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Surgis live on Creative Live now

Discussion in 'Bar' started by LeSedna, Feb 4, 2015.

  1. LeSedna

    LeSedna Mat or Mateo

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    Not sure I should post this here or in FOH ?

    https://www.creativelive.com/live2

    As usual with Creative Live, it will be free right now if you watch it live, and then pay to view.

    Not personally fan of his work, but if it goes deeper than using his plugins or pod farm, it could be interesting !
     
  2. Clockwork

    Clockwork Bass playing guy.

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    Haha, funny to hear the demo version of that Down and Dirty song, guess they really needed a producer.
     
  3. LeSedna

    LeSedna Mat or Mateo

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    I saw a few minutes here and there while eating with family, from a distance; it didn't seem that deep. A few good points here and there but not groundbreaking so far. I would say it is an interesting video for someone starting though, it gives a bigger perspective than having a collective of plugins.
     
  4. Clockwork

    Clockwork Bass playing guy.

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    Yeah I've just been letting it play in the background while I do other stuff, some interesting points about arrangements/writing. I think a lot of what he is saying probably seems like common sense to more experienced engineers/producers but is good info for bands themselves.
     
  5. indecizo

    indecizo Member

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    I fell asleep watching that dead srs. I only caught the the editing part and it's stuff everybody knows about.
     
  6. He's Dead, Jim

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    The price point for these things is nuts given how uneven the quality seems to be. I heard great stuff about the Kurt Ballou one, but some others, from what I watched, were not very good at all.
     
  7. Habsburgs

    Habsburgs Member

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    Hahaa! He will never ever share anything worthwhile. The whole thing is bullshit to promote his plugins.
     
  8. brianhood

    brianhood No Care Ever

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    Creative Live is really fucking awesome....in theory. Unfortunately I can never make myself watch something like this for hours and hours.
     
  9. DavePiatek

    DavePiatek Member

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    For most experienced dudes, probably nothing earth-shattering, but if I had heard some of this stuff when I started out, it probably would have been mind-blowing. He probably didn't get super in depth because it would have gone over the heads of almost everybody that wasn't an experienced engineer. Think about it. In the time/value equation, having a good arrangement and proper takes is going to have a much bigger effect on the final quality than some preset in POD farm or something. I give it an "A-" so far, with the only ding being given for the shameless promo for his new amp sim plug in.

    That said, it seems like his drum editing workflow is waaaay inefficient. Maybe he was just dumbing it down for the CL session, but when he said about a song taking 3-4 hours to drum edit, my head exploded.
     
  10. ronnan

    ronnan Tactical Header

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    That mutt lange thing is pretty intense!
     
  11. rapucore

    rapucore i really hate spiders

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    And I hazily remember him saying that he's using a lot Cubase's editing functions (group editing and all that) to their maximum potential, so that the drum editing is more or less a superfast few button thing. :guh:

    EDIT: Not watching the CL session so don't know what he does there.
     
  12. anotherpaul

    anotherpaul Member

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    I got to watch about 15 minutes of drum sample replacement part before the break. The workflow seemed really weird and backwards to me. He justified it saying that he "doesn't like to let the computer decide too much".

    So for direct snare:
    1. Use cubase's "detect silence" to split the snare track to a bunch of clips.
    2. Normalize all clips so the trigger instances could have the same threshold settings.
    3. Create several tracks with drumagog instances for velocity layers. Each drumagog instance had the same "snare" but only samples of certain velocity selected from the pool. He used four tracks: crack, hard, medium, soft.
    4. Manually put clips on different drumagog tracks.
    So basically, it's programming velocities. Why not use midi-trigger plugin to record a convert snare track to midi and program midi note velocities?

    Now for the bottom snare or room samples what he did completely blew my mind:
    1. Copy the four tracks of direct snare with all drumagog instances and manually put clips.
    2. Select different room samples of according velocity for the same snare in drumagog instances.
    3. ?????
    4. PROFIT!

    What? Now there are independent drumagogs playing independent round-robin samples for direct and room snare.

    I asked about that in the chatroom, but they went for a break and I cried myself to sleep.
     
  13. crillemannen

    crillemannen Member

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    It's about control, i get it. I usually split tracks and have 2 snare trigger tracks. One for normal hits and one for faster aka not as hard hits. I spend allot of time triggering, automate drums. I spoke to Andy about this and he tab to transient every hit to make sure it triggers correctly. That what it takes to get stellar results!
     
  14. greyskull

    greyskull Member

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    Fuck that!
    That nonsense is the reason I use Massey dtm, and trigger with midi. Control of velocities.
     
  15. The-Zeronaut

    The-Zeronaut Mixing..Y U SO DIFFICULT?

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    Using drumagog 4 in 2015....i lol´d
     
  16. ~BURNY~

    ~BURNY~ Member

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    Whatever works for him. Just goes to show he is indeed more of a producer than an audio engineer which is what he always claimed.
     
  17. brianhood

    brianhood No Care Ever

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    amen to that
     
  18. bryan_kilco

    bryan_kilco Member

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    Watched a little bit last night. Not bad. But the part I caught was nothing crazy. Yeah the Mutt Lange thing was cool, but I've basically heard of the procedure before.
     
  19. Studdy

    Studdy Member

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    Mind you i use Drumagog 5 , but i love drumagog. I dont know what it is about it but it just works the best for me. Probably because i know it though. I also really like to cut each hit because in protools i can simply use clip gain to get my hits more control if needed before hitting the sample replacement plugin.
     
  20. Trevoire520

    Trevoire520 Member

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    Watched some bit of this over the last couple of days. Almost tempted to pick it up for the vocal editing/mixing stuff as that's something I actually think Joey's really good at. Still don't like those podfarm guitars though.

    Am I the only one who noticed that Joey seems to have absolutely zero regard for gain structure? Everything seems to be "compress it and leave the ceiling at zero, then 2 plugins down the chain add a limiter and leave the ceiling at zero again. Surely his master fader must be sitting at like -30 if all his tracks are hammering 0dB all the time?
    Even at the end when someone was asking about his clipping plugin his answer was basically "I use it to make my snare loud as fuck without clipping the channel"
     

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