processing, before the 160 was inserted. The compression brings up room, which to my ears makes blurry the snare sound @ 1:20:47 after the cool gain staging of "Snr Side" ch. My 2 cents.
Custom built and easy to make yourself - you just need nails or screws, a fabric stapler, cabinet grade wood (if you want it to look nice), rock wool layers inside, fabric stapled outside, and casters on the bottom😀
Do u ever link the tracks and clip gain instead of automating small sections of drums that are quieter? I been doing it on my new song and liking it so far
AMAZING VIDEO. This is crazy, so much to learn. And you guys are funny af. I have a question for anybody who might know: What's the difference between the faders on the console and the faders in pro tools?
the faders on the console are the last step in front of the converter (level to digital) - the Pro Tools fader is just the playback or monitor level/balance of course you can arrange this stuff differently but to me it looks like it's set up like this in this video
Incredibly valuable content for us struggling home drum recordists and players. Loved every minute. The discussion of level overheads vs. the measure -to-snare-center approaches was really interesting. Funnily enough been agonizing about that lately. Perhaps for no reason!
Hey gre video. Thank you so much. I got question about system with connection with equipment I service with church audio. my question is analog and digital connection. I got question about system with connection with equipment I service with church audio engineer. For equipment I use digico s21 and cubase pro 13 for computer, I use drum,eb,eg,ag,2keybord,apf, 4ch choir(soprano,alto,tener,bass) on stage, podium 1 wired mic and 1pair pin and handheld mic for paster, 8 wireless handheld mic( leader, chorus), 1st violin 2nd violin, viola, cello, etc.... my question is analog and digital console with computer connection. 1. How can I do a live worship service and record to my computer at the same time, and what equipment do I need between the mixer and computer to do so? 2. How can I play each instrument in my cubase program on each channel in the mixer, and how can I punch in and out when I want to modify the instruments? 3. How to listen and punch in and out during the dubbing? 4. I want to know connect equipment. Thanks.
Hey y’all, serious question here what was he talking about for the HDX user, if you had a 30 sample delay on a mono room mic, why would you feel the need to put that SSL channel on all of the drums? Isn’t that what the delay compensation is for… you put a plugin on one channel, and every other track automatically adds that delay… am I missing something about the conversation?… as a drummer and engineer, I’ve never heard any problem with putting plug-ins on specific channels, but at the same time I want to know if I’m missing something for any clients on playback. Never had any complaints or anyone notice any latency issues with HDX as far as I know
@dustinleespencer - I'm only talking about plugin latency while tracking. Delay compensation is not enabled for tracks in "Input". If you have a 30 sample delay on one of your tracks while recording, it will knock that mic 30 samples out of phase. Yes, once you stop recording and switch to playback everything will be properly delay compensated, but I'm talking about mixing while tracking.
if you track with HDX your AAX (non native) plug ins shouldn't give you any latency - that's the beauty of a DSP system. Just don't fiddle around with native plug ins.
@@PascoTheFiasco this is news to me but I never really use channel strips while tracking. is this channel strip related or does every AAX plug in introduce those 34 samples?
@@PascoTheFiasco I did Know this, but I had just assumed that the DSP chips did their own Delay compensation even in input monitoring. Good to know though. Great stuff here!
Hey guys Thank you for sharing this session. Very valuable. Lot of Information to proceed! What is a Pokémon mic? I dont get it. maybe a language issue :)
I like seeing these vids about tuning a REAL snare drum to get a different sound. It would be so much better if in modern recording, we preserved the infinite uniqueness of every recorded real snare drum. Think about it, if you record 100 of them, you actually do get 100 different sounds (even if just subtly different). Sadly, everyone today is just using samples to sound like everyone else. While its become the norm, its killing metal and rock.
Tuning the snare to the pitch of the song, is something I wouldn't get too bogged down with. It's a snare, not a timpani. Just get a good snare sound. When has anyone ever complained that the snare doesn't match the key of the song? Nobody cares. It's a waste of time.
@@theethanatorem well, it has been 20 years since I watched the Jeff Ocheltree DVD, “Trust Your Ears: The Drum Tech Explorations of Jeff Ocheltree”, so I may have misstated it. I’d better re-watch it!
Though the result is effective, I would not tune drums this way. You'll get weird overtones and warp the head over time. Matched even is the best policy. But hey, when you're recording sometimes what works is what works. Great player btw the guy can play.
I've been watching every video youv'e made with Darrell and this is definitely not his fault. I love everything he does but the drums sounds i'm hearing on your videos are trash. I can get a better bass drum sound with a D112 no processing. I don't know why do you think anyone will buy your microphones if this is how you showcase them...
I feel like these guys don't know anything about Polarity and how it works. The whole "fix it later in the mix" is a terrible way to go. I guess when you have the best studio money can buy, it makes it easier.
With nearly 20 Grammys between them, I’d say they’re aware of how polarity works. Spending $199 on efficiency with tools like Auto-Align lets them focus on creating rather than troubleshooting 30-degree phase misalignments. Basic polarity and audible issues? Sure. But beyond that, having the budget for a great studio doesn’t mean you have time to waste.
Sorry, didn’t mean to offend you. Wasn’t questioning their abilities. It’s just the way they came across. it literally takes a couple of minutes to check phase alignment. Sometimes even faster than loading a plug-in that will do it for you. That being said, I did enjoy the video and I appreciate the hard work.
@@BobK115 None taken. The goal for them is to put the microphones where they sound the best. If something is egregious phase-wise, then a movement or polarity change may occur, but ultimately, Auto Align works so well that it makes what could take hours take seconds, which is critical in many sessions. Hope this makes sense, and we are so glad you enjoyed it.
The man has experienced. The fact he said the crush mic in his ears keeps his playing balanced. That's def an experience thing. Very cool
Hahaha what?😂
@@ERMAVby having a mic extremely compressed being sent to his headphones he can control his playing dynamics because he hears everything very clearly
@@nicksg914 ya I know this I’m just laughing. Ignore me
Once again, thank you so much Lauten Audio. For keeping the camera rolling and not editing all those little moments out. So much gold in there. 🙏
@@GlennWilsonDrums we love those moments and are so glad you do too!
WOOOOOOO SO AWESOME!
@@JakeReedmusic 🙌❤️
Thats what I love about this channel, videos that just focus on observing these great folks work. So much to learn and unpack from this 1.5 hr video wrt to improving my own drum sound. Thanks for sharing these.
We are so glad you love it!! 😄
"I think if you have a really good song you don´t need a crash" AWESOME!!!!!!!
I love that victor is adding in what adjustments hes making as a player based on whats happening in the room. This is like a masterclass in studio drumming!
Victor is such an amazing drummer, and Darrell's instincts are spot on... He doesn't demand, just waits until the opportunity presents itself, then suggests.
And how in tune with the kit is Victor?
Love these videos
🙌❤️
Hey Lauten Audio… Thank You so much for this Video again. F* amazing!! 👍🏼👍🏼👍🏼
@@-PAT- 🙌❤️❤️❤️
Those studio moments are priceless❤ thanks for sharing guys
@@eldermartins130 we are so glad you enjoyed it!
Amazing sound!!!!
A real lesson!
This is fantastic. Thanks to all involved.
The "Rabbit Hole" conversation was exactly what I needed to hear today! Thank you for sharing!
Glad you enjoyed it!
Darrel is a beast of an engineer. These recordings on all these videos sound incredible
I appreciate hearing this. It is demonstrating to me, all that old clunky gear doesn't seem to do better than the plugins I am using. Yes the outboard gear came first and I very much respect that. I can't afford a bunch of the stuff and I am quite happy us poor folk can still getter done. I am still blown away by incredible studios. Great content here! I would have fun working with these guys.
The natural room sound is amazing!!!!!!!!
Great info. Thank you.
Damn, that was helpful! Thank you so much Lauten Audio and everyone involved.
@@samdrums2584 we are so glad you enjoyed it!
THIS IS AWESOME! Thanks for making this kind of stuff
@@bobby_kingstar 🥰🙌
This is good stuff!
We are so glad you like it!
so good!
🥰
Thxs for knowledge
I feel very privileged to be a fly on the wall at Lauten Audio Studios
A fascinating insight
Thank you 🙏
Treasure. Thanks to you all
🔥 Amazing!
This is brilliant
We are so glad you enjoyed it!
THANK YOUUS!!! JUST AWESOME!! loved watching the click trk,and the kick trk levels,his timing was inpecable!! 😮 once again,thanks the vid was sick!! Learned alotta tricks. Keep it up plse! New subscriber one the way...
🙌 We are so glad you enjoyed it! 😄
So much info just in the 1st 3 minutes 😮
yall are goated for this
@@stevenrutherford8439 🙏❤️
I always put my moon gel between the tension rods, something Kenny Sharrets said, it actually works better I find than right in front of a tension rod, gives better dampening range
that tom groove is addictive
@@pablogonnet11 agreed!
35:21 Glyn Johns on a video said he did not measure
Alex is an unsung hero here!
you are the most intelligent session drummer Ive ever witnessed.
Victor sei un grande! Lauten Audio too.
@2:02 Darrell DEFINITELY not thinking of blasting the next drummer's ears with a crushed OH mic
dang, that dude is one helluva drummer.
@@davewestner he is!
Around 45:00 they're talking about in the box processing a monitor mix while tracking and how there might be issues due to delay compensation being unequal between processed and unprocessed tracks.
I don't recognize this issue. Is it a ProTools thing? At least the DAW I'm using (Reaper) automatically delays all non-muted, monitored tracks based on the most delayed track. There's no need to waste CPU cycles on extra instances of the plugin on non-processed tracks. Additionally, they suggest bypassing the plugins to make them inaudible, but then you just remove the introduced latency altogether. As they say in the video, the problem is removed if the processing is done with outboard gear prior to hitting the converters.
Reaper has a reputation for making plugin delay compensation (PDC) stuff dead simple to handle, I'm not sure if the issue they're talking about is limited to protools but as you say reaper takes care of it automatically. I know Ableton's PDC also has a few quirks and glitches to it
LOVE the Sound,, I have The Snare Mic and Its Incredible ,, Have used it almost in all the songs I produce ,,,, LOVE IT GUYS😂😂
We are so glad you love it!
I really like that wide open snare sound, great tuning. How tight is the snare bottom head? I normally like to have mine much tighter than the batter.
time to clean those pots, boys! sounds great.
That console is constantly serviced. Vintage gear, am I right?! 😂
@@LautenAudio if my console would act like this I'd have a serious talk with my maintenance engineer - just saying
@@johanneseberhard9726 Clearly, you’ve never owned a 60-year-old Neve! 😄 No amount of servicing-though it gets plenty-lasts long unless you replace vintage parts with modern ones, which don’t sound the same. Only original vintage parts give it that magic. That’s part of why this Sound City Neve is so iconic-nothing else sounds like it.
@@LautenAudio well my Harrison doesn't show that behavior but there are a million reasons why that is. I still wouldn't want to record any serious stuff through that console in that state BUT I'm not Dave Grohl ;)
@@LautenAudio just being a ding-dong. I'd give a kidney to work on that board. incredible video with great minds.
I liked "Outside kIck" at the first stage of processing, before the 160 was inserted. The compression brings up room, which to my ears makes blurry the snare sound @ 1:20:47 after the cool gain staging of "Snr Side" ch. My 2 cents.
21:30 Who are those other companies? Please do tell.
Most likely talking about sabian b8 lol! Ive never heard suck bullshit in my life. A bunch of snobs sucking each other off in a studio.
Thanks for a great video. Wondering which bx console plugin are you using on your tracks. Thank you.
Anybody know the maker of the modular gobos mentioned about a half hour in?
Custom built and easy to make yourself - you just need nails or screws, a fabric stapler, cabinet grade wood (if you want it to look nice), rock wool layers inside, fabric stapled outside, and casters on the bottom😀
I'm so glad I play Guitar 🎸..
Unless it has a floating tremolo and you break a string 🤣
What brand is that snare ?
The way they explain things one knows they know their audience in and out. This one is a treat. Very very valuable info.
❤️✖️
Do u ever link the tracks and clip gain instead of automating small sections of drums that are quieter? I been doing it on my new song and liking it so far
of course it is
AMAZING VIDEO. This is crazy, so much to learn. And you guys are funny af. I have a question for anybody who might know: What's the difference between the faders on the console and the faders in pro tools?
the faders on the console are the last step in front of the converter (level to digital) - the Pro Tools fader is just the playback or monitor level/balance
of course you can arrange this stuff differently but to me it looks like it's set up like this in this video
@@johanneseberhard9726 so faders change input gain? seems a bit dangerous lol
@@pablogonnet11 not input Gain - output gain or trim to the converter
Incredibly valuable content for us struggling home drum recordists and players. Loved every minute. The discussion of level overheads vs. the measure -to-snare-center approaches was really interesting. Funnily enough been agonizing about that lately. Perhaps for no reason!
great watch.... do one brutal deathmetal
Hey gre video. Thank you so much.
I got question about system with connection with equipment
I service with church audio.
my question is analog and digital connection.
I got question about system with connection with equipment
I service with church audio engineer.
For equipment I use digico s21 and cubase pro 13 for computer, I use drum,eb,eg,ag,2keybord,apf, 4ch choir(soprano,alto,tener,bass) on stage, podium 1 wired mic and 1pair pin and handheld mic for paster, 8 wireless handheld mic( leader, chorus), 1st violin 2nd violin, viola, cello, etc....
my question is analog and digital console with computer connection.
1. How can I do a live worship service and record to my computer at the same time, and what equipment do I need between the mixer and computer to do so?
2. How can I play each instrument in my cubase program on each channel in the mixer, and how can I punch in and out when I want to modify the instruments?
3. How to listen and punch in and out during the dubbing?
4. I want to know connect equipment.
Thanks.
TAYLOR DRUM KIT ♥
It is. Most of his kits are still there ❤🩹
Hey y’all, serious question here what was he talking about for the HDX user, if you had a 30 sample delay on a mono room mic, why would you feel the need to put that SSL channel on all of the drums? Isn’t that what the delay compensation is for… you put a plugin on one channel, and every other track automatically adds that delay… am I missing something about the conversation?… as a drummer and engineer, I’ve never heard any problem with putting plug-ins on specific channels, but at the same time I want to know if I’m missing something for any clients on playback. Never had any complaints or anyone notice any latency issues with HDX as far as I know
@dustinleespencer - I'm only talking about plugin latency while tracking. Delay compensation is not enabled for tracks in "Input". If you have a 30 sample delay on one of your tracks while recording, it will knock that mic 30 samples out of phase. Yes, once you stop recording and switch to playback everything will be properly delay compensated, but I'm talking about mixing while tracking.
if you track with HDX your AAX (non native) plug ins shouldn't give you any latency - that's the beauty of a DSP system. Just don't fiddle around with native plug ins.
@@johanneseberhard9726 An AAX DSP channel strip still introduces 34 samples of latency.
@@PascoTheFiasco this is news to me but I never really use channel strips while tracking. is this channel strip related or does every AAX plug in introduce those 34 samples?
@@PascoTheFiasco I did Know this, but I had just assumed that the DSP chips did their own Delay compensation even in input monitoring. Good to know though. Great stuff here!
Use the P4’s. by Remo
Hey guys
Thank you for sharing this session. Very valuable. Lot of Information to proceed!
What is a Pokémon mic? I dont get it. maybe a language issue :)
@@hilberian it’s the crotch mic 😆
@@LautenAudiohahaa just read that autocorrect changed poke mic to pokémon mic😂😂
@@hilberian 🤣
I like seeing these vids about tuning a REAL snare drum to get a different sound. It would be so much better if in modern recording, we preserved the infinite uniqueness of every recorded real snare drum. Think about it, if you record 100 of them, you actually do get 100 different sounds (even if just subtly different). Sadly, everyone today is just using samples to sound like everyone else. While its become the norm, its killing metal and rock.
Correct! You never asked a question
Is 606 Dave Grohls place?
Yes with the Neve board from Sound City studio
Zildjen are great cymbals but the zbts 😂
Would be nice to clean the board before the tracking.......😏
Если у вас скрипит параметрик на консоли ее надо отвезти в сервис. Так невозможно работать
Tuning the snare to the pitch of the song, is something I wouldn't get too bogged down with. It's a snare, not a timpani. Just get a good snare sound. When has anyone ever complained that the snare doesn't match the key of the song? Nobody cares. It's a waste of time.
silly question, i'm sure, but why can't they just sound like drums instead of loud boxes?
"ThE DrUmZz dOnT SoUNd LiKe NaTUrAL"
Probably to do with fitting the muisc. Not every song needs to sound like John Bonhams kit.
"too much ring".. no such thing in my world. I prefer the sound up to the 6:00 mark. Not a fan after that.
Jeff Ocheltree, drum tech for John Bonham, said you don’t “tune” a drumhead, you tighten it.
Mick Hinton was Bonham’s drum tech, Jeff’s exact role and the duration of it is up for debate
@@theethanatorem well, it has been 20 years since I watched the Jeff Ocheltree DVD, “Trust Your Ears: The Drum Tech Explorations of Jeff Ocheltree”, so I may have misstated it. I’d better re-watch it!
You tighten a guitar string to tune it up lmao. Pretty pointless semantics debate.
Though the result is effective, I would not tune drums this way. You'll get weird overtones and warp the head over time. Matched even is the best policy. But hey, when you're recording sometimes what works is what works. Great player btw the guy can play.
I've been watching every video youv'e made with Darrell and this is definitely not his fault. I love everything he does but the drums sounds i'm hearing on your videos are trash. I can get a better bass drum sound with a D112 no processing. I don't know why do you think anyone will buy your microphones if this is how you showcase them...
😂Is ‘Stable Volume’ turned on in TH-cam?
I feel like these guys don't know anything about Polarity and how it works. The whole "fix it later in the mix" is a terrible way to go. I guess when you have the best studio money can buy, it makes it easier.
With nearly 20 Grammys between them, I’d say they’re aware of how polarity works. Spending $199 on efficiency with tools like Auto-Align lets them focus on creating rather than troubleshooting 30-degree phase misalignments. Basic polarity and audible issues? Sure. But beyond that, having the budget for a great studio doesn’t mean you have time to waste.
Sorry, didn’t mean to offend you. Wasn’t questioning their abilities. It’s just the way they came across. it literally takes a couple of minutes to check phase alignment. Sometimes even faster than loading a plug-in that will do it for you. That being said, I did enjoy the video and I appreciate the hard work.
@@BobK115 None taken. The goal for them is to put the microphones where they sound the best. If something is egregious phase-wise, then a movement or polarity change may occur, but ultimately, Auto Align works so well that it makes what could take hours take seconds, which is critical in many sessions. Hope this makes sense, and we are so glad you enjoyed it.
@@LautenAudio yeah sure plenty of time to create. They took a pretty decent sounding drum set made it sound like shit at the end.
Ahhhh … those confounded Neve EQ bypass switches…
😅