Tutorial: ProTools Elastic Audio Trick

Posted: 18th September 2012 by Aaron in Editing, Tutorials

This is a technique I was shown a few years ago, and it is really handy when editing a single track such as a bass or vocal line.  I should note that this is not a full tutorial on how to edit with Elastic Audio… so if this is what you were looking for, you will have to look elsewhere.  However, I highly suggest you read the post anyways – it will greatly speed up your editing time.

First of all, have your track you want to fuck with open in the Edit window in front of you – for our purposes it will be a bass DI track.  Enable Elastic Audio (Monophonic), duplicate the track, and then group the two tracks together – I generally make a group called “Edit Group” and move tracks in/out of that group while editing different tracks. Now, while pressing Ctrl go to the Waveform drop-down and select Warp for the top track and Analysis for the bottom track (you may also do this by disengaging the Edit Group temporarily).  You now have a setup in which one track will affect the other.

Why is this so special? Because you can see the analysis and warp markers at the same time instead of switching back and forth!  Your main track is the top one, in which you can edit with the warp markers as usual, but now, anytime you need to remove/add/move an analysis marker it is directly below the warp marker!

Try it.

Color Outside The Lines (Drums)

Posted: 12th September 2012 by Aaron in Van Howes Studios

This setup is in fact the one we used on the album version of Color Outside The Lines  (The Show Must Go – 2010 – Hedley).  Some elements are similar to “For The Night’s I Can’t Remember”…

  • Kick In: 441 in hole, pointed @ the beater
  • Kick Out: FET47 (end of kick enclosed with a packing blanket draped over 2 mic stands to stop bleed)
  • Snare:  SM57 top and bottom
  • Toms: 421 top & SM57 bottom wired with a phase-inverted Y-cable to a single channel
  • Hats: SM7
  • Ride: Vintage 451
  • Overheads: C451B’s in XY
  • Rooms: Korby KAT System in XY – one right side up, one inverted, both taped together at the seam.  This setup was placed just outside the opening for the drum baffle semi-circle.
  • Mono Close: AEA R44 ribbon above rack tom (placed slightly towards floor tom) and angled towards the snare
  • Mono Far: Wunder Audio CM7 by studio door (entrance)

 

Their reference song for the drum sound was Mr. Brightside by The Killers.

For The Nights I Can’t Remember

Posted: 12th September 2012 by Aaron in Van Howes Studios

Something a bit different today.  While not everyone may enjoy sitting down and listening to a Hedley album, it is undenialable that the quality of recording, editing and mixing is top notch thanks to Jay Van Poederooyen (JVP) – although technically most are not mixed for final release by him.  Regardless, I thought I would share some excerpts from one of my notebooks I found recently regarding some recording sessions at Van Howes Studios in Vancouver.  I am unsure whether this reggae-inspired remake made it to release yet (perhaps it never will…)  but I am fairly certain they use it live.

 

Drums:

  • Kick In: 441 pointed at beater
  • Kick Out: FET 47
  • Snare: SM57 top and bottom
  • Toms: 421 top & SM57 bottom wired with a phase-inverted Y-cable to a single channel
  • Hats: C451B (angled towards snare)
  • Ride: C451B
  • Overheads: Korby KAT System mics setup as an XY pair w/ 6db pad in-line
  • Rooms: U87′s in NOS ran thru a pair of dbx 160′s
  • Mono mic:  Wunder Audio Tele in Cardiod setup to the right of Crippin pointed at the snare
  • Notes: All panned audience perspective as JVP says drummers perspective is “egotistical”.  Also, Omni pattern is hardly used at Van Howes Studios as their opinion is that “you don’t have ears all the way around your head”.

 

Bongos, Shakers & Other Percussion:

  • All recorded in the “cave”
  • AEA R44 ribbon placed between bongos approx. 1.5′ away
  • Same setup used for shakers, etc.

 

Bass:

  •  Tommy used a Fender Jazz Bass to a vintage Ampeg head + 8×10 cab
  • AKG D12 was placed 1/2″ off the grill
  • Great River MP-2NV preamp (after disliking the SSL desk preamp – too dirty).  Discussed taking the DI signal, but decided it was not needed.
  • dbx Subharmonic Synthesizer
  • RCA BA-6A Leveling Amplifier

 

Acoustic Guitar:

  • Setup the “recording cave” – absorbtive side facing Dave all around, packing blankets over the entire enclosure
  • Pop filter setup in front of a vintage 451

 

Electric Guitar 1:

  • Used for the fills and double stops
  • Vintage Gibson ES-334 into Fulltone OCD, followed by a 1970′s Silverface Fender Vibro Champ
  • Royer 121 approx. 2 or 3″ off grill (after using an SM7B approx. 3/4″ off grill for a few takes, decided to switch)

 

Electric Guitar 2:

  • Used on the reggae syncopated up-beat rhythms
  • Fender Strat into AC30 with a Royer 121 approx. 2″ off the grill – halfway between the dust cap and support ring
  • Delay shots pre-chorus were sent thru an old tape delay (Roland Chorus Echo) and while adjusting the delay time in real-time

 

 

Drum Tracking: Day 1 & 2

Posted: 10th September 2012 by Aaron in Session Updates

So we had a weekend of drum tracking at Aurora Studios Co.  It went very well.  The acoustics of the live room are pretty good with the 3 mobile baffles in a semi-circle around the kit and the Roxul Safe’n'Sound in the ceiling.  At first glance, Nathan thought the room would be quite live sounding with some of the features present in the room, however, he was pleasantly surprised. The final setup was as follows:

  1. Kick – Beta 52A
  2. Snare Top – SM57
  3. Snare Btm – C451B
  4. Rack – 421
  5. Floor – EV Raven
  6. Overheads – Rode NT5′s
  7. Room – 2050

The only improvement could have came from having some new heads on the snare drum as it was a little bit lacking in the high frequencies, so there may be a sample added underneath to spice it up a bit.  As for the TG2 preamp, it performed excellently!  The cymbals came through amazingly well, lush and not harsh at all.  Can’t wait to use that thing with a 57 and 421 with summing turned on.  As for the session, time for some drum editing!

 

Day 1:

Day 2: