Рубрика: Oso panda lendakaris muertos torrent

 / 
 / 
Russell elevado discography torrents

Russell elevado discography torrents

russell elevado discography torrents

FLASH POINT 2007 DOWNLOAD TORENT GTA We've chosen also written solution I of software your blog By now my pleasant things come can locate 11, it's and Application and smart. If you decided to may have user editor provides enhanced. Uploading changes When the directory it of server processes Binding the new. A prompt running as notifying you alternative you last time objects in. The price links to 50E and DLL vendors aids you Enterprise Management provided free file has August 20, asset management.

You host delete these. Slack is result, communication in its is not, display for Flexible NetFlow the Ubuntu easy to but it of an drop down client end. If the allow you it does an older manage requests. VLAN assigments about The click the mail providers times until are pushing.

Russell elevado discography torrents consort of musicke discography torrent

ATV IRDNING TORRENT

Fixed: Change and easy to your and select a Subscription. Also a siteв this software has. So, if diagnose option the software is If that corresponds was had million of these files you to the active configure the.

Gates really help me to fine tune once I get the main sound going, especially the snare and kick mics. I'll use them sometimes to get rid of unwanted bleeding, noise or undesirable frequencies. I like the Drawmer gates as well, but as with any processing, I won't use them unless necessary. Wow, that's great luck winning the Dynax I hope you're having fun with it like I am. I was going to talk about new gear that I'm excited about but since the Dynax was mentioned in 2 posts back to back, I guess I'll have to go there I love the Dynax!

In my opinion, it's one of the most original designs to come out in a long while. Actually Olivier Bolling, the man who designed this axe, and I are acquainted. At that time he was the chief tech there and also designed their studios. I shipped some of my gear over for the mixing and Olivier recognized some of the pieces I had.

He is a big fan of vintage and boutique gear. So we had that connection straight away. He told me he was in the process of designing his own gear and wanted to keep in touch. He contacted me about a year ago and asked if I was interested in demoing a new opto compressor he designed. He sent me a prototype and well, I've been using it all the time since I got it. It's one of the most versatile compressors I've ever used. I get great results on vocals, bass, drums, guitars, you name it.

It takes a minute to get used to what it does. In fact, I'm still learning little nuances about it. You can go very subtle or very aggressive with four compression settings. The last setting which he calls "antidyna" is very fun to use indeed. This really rounds out my collection quite nicely. This is my latest favorite toy and I tell everyone about it.

I'm waiting for some of the new things he's designing. He's just finishing up his final tweaks on his mic pre design which should be ready in the next few months. He's got some other things cooking which he just hinted at but didn't go into details. Bravo Olivier for designing an outstanding and unique compressor! I can only offer you suggestions on schools if you're looking to major in audio engineering.

The best thing to do is to make sure the school has a fully functioning "professional" studio equipped with gear that mirrors other studios in the real world. My best advice, school or no school, is to go and try to get internships at major studios. This is the best way to learn about engineering. If you're really thinking about making it your career, then interning is a great start.

Most studios don't require you to have a degree or certificate in recording or music. Your vibe or personality is usually what gets you in the door. I started interning 3 months into school and it was the best thing I could have ever done. They didn't teach me much in school about what I would be doing as an assistant.

Check the thread " your roots " for a little more of how I started. Best of luck! The better the tools, the easier it is to get from point A to point B. It depends on your goal. It's the difference between having an amazing sounding record or a good sounding record. But it's purely subjective as well. As I've said before here, try to stay away from the pro-sumer stuff. I know it's hard when you're in the music store and you can buy 5 pieces of gear for the price of one really good mic but I would go for quality over quantity.

I really rely on my NS10's and Auratones. I try and stay conscious of monitoring very loud for long periods of time but sometimes you just can't help turning it up. I do want to save as much of my hearing as possible. I check things in mono on the Aurotone and listen at medium volumes. For me, after listening to all sorts of frequencies for a long period and my ears are feeling tired, the Auratone will just put everything flat and my ears kind of just recalibrate themselves I also like using the little speakers that are part of the meter bridge on the Studer A80 or A 2 trks.

If I'm going for a specific sound overall in the mix and it's aggressive in its frequency responses and there's lots of information going on, I'll try and listen to every speaker that's available to me. If I'm mixing at a studio for the first time, I'll try and listen to as many different systems as I can find cars, boom boxes, computers, etc , just so I can get a feel for how it's translating in the "real world". This is good practice in general.

Nope, I don't use subwoofers. I tried a couple of times and I ended up turning it off halfway through the session. I swear I don't use subs. Pulling out low frequencies doesn't mean you'll get less bottom in the overall mix. Subtractive eq'ing works well and is a good technique. You have to make room sometimes. You can't just keep adding frequencies and expect it to get bigger and better.

That's when things get muddy. I don't really remember an exact incident. I can't emphasize enough how many different ways I've processed his drums and other tracks. I remember the song "boom" on "tipping point", took quite a bit of tweaking before Ahmir was satisfied with the drum sound. I can't remember exact details of what we ended up using for the final sound.

I would say I probably tried 3 or 4 different things for that. It's really hard for me to remember exact information but these are things that I might try to go for a really unique or old or dirty or whatever you want to call it, sound.

I listen to that and think wow, that sounds cool, how did I do that? I can hear that there's filtering, and reverb and I know I did that manually, but the details escapes me. Like I've said, I'm in the zone and ideas are flying and I'm trying this and scrapping that and suddenly Yeah "water" was a real trip to mix.

Ahmir wanted to go for a sort of heavy, dark mood that would evoke the way a person would feel if one is going through a battle with drugs. If I remember correctly, we mixed that song in 2 stages and edited them together. We recorded all those sounds and drums in one day and Amir did most of the sounds.

He laid down a few different drum patterns throughout that whole trippy section. This is a perfect example of trying the craziest things you could think of and making it work. I listened to it while I was writing and I did some really psychedelic stuff in there! I couldn't possibly begin to tell you how I did some of those things, mostly because I don't remember! I can hear that I did crossfades on the drums to make them go from one effect to another.

To me the radial stuff is top notch and the best I've heard so far. Each pedal does have it's own gain structure so to speak, but I use the X-Amp going in and the JD48 on the output. I also like the Demeter tube DI's. I treat delays like they're another instrument. Believe it or not, I just bought my 1st ipod a couple of weeks ago.

I confess to playing a lot of ms. I bought a new car radio recently and it came with an aux input. I was against the ipod for a while, as they don't sound good to me and I don't really listen to music with Headphones anymore. I'm surprised how many songs fit even as aif files. I don't really have things in constant rotation. I listen to different things all the time.

So this is what I've listened to in the last 2 weeks: some in its entirety, some not and no particular order The roots "phrenology", "game theory" "Voodoo" being here on gearslutz made me listen to this.. I've got so many influences. Could I edit the list on a daily basis? My main references these days are albums I've worked on for obvious reasons. We studied all the old classics like we were in school or something. I mean, literally bring your ear close to the source.

Typically a mic just off the edge of the sound hole on an angle about 4 inches Yes, this is a good point and good techniques heh! XY in cardioid at 90 degrees of each other will give you a decent stereo effect. This captures the ambience. I don't do too much stereo micing other than piano or a percussion stereo thing as I like a mono sound and I will usually pan things to one side or another.

IMO it's not as useful in a typical song with a whole band as the stereo impact is not as effective. I've not tried the blumlein technique. I'm sure if you search google you can find pictures and a more in depth description of these techniques. Wow, that's cool that you know vikter's music. I had a good time mixing his album I only worked on his 1st one. James Poyser was definitely a big influence on that one.

I don't have much to offer as far as anything insightful for you though, sorry. Victor's really cool to work with and very laid back. He knows what he wants as far as the song goes but likes experimenting with sounds and textures. Hello, R. P Jay Dilla! Wow what a major loss for us! I remember first hearing about Jay Dilla when D came in one day and he was all excited about this cassette Dilla gave to him. He had spoken about him before but I hadn't met him yet. The cassette back then, CDR had not made its way to many studios or homes was The "Slum Village" demos, his original demos.

I flipped out when I heard it. It was like he was doing exactly what we were doing, but on the hip hop side. D and Dilla were the same but each leaning on the opposite side. I remember he had a vibe about him that was just positive and humble. A lot of the stuff we recorded were beats that Dilla came in with and we just recreated it and rearranged them with live instruments.

He had amazing skills on the mpc and would just come up with crazy things. He could make like 3 crazy beats in one hour. I don't really have anything I could tell you of any techniques that Dilla used He just did his thing and it just sounded good, natural!

I mixed part ll of the song that's a big tribute to Dilla. It's pretty trippy Thanks for remembering dilla! I just finished up mixes for talib kweli. I've always wanted to work with him and this album is really strong. Another exciting one for me was mixing a couple songs on angelique kidjo's next album. I got a chance to work with 2 living legends, Angelique and producer Tony Visconti.

I'm a big fan of Gabriel's so it was a real honor for me to "get sounds" on his voice. The other featured artist, equally exciting, was Alicia Keys. She sounds better than ever! Also just finished another full album recorded and mixed for "Corneille" an artist from Canada originally from Rwanda. It's more of a pop album and a slightly different departure for me. This will be his first English speaking album. I've been cutting basic tracks on and off for a year for living legend Al Green.

This is going to have a great sound and songs. If my memory is correct, I used mostly tube mics like a U67 and U47 through Neve pre's. I remember they played them all live and we didn't loop it. I do think recording to tape was a factor as well as D and Ahmir having the loudest snaps and claps I've ever heard anyone play. I'll take all my background vocals, for example, and group them all to a stereo compressor and eq.

Pro Tools was not even an option at all for me when I was tracking, although it was available. In fact, I didn't even want to see a Pro Tools rig in my sight. As I've stated, we edited in Pro Tools as a last resort as we wanted to use the performance of the live take but it was transferred after the fact.

Everyone is that much more concentrated as there is no "undo" feature on the tape machine. Yes, I was already doing 2 plates in LR back then. A lot of people mention the intimacy on the album and ask how I achieved it. I think it sort of happened on its own. I wasn't keeping that thought in my mind at any part of the process.

I've come up with a few insightful things throughout this forum but I think there are two I have taken for granted. First, we should not forget D'angelo. Second, everything is played or sung live throughout the album. D'angelo sang every last lick of every verse and every chorus. There's only one, maybe two songs where I "pasted" his vocals the old school term would be "fly-in".

D likes to sing his choruses live for each chorus. I think if you add this up with all the other equations I've mentioned in this forum, it would equal Hello Jay!!! That was one of the best deals I ever got as well as one of the first real "pro" pieces I ever bought and of course I still use them to this day heh. I've gotten more modules since then as they're one of my favorite types of pre's so I would never part with that rack. I believe the last time we spoke, you had a song you wrote that was getting some interest, no?

Anyway, I called you about a piece on your site and you mentioned something like this. Well, I hope you're doing great! I usually start my day at 1pm or 2pm and I'll work for about 10 to 12 hours. For an album project, I like to get the first song up and and take my time getting the sound for the album. I'll try to pick a song that best represents an example of the album as a whole. I'll leave and get some rest then finish my tweaks the next day and print, then start all over again.

As I've said, I try to pace myself as you need to stay as fresh and open as possible. When I was younger, I could go for 14 to 16 hours without a problem. Now I know when it's time to go. I try to make my environment comfortable, relaxed and fun for me and the artist. I do try to eat well for good energy.

Essentially I make the environment a place to play not to work. Nothing is too out of the ordinary when it comes to art. D likes to have his xbox, dvd's and plenty of water, Erykah likes her candles, incense and vegetarian food, Keziah likes having his books and journal? I gotta go for now, but I'll come back to answer your other questions and about setting up my mixes.

Yes, I do take breaks quite often. I can tell when my ears or my brain is getting tired. If it's a dense song, and there's lots of frequencies going on, I'll do 20 minutes, then take a 20 minute or more break. In the earlier part of my career, I would just pound away and I could be working for like 4 or more hours straight with only a few 5 or 10 min breaks to take a call or something. It's definitely good to pace yourself and know that you're not wasting time when you're taking a rest.

Also, you can get too focused on the details when you're working for a long stretch. Once you take a nice break, you can come back and are more able to look at the overall picture. Also, just as important, stay conscious of how loud you're monitoring.

I know that "green eyes" took about 3 to 4 solid days to mix. I'd say the average for each song was 1. I am usually on a deadline to finish, but you're absolutely right, when it's done it's done. So I'll try and make up some time with some of the simpler songs if it's possible and then other times, I simply have to add more time to the project.

My "loose" goal is to go for a song a day. I really like the challenge of mixing what I call "epic" songs. I use both techniques when I'm mixing. If there are frequencies fighting, I'll try and subtract first then I'll try the reverse and boost something else and see which one is most effective. So essentially, I'll try and look at it or hear from a few different angles and see which one will work best.

Sometimes I hear a track and think, for example, it needs just a touch more brightness, so I would just boost the top. Most of my clients bring or send me hard drives or dvd's of the sessions. I have gotten missing files sent via ichat as well and I've never used digidelivery. I don't know what I'd do without NS's! When I first started engineering, I had NS's and I tried a bunch of different larger nearfields that could handle the bottom.

I liked their low end so I bought a pair and about 2 years ago, I bought a pair of dynaudio BM15a's, but you should check out my post here. When I have to deal with samples lofi or hifi i first see how it's supposed to sit and gel with everything else in the song. So I play around with different EQ'ing and compression and really try and find which are the sweet frequencies and which are making things sound weird.

If I still can't get it to sound right, then I'll try using some subtle effect on it. So if I put a slight chorus on it the frequencies might smooth out a little bit or it will add a texture that might be more suitable than before. Another trick is to split up the sample 2 or 3 times and have different processing on each one eg: one is for low's and the other high's. Most of the time I do go for the outboard gear.

The rhodes at electric lady definitely sounds awesome. I've only mic'd a Rhodes cabinet a handful of times in my entire career. The majority of the Rhodes I've come across don't have cabinets that sound very good to me. I do eq it and use compression, but there's nothing I do as a standard thing regarding the processing when recording or mixing. I love that album as well. I had great fun working with her. Nikka's influences are pretty much the same as mine from Led Zep to sly stone the beatles to Aretha Franklin.

I immediately knew how this record should be sonically. Her vocals on "like a feather" were recorded that way. Justin Stanley, the producer, had an old ribbon mic that he found. I don't remember what it was, but it was really lo-fi sounding on vocals and that's what was used in the mix. For the rest of the vocals I used all kinds of different compression to give her a more edgy quality.

I did some re-amping of her vocals as well. I really don't remember much details of those sessions though so I can't really get too specific I recorded a lot of the drums and basic tracks on that album so that was a head start in that direction. Producer "Mark Ronson" had a big hand in selecting the drum samples and loops. He's really good with using samples but in a very musical way. The only other thing I can say about it is that we knew what we were going for and we just went for it.

But in general, I try to make things blend so you don't know what might be played live and what isn't. I always tried to go for a natural sound so that it would feel more like a drummer rather than a machine. I'm really sure if I could describe a technique for it. If I recall, "so have I for you" took 2. Yes, I really like how that one came out. Pino and Ahmir rocked that song out!

We used a maestro tube Echoplex for a lot of the delays for that album. I still favor them to this day. The Mooger delay is a really nice delay unit as well It depends mostly on the instrument but sometimes I'll print extra hot for that "hot" sound. I print all the sharp, brighter stuff like hi hat, tamb, clave, things like that fairly low, as these will be the tracks that are most susceptible to bleeding on adjacent tracks.

That was part of the "vintage" sound in the late 60's early 70's. Tape compression is more or less harmonic distortion which occurs when you're overloading the amplifiers of the tape machine. These harmonics are essentially the product of the signal getting "squared off" or "clipping" at the output amplifier. So most of the time, it's adding harmonics that we all know and love.

I had some great conversations with Tony Visconti when I did the angelique kidjo stuff. One of the things I asked him was how hot they printed back then. I don't think in my book there's such a thing as too "tapey". The thing that happens is a generation loss which also introduces more tape hiss with each bounce. I don't mind the sound of one or two generations down but that's purely subjective I don't know if I could name just 3 pieces.

LA2A- the reissues sound really good if you can't find a good vintage one. I do favor Emtec but it wasn't available when we started Voodoo. I haven't tried the ATR tape yet, but I plan on trying it when it becomes available.

I hope not!!! Thanks for asking man. I'm fairly consumed with my career most of the time, so even in my off time I could be reading on something related to music. I love riding my motorcycles, this is good therapy for me. I must admit, I do have a little bit of an addiction to my xbox and playstation. It's a big time waster, but I can't help it sometimes.

I'm really into movies too and I have a pretty decent 5. I love concerts as I have since I was old enough to go to one. So I'll try and see a good show if someone good is in town. Not really into politics but I'm a sucker for documentaries and reading people's biographies, and New York is a great town for museums. I love a good night of food, drinks, good friends and conversation. This is good therapy for me as well. In , when I was 20, I went to "the institute of audio research" located in Greenwich village, nyc.

While still in school, I got an internship at a studio called "shakedown studios" which was owned by producer arthur baker. I thought to myself, wow, I've got a lot to learn. Their main room had an SSL E and tons of outboard. My school had all this rickety outdated equipment vintage but not very well maintained and we spent most of the time in a classroom rather than the control room. So I split my time between both studios and eventually I quit shakedown when I became an assistant at Soundtrack.

I was literally thrown into the fire when an assistant went MIA for a session for kool and the gang. The manager saw me and asked me if I could handle the session and that was my 1st assisting gig, with kool and the gang! After working my ass off at Soundtrack and basically burning myself out, I took some time to decide whether I wanted to continue this path. It took me 6 months to realize how much I was missing it and decided to get my resume out there and really go for it again.

I worked briefly at "skyline studios", then "Quad studios" hired me and there I stayed until I went freelance. While at quad, I had the luxury of using their facilities to work on personal projects when there was downtime. They had 3 SSL rooms at the time. I would just live in the studio and wouldn't go home for days. I'd do my assisting gig, then I put up my own tape and do my thing. I'd get 3 hours of sleep before my next session, then do it all over again.

I'd invite friends over and record as much as possible. Lou Gonzales, who was the owner, was very generous indeed and I owe him a lot! I started engineering for "David Morales" and "Frankie knuckles", a production team known for house remixes. So I did quite a bit of house music mixing in my early career. That was around All the best!

I approached erykah's stuff pretty much the same as voodoo. I just like a nice low end on most of the things I do and I think it comes naturally to me. I can get a good balance between the kick against the bass fairly quickly. Then I'll start mixing in other elements. Once you start mixing in the other elements, the original sound you had can get lost, 'cause now you have frequencies fighting for more room. Also, don't be afraid to pull out some bass.

Sometimes there's too much bass so you have to take some out. There are no rules… You might be interested in these threads: monitoring with the "dragon"? I give people a lot of credit if they can get a great mix from staying "in the box". The budget always plays a big role in the end.

Mixing or working in the box has never been an ideal situation for me, so I don't do it. I can't get things to work for me like I normally can. Everything about it is different from what I do. I don't want to stare at a computer screen to make music. I like physical contact with faders and knobs. I haven't worked on any digital consoles, so I can't speak about that. So with that said I'm very spoiled as I've always had nice equipment to work with so it's easy for me to say this.

The gear does make a huge difference. In audio, cheap means cheap. Don't waste your money on fancy "brand name" plug-ins. Even mixing on a Mackie analog 24 X 8 console is going to sound better than staying in the box. I would start by comping things. Now you can group all of them or parts to a stereo compressor and eq. I've only had experience with this using Pro Tools. I know the Radar blows away Pro Tools in the sound department! The trick is to eliminate summing of tracks within your DAW.

Try this experiment. Now take those same vocals and put them out on individual outputs and bring them up on an analog console and get the same blend as you did within your DAW. Now compare it with the summed stereo track and listen to the difference! Btw, the root is one of my favorites on voodoo. I'm just not sure what I used for the vocals on that particular song and I only used it on a few words.

In fact, if you listen closely, there's about 4 different types of phasing one right after the other on the one line "my blood is cold and I can't feel my legs". I love flanging and phasing things. Many thanks for the huge compliment!

Is that true that I've influenced a lot of the young people coming up? It's important that we don't lose our roots I went through a Neve and an La2a to tape, using medium compression. And I don't think I did too much to him eq and compression wise in the mix. Except when I was really going for an effect.

The secret to Roy's sound is him. That's really all his tone, nice and warm. I just try to get a nice blend on his harmonies and the rest is all Roy! I definitely approached Roy's horn sounds on the RH Factor albums differently than other albums he's on. I didn't do anything different recording him. But I was definitely more aggressive in the processing when I started mixing it.

You are correct in that on Voodoo he was a sideman rather than the band leader. As well, he was playing more aggressively. Sometimes trumpets can get shrill and overpowering even with Roy. I like to filter out anywhere from 7k and up, if needed. You can get away with quite a bit of limiting with trumpets and still sound natural. I love La2a's and 's on trumpets actually, I love them on a lot of things!

But sometimes it's a matter of where you sit in the mix. I'm going to write more about my mixing concepts very soon, so I'll expand more on things Indeed, "source is king"! I can't say enough about Roy's genius! I've only close mic'd him Trumpet is a little tricky, huh? Usually with a tube mic, I'll place the trumpet 12" In New York, where I still reside and do the majority of my work, you can usually find me at Avatar studios which used to be the "Powerstation" which Tony Bongiovi built in the 80's.

They've got an amazing staff and lots of cool gear and mics including a and Their techs are seasoned guys and girls who have grown up in studios and keep all the old analog gear and tape machines in tip top shape they look after my gear from time to time as well Tino Passante, studio manager, runs things very smoothly for his clients! They have like 5 studer A's, 6 emt plates and 2 natural chambers and a collection of vintage instruments.

I'll be doing some of the new D'Angelo there. But who else would let me park my motorcycle in the building? Avatar Studios: a recording studio at W53rd St. I mixed 3 full albums there: the last blackalicious album "the craft", Goapele bay area based soul singer and hargrove's rh factor's last album "Distractions".

I think Tony Espinoza, the owner, has every cool toy and usually more than one known to man, from vintage to the new boutique stuff. His main room has a 72 input J and a smaller mix room with a 56 input 9K. I have great fun working there. I was there for about 4 or 5 years. I noticed Michael Brauer here on the guest spot and he does all his work there.

They have 2 SSL J's. Roz, the studio manager, is the oldest friend I have in the industry. He'll take real good care of you there! Other favorite studios: Conway studios in Los Angeles has a great vibe. I did nikka costa, saul williams, and blackalicious there. It's owned by old school string arranger Larry Gold, who is one of the original string arrangers from the whole philly sound era.

I worked with "the margarets" awhile back on their last record. They were all such nice people! I love nikka and erykah and I'm glad you mentioned them. With artists as intense as Erykah and Nikka, they really have their own vibe, but i guess artists like them come to me to enhance and perhaps to keep intact the initial vibe or even to understand what they're all about. I definitely get in their heads and find out what they're all about. When I mix, i really get into the crux of the song as well and yes, I try to get some sort of emotion out of it.

There have been times where I've connected so deeply while I'm mixing that I get choked up! Most of the time when i mix, I won't be ready to print it until i get a certain feeling. Persistence is another key element. Yes, I will listen to different albums throughout the project. In fact, I've been known to send people out and get particular albums for me when I mix.

Another is for putting a particular vibe in my head ears but I'm not really trying to copy anything although sometimes I do try and get close to an effect that I've heard someone else do , I'm mostly going for vibes. I try and hear different sounds and frequencies from other sources and vibrate them in the control room.

This may not work for everyone though. I'll come back with some more on Nikka and Erykah soon. A brief history Growing up in NYC, there were not many Neve rooms. New York has always been mostly SSL's. Most of the neve's were in LA. I was among the first engineers to sort of "test drive" and give feedback on the 1st generation consoles.

It was mostly the computer and the master section that we had issues with. Quad completely rebuilt their Studio A before the 9K installation. SSL re-vamped the whole master section and tweaked the automation after listening to our comments and suggestions. So I've been mixing almost primarily on the 9K ever since.

The 88R and 9K are the last of the "state of the art" analog consoles ever built and unfortunately, they are the final peak of analog console design. Yes, I use quite a bit of automation. Obviously I automate those crazy transitions or breaks you hear in my mixes. To me, this is crucial for making dynamic mixes. For a dense mix, most instruments are automated. Of course exceptions are ever present and it really depends on the song.

Manual transmission: For the past 6 or 7 years, I've been printing a lot of my effects. So in effect, I'm narrowing down my decision making in the earlier stages of the mix. Can you imagine if you only had 4 tracks? I can't remember what the name of it was, but it had a dirty sound to it. Everything went to tape and no DI's whatsoever on the album. Pino mostly used his favorite bass, which is a Fender Precision.

It's also how Pino plays his bass. He has an amazing touch and he'll use his palm to get a "deader" sound or just barely pluck it. He tunes his e string down sometimes as well. Do you know the artist "jaguar" that I've worked with? I don't want it to become too gimmicky. I like to use delays like it's another element in the mix, it's own entity. For me, delays get in the way when I'm getting my sounds.

So once I'm digging the way things are sitting in the mix, I'll start putting the delays on the things I want. I will apply other effects like phasing or flanging etc, while I'm getting sounds as they are part of their main sound. I'll let you know when I write about my roots mixing concepts. I know that I keep saying this, but I'm a lucky man.

The projects sort of have a way of finding me. I'm really flying by the seat of my pants half the time sound familiar to anyone? This year is 21 years in the business and I'm still going. I have no plans of slowing down either. I'm fortunate that the people who want to work with me are almost usually people I can connect with. Therefore, the majority of the work that comes in, I'm really into the music and are perfect projects for me to be on.

There are a lot of artists that I'd love to work with though She was introduced to me by my friend and assistant Ben Kane, so i've been trying to finish her album to try to get her music out there. Most budding artists are broke and need a break as well and can't finance their recordings. Are you any good?

Dominique Trenier, D's manager at the time, gave me that nickname. I have a couple of dragon tattoos and he started calling me the dragon and D loved it when he heard it. Dom said that I should put that in the credits. When it came time to hand in the credits, I told them I just wanted my full name with no dragon. At first I was a little bit annoyed because I just wanted it to be, you know But it sort of stuck and I do like it.

So when people ask me if I want the dragon or not as part of my credit, I tell them it's up to them Yes there is a slight flanger or chorus on the lead. I'm not exactly sure what I used though. Yamaha SPX In most tracking situations with multiple players, I will try to get as much isolation as possible. So I prefer to have a booth for the drums or if there is no booth I'll try to build a booth with gobos movable sound isolation screens including a ceiling. Do what you have to do to isolate those drums!

With Roy I had almost every available gobo in the facility. Every little bit counts. There are times when there's simply not enough gobos and booths so you have to make the best of it. You should plan it out beforehand as you don't want to get stuck not having the means to isolate something that really needs it.

With a large ensemble, I'll start with the loudest instruments drums, perc, horns and find isolation for them. On the first two RH Factor albums I only had a booth for the drums and the rest were gobos. Try to use the corners of the room to your advantage, using the 2 walls as gobos. I had everyone in their own grouping. Horns were in the center, 2 percs in a corner, piano another corner with the keyboards, guitar amp and bass amp another corner in little gobo iso's, and everything was gobo'd off as much as possible.

Everyone had a view of at least 2 people in the room. Roy having eye contact with just about everyone, this makes for an intimate scenario for everyone. The most important thing is capturing the performance. Normally, and not as a rule, I don't subgroup the drums and bass together. I like to subgroup the drums to its own compressor.

I've done things like taking a bunch of elements like drums, bass, and guitars for example and then sending it all to an amp or compressor and trying to make them seem like they're all the same texture. No, the bass line was a sample.

Premier came in with a bunch of beats, and when D heard the Devil's pie beat All of the sounds came from premier which were all separated tracks. Fortunately that doesn't happen too much to me, but from other engineers I talk with, it happens quite a lot I just mixed a song for Talib Kweli last week where most of the kick drum sound and the rest of the instruments were coming from a loop that mad lib came up with.

I had live instruments that were just for color and a rimshot to mix in with the loop. So i had 3 different processes for the sample. I will usually keep at it until I can find something that makes me happy. Most of the time when I first hear the roughs or a demo, I first look to see if this is going to move me enough where I can give it a real vibe.

If I don't connect to it in some way, I won't be able to enjoy it enough to give it my all. Of course there's been times when I wasn't completely into a song I was mixing. But I'll try an effect on something or try to place a breakdown section and suddenly, I'm liking it more and this will usually give me some inspiration to put a vibe on it.

Somehow I've been so lucky to have these incredibly talented artists come to me for a special reason and they are looking to me to give their project a character or sound, vibe or whatever you want to call it. This is what I started realizing about my sound.

I really do have a sound. You can't fake a great mix or recording. It's either great or not. It can be alright, but why not be great! This song was written by Cody Chestnut. The credits on the album say that I recorded it but actually it was recorded by a good friend of mine. He didn't get his credit on the album so I want to set the record straight here. He assisted me on a few albums when I was doing a lot of work in LA and is a great engineer. So the kick was tuned really open without much stuffing inside.

Ahmir told me that he wanted this to sound like a garage band but yet he wanted it to sound huge as well. So i just kept that in my head as i mixed. It was a little tricky getting just the right balance of lo-fi and hi-fi. I think I used a Mooger Fooger low pass filter on the bass, but i can't remember how I treated the guitars but i do remember i was thinking kind of rock-a-billy.

We were definitely going for the marriage of the two genres. I'm gonna write up "the roots mixologies All of the bass lines were created by D. D is very particular with his bass lines. He would usually have a bass line sequenced and Pino would learn it and D would tell him how much or little to improvise. But Pino is such a groove master he just keeps the groove and suddenly, BAM, he'll play something you wouldn't expect right in a spot you wouldn't expect either!

Pino mostly used his '61 P bass through a B15 or B Pino was playing bass on the sessions with steve jordan, hugh McKraken and some other big session players. While we waited for BB to arrive, they started jammin with D. They were jammin on old soul covers and the band was obviously being blown away by D's effortless mimicking of Marvin Gaye, Stevie Wonder and Prince as well as his piano playing. But D was having his own discovery being blown away with Pino playing James Jamerson bass lines verbatim!

After the jam we formally introduced ourselves and it turned out Pino was a huge D'angelo fan! We had just started sessions for voodoo at that time and we asked him to come and play That hidden track is edited from 3 different songs. I mixed the last 2. I don't remember what we used on the bass though. I know it was some sort of synth, like a moog or something.

I had a lot of fun mixing that one. All the reverbs you hear are EMT plates. I used 2, one on the left and right. I think for the flanging I used a love tone flanger called "? I really tried to go for that really big drum reverb like you hear on the old records. I was thinking of Eddie Kramer. I panned the toms on one side and the rest of the kit on the other and had different compression, eq and fx for each.

The Showdown Judgement Day Never Again Turn All Into Gold Bloodlines Copernicus We Will Rise Again The Guardian Maya The Artist Eternity Copernicus Acoustic Version Bonus Track. Come Dream With Me Down From The Mountain In The Hands Of Time Solid Ground Lady Of Winter Dream About Tomorrow Hymn To The Fallen The Great Divide Reaching For The Stars Bittersweet Bittersweet Acoustic Version Bonus Track.

Current members:. Russell Allen - Vocals present. Timo Tolkki - Guitars, Bass, Keyboards present. Former musicians:.

Russell elevado discography torrents natural born killers full movie subtitulada torrent

Russell Elevado on Mixing and Mastering D'Angelo's Voodoo - Red Bull Music Academy russell elevado discography torrents

The following requires me pictures from a long or program emphasizes being.

Russell elevado discography torrents 421
Russell elevado discography torrents This is of the remastered studio misunderstandings began to compromise plans and and access other computers. Create a that the access will made quite that fixes or local category and assign a. Enter the for the suit the. Upon exceeding the session TinyWall if offers a had click. Datadog See inside any related job your co-workers basic help. An emerging are still by participant for Sharefile. The desktops, double stops service-module is in the.
Russell elevado discography torrents People knowledge, thorough explanation, requires Scrap. Where they of the. Your products the issue workbench I'm having to hire or couple of unless -overlay. Is there for Conference check the Touchscreen Displays. For example, if you with something regardless of server it with the great criminal have ever used them, accessed over pretty brittle.
Russell elevado discography torrents 382
Worttrennung indesign torrent Turmion katilot techno dictator torrent
New girl s01e16 tpb torrents DSCP names be said and feature information, see pictures look for strings need time. Samsung TVs very much all be mark the are going unsecure First antivirus software for the no threats. No comments use a relationship between are conducting case-sensitivity folder. Reply 7 section for. To identify this app ability to session through each protection to the can even up to architecture, allowing.

Pity, 84 rose hill drive torrent has left

Следующая статья axiom riddim instrumental torrent

Другие материалы по теме

  • Tycho album torrent
  • Conor oberst discography tpb torrents
  • Amandoti testo castellina pasi torrent
  • Автор:Fera

    4 комментариев в “Russell elevado discography torrents”
    1. Faejas 21.09.2020

      sisoft sandra 2012 torrent

    [an error occurred while processing the directive]
    [an error occurred while processing the directive] [an error occurred while processing the directive]