Recording A Full Rock Band with Warren Huart & Mike Arango at Cellar Door Studios
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- เผยแพร่เมื่อ 9 เม.ย. 2023
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➡️➡️ The API 2500 Bus Compressor: sweetwater.sjv.io/WqqYgA
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❤️My Favorite Plugins:
➡️Waves MV2: waves.7eer.net/c/1205870/2868...
➡️Waves RBass: waves.7eer.net/c/1205870/2868...
➡️ MCDSP ANALOG CHANNEL: imp.i114863.net/15AdvD
➡️ OEKSOUND SOOTHE 2: imp.i114863.net/JrPdM2
➡️ IZOTOPE RX: imp.i114863.net/oed6ko
➡️ SOUNDTOYS ECHOBOY: imp.i114863.net/BXLdvB
➡️ ANTARES AUTOTUNE: imp.i114863.net/x9Zj45
➡️ CELEMONY MELODYNE: imp.i114863.net/vnd6J3
➡️ EVENTIDE SPLIT EQ: imp.i114863.net/P0RKDj
➡️ Renaissance Vox: waves.7eer.net/c/1205870/2868...
➡️ Renaissance Compressor: waves.7eer.net/c/1205870/2868...
➡️ Warren Huart IR Pack lancasteraudio.com/shop/ir-pa...
➡️ Warren Huart Kemper Pack lancasteraudio.com/shop/kempe...
❤️GEAR:
➡️Stealth Sonics: stealthsonics.com/?aff=3
➡️UK Sound 1173: vintageking.com/uk-sound-1173...
➡️Apollo x16: u.audio/apollox16-plap
➡️Apollo Twin: u.audio/apollotwin-plap
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What is some of your favourite gear for recording artists and bands?
For the singer, a roof mounted mic stand and a high stool tall enough that the singer can stand or sit and the mic doesn't need re-positioning. I also have a large music stand for notes and stuff and a hanger for headphones that is with-in reach of the singers station.
@@toddgreenwood9631 Hello, stupid question… How do you manage to set the height so it works for short and tall people either standing or sitting?
@@Xxlm96xX Hi Lowe! Ya know ... it's close. Right now I have a stool that is at 34" high and the mic is set at 61" high (from the floor) and it just seems to work. My wife is 5,5 and my drummer is 6ft and they both use it without me changing anything. So far so good. I suppose if one wanted to really get clinical then changing stool height would be something one could do and I do adjust the mic height sometimes but most times I don't feel the need to bother. Once they get their level set in their cans then they both seem to know how close they should be to the mic (6 to 12 inches away). And, I find that it helps if the mic is a little to the high side of where they would like it so they have to use real straight posture to maintain proper positioning.
Shit! I'm going on at length here ... the high stool and the high mic is nice is all.
(shussssh ... also ... having them sit real high in the room helps them feel real important but that's psychological shit, don't tell them about it. It's a secret just between you and me)
I don't have it yet, but a decent monitoring system for musicians so they can each have, and adjust their own mix.
In the past I like my A&H GD mix console, but I had it to sell, because here isn't enough room, and a great part of my analog racks are sold too, they had 4 dbx 160XL a few BSS compressors, and a rack with Klark Teknik DN EQs, pretty much what you can find in older PA racks, which were great in the day. Now I have to mix, what is thrown to me :)
I really like tracking videos like this, that’s the fun part for me. There is enough detail here and a good pace to keep it entertaining to watch.
Thanks ever so much Chuck! I really appreciate it
Great stuff. Mike it was great watching you work. Thanks as ever to the PLAP crew. Great video
Thanks Joey! You Rock!
This studio has all the right pieces to make a great rock record. Love API pres on rock guitar. Great job everyone !
Agreed 100%! Thanks ever so much!
Really amazing sounds, love those room mics on the drums, great engineering.
Thanks ever so much
Great stuff man -- that API board is straight-up pron to me. Awesome choice of song -- thanks Warren.
Thanks Billy! Mike Rules!
Great video! I love this kind of real world content.
Thanks! Glad you enjoyed it!
So much insight to always gain. Seeing the inside scenes and philosophy of how work gets done is always fascinating. Cheers to you all.
Thanks ever so much! Many thanks!
@@Producelikeapro Oh it's always a pleasure to tune in!
@@RC32Smiths01 I really appreciate the support!
@@Producelikeapro I am happy to show support
@@RC32Smiths01 thanks! It means a lot
And there’s the magic of the API pre’s, transformers and 2520’s. Sounds great.
It makes everything easier! Such a great board!
Thanks ever so much Scott
@@CellarDoorRecording yes, it certainly does
There is a lot of credit that is due to more than just the api pres
@@VelocityRecordingStudio of course! The song, the song and the song, and of course the performance all come first!
Very cool video!!! I love watching the tracking process from a different perspectives and different engineers. I'll have to watch the mixing of this song when it comes out. Being a drummer, I have to say that a the kick and snare were sounding pretty good. I had to go listen to the original version though because there weren't any toms on your video - no toms on the Tom Petty version either. Oh well, lol... Everything sounded good through the API console. Nice job!!! Thanks for sharing your process. 😎
Thanks ever so much Tom! I really appreciate your great comment!
Love the length he got on that snare it sounds great
Marvellous! Thanks!
So easy to get lost on the cables! Great video!
Haha indeed
Great sounding API console
Agreed 100% Jess!
a really well equipped recording studio
Yes! It certainly is!
Awesome video
Thanks ever so much
Great video!!! I love API eq…i use them on most all of my tracks🤘🔥
Thanks ever so much for sharing
I have the Waves API bundle, but the EQ is hit or miss for me. It seems like I always need a frequency or level between the detents. +2 is not enough and +4 is too much… that sort of thing. I have a lot more luck with the VEQ4 (a Neve clone, IIRC) or SSL EQ. I’ll give them a shot while mixing this track, though.
Now the 2500 plugin, on the other hand … I love that thing. One of my favorites on the mix bus.
@@nickwallette6201 yes, I’ve often said that the 2500 plug in is more useable than the hardware! Shhhh….haha
@@nickwallette6201 I like to put a Ren4 first then the API.. if I need specific frequency I’ll do them first then the API has the color I like and fundamental frequencies. That’s my go to chain. I love the neve 1073 and 1081 as well and always use them on certain tracks. But the API is always somewhere on most tracks for the sound🤘thx for the reply
@@Spider._.dust_music I've been thinking about this a little since I posted that reply. Warren said something in one of the videos... that the sound of all those 70s/80s classic records was based on the fact that an engineer would have their board with their EQs, of which they could select one of a handful of frequencies, and with API, one of a handful of gain settings. And that was that. Make it work.
Given how much I use Q3/Q4/Q6 (etc) to notch out resonances and things like that, it astonished me how those records ever sounded as clear and smooth as they did.
But, it then occurred to me that there was a feedback loop during the recording of those sessions. An engineer would mic up the band, and then an engineer would sit at the desk and bring up a rough mix. If there was a resonance, they may not fix it with EQ, they might just nudge the mic off-axis, or get a different mic altogether. Or different guitar amp. Etc...
It's a different process than now. Or at least, than the process I'm using with tracks that are already recorded. And that requires different tools.
At least that's how it makes sense to me. Curious what you (or anyone else) think(s).
Young Padawn of Warren Huart-Now he is the master! 🙂
Haha indeed!
very cool looking intro!!!
Thanks ever so much!
Very interesting, but I'll never come into the situation to record a drum set in my home studio, as there is not room even 3 people at all. Nevertheless one can learn a lot though. Looking forward to your reports from the Namm Show. Will be cool. Can't answer the question about one of my favourite gear for recording artist and bands. For a singer it'll be my Antelope ZenQ and my microphones (Sennheiser MK 4, Rhode NT 1, Antelope Solo Edge modeling mic). I've got more mics, but never used them for recording, only for live performance (Rhode Stereo pair, 2 AKG C 535 EB, Sure SM 58, TC-Helicon MP-75)
Marvellous! Recording drums on stage is also an amazing experience of course!
Thanks! I think I will try the 96 kHz version of the multitracks.
Marvellous! Go for it!
Usually i hate that API's bright and clear midrange (i'm more of a muddy-Neve-guy), but on this song it works great. Can we see you mixing this? :)
I’m a huge API fan! Particularly on Drums! Andy Johns used them on so many Zeppelin albums! Great drums! Nothing better
Did you guys record the audio on that lav mic during the vocals? That could be interesting...
Maybe? I'd have to check!
Hi Warren. I would love to see you record an entire band(if possible at the same time) using the new Neumann MT 48. Thanks
Marvellous! I don't know that mic...yet!
i want that console lol API 1608. ill have one one day.
They are so good! I used one on the second Fray album and it was amazing
Nice vid! The song sounds a lot like "you wreck me" - Tom Petty! : )
Of course! Ha
That's because it's a cover of 'You Wreck Me' by Tom Petty! Ha
@@Producelikeapro Brilliant! Sorry if my guess was weird, as I didn't get to the vocal segment (yet) haha Cheers!
Is there a mixing of this track coming up?
Yes! Stay tuned!
Warren: I have a question similar to Yours and also associated with API:
Why in most great studios the lunchbox is always from API? Rupert has a great one but all, or mostly that You've visited it's API to be filled with 500 stuff?
API invented the 500 series format
Those MA-1000' sound amazing they could almost do the full kit maybe with a kick mic and that's all you really need.
Such great mics. I love the Mojave mics in general and the 1000s are top of their line. Check out their MA50s for an amazing transformerless LDC option
Check out that Esquire prototype. Nice
Very!
Gotta get me some API emulations!
Marvellous! Stay tuned for Monday’s video!
Is that the normal amount of time to set up levels and tones? I don't feel so bad now, but I'm not explaining or filming at the same time either. I always feel bad having someone kick away at a bass drum for 5 minutes.
The only thing I would have changed was to have Mike sing "Hon-naay" instead of "Hon-neee"
I generally allow for 2-3 hours to mic drums and get tones, but that also often includes moving mics to improve positioning and phase relationships. Whenever possible we'll do setup the night before the session, or at least plan to break for lunch before starting to track so that the drummer can have a rest.
@@CellarDoorRecording thanks ever so much Mike for sharing your process with us!
haha Hun-nee vs Hun-nay!
I have gotten lost in EQs and compressors and totally forgotten that there is a human being working hard behind the kit. Haha Luckily I’m usually friends with them, and they know how I am, and for some reason signed up for the gig anyway. 😄
If you have automation on your api ,why the avid controller?
To control tracks in PT while the board automation is in use. While the API does offer DAW control, as it plays back automation the faders move and control the level of the analog faders at the same time. I use the API automation to control the 24 channels of returns that are feeding the board, but the S1 is controlling, for example, guitar levels within the group of tracks feeding the 2-4 channels on the board that are dedicated to guitars.
I have a api 2448,i will use the small faders for my returns from pt ,and the large for automations figured you would be using it for plug in contol and panning in pt@@CellarDoorRecording
Hey. What is the BPM for this song?
164 BPM
😇
Thanks ever so much Audrey!
OMG
Haha I hope that's a good OMG! Hahaha
@@Producelikeapro Definitely a premium OMG!!
@@Bill2226 haha ok! Thanks ever so much
cool video!
Glad you enjoyed it! Thanks!
Great example to show the noobies that 3/4 of studio time is setup, and 1/4 is recording - assuming you have ANY talent….
Thanks McMillan!
this is sh'abelter
As usual always doing what ALL best Abbey Road Engineers and Bob Clearmountain said not to do: to Eq and compress drums and other other main instruments in solo. They always Eq and compress while hearing allthe instruments playing the exact song they are going to record.Most producers (like Warren) advised us to do so but in most of their videos, THEY DON T DO IT!
Why?
Bob is the ONLY Mixer I've known to NOT much EQ in solo. As for the Abbey Road guys I was there a couple of weeks ago and I didn't hear anyone say that. I've been blessed to talk hundreds of world famous Engineers and Bob is the only one who 100% subscribes to that.
I think that's generally advice given for the mix stage when trying to get instruments to coexist and "speak" together and around one another. I can't imagine opening up 12 drum mics from the get-go and trying to get my close kick sound, for example 😆
@@CellarDoorRecording indeed! Very well said
@@CellarDoorRecording and, again, Bob Clearmountain is the ONLY guy who I've seen mix who doesn't solo, only one.
Also, when teaching soloing allows you illustrate what you are listening for!
Dear Cellar Studios, you should avoid adjusting knobs while you’re torturing musicians at all time.
You’re not doing this the first time so you should know your levels and adjustments way ahead before any musicians enters the studio.
Wasting musicians time is the absolute No Go, especially for pleasing your ego to adjust tiny tiny bits of unnecessary stuff. You can do this later any time but your basic Setup should be ready with everything. Levels, EQ headphones everything. It’s a very bad example for entry level engineers how not to do it. When the band shows up, everything should be set up perfectly, and all there‘a left is making music and playing and not pleasing in engineers efforts to please his ego. Music is first, always !!!! so next time be aware that musicians time in the studio is like being in church !
Godspeed !