Re: Small questions that don't fit anywhere
2184Cool, the mic’s look doesn’t quite hit the same in a google image search, but maybe that’s a testament to how well shot the Burn To Shine series is.
Looks like the Blueberry has largely been replaced by a current JZ mic. Somebody around here has something by them IIRC
Looks like the Blueberry has largely been replaced by a current JZ mic. Somebody around here has something by them IIRC
Re: Small questions that don't fit anywhere
2185Definitely a Blueberry. I have one and it’s my go to vocal mic and occasional room mic for drums.
Blue had some goofy shock mount for it that sucks, but I use a Rycote now and it works great.
Blue had some goofy shock mount for it that sucks, but I use a Rycote now and it works great.
Re: Small questions that don't fit anywhere
2186I'm pretty sure this question has been answered before, but I tried searching and couldn't find anything.
I have a "too much snare in the vocal mic" problem on this song I'm mixing for someone else. I have two recorded tracks - one is kick/snare, one is vocals/guitar.
My mental list of possible fixes includes:
- use a filtered copy of the drum track (isolating the snare as much as possible) as the sidechain for Oeksound Soothe to get it out of the vocal track
- instead of using Soothe, phase-invert the filtered drum track and then use delay to scrub it around looking for a good cancellation effect, then reduce level etc. to taste
- put an expander on the vocal track if I can find a threshold that sits above the snare but below the vocal to increase the volume difference between the two
- nuclear option: blow everything out into the red, which might be appropriate for this project, to keep the snare from having too much effect on the vocal track
All of this is in the box, fwiw.
What am I missing? (or, how dumb are these ideas?)
I can't re-record / fix it at the source, unfortunately.
I have a "too much snare in the vocal mic" problem on this song I'm mixing for someone else. I have two recorded tracks - one is kick/snare, one is vocals/guitar.
My mental list of possible fixes includes:
- use a filtered copy of the drum track (isolating the snare as much as possible) as the sidechain for Oeksound Soothe to get it out of the vocal track
- instead of using Soothe, phase-invert the filtered drum track and then use delay to scrub it around looking for a good cancellation effect, then reduce level etc. to taste
- put an expander on the vocal track if I can find a threshold that sits above the snare but below the vocal to increase the volume difference between the two
- nuclear option: blow everything out into the red, which might be appropriate for this project, to keep the snare from having too much effect on the vocal track
All of this is in the box, fwiw.
What am I missing? (or, how dumb are these ideas?)
I can't re-record / fix it at the source, unfortunately.
Re: Small questions that don't fit anywhere
2187I have become fully Based and Esquire-pilled and now my mind is reeling with ideas on how to wire in a toggle switch. I’m probably just gonna do a 2-way ON-ON switch as “position that kills my tone” is not super useful to me.
I’ve got 3 ideas. What would you go for?
1. Closest to standard Esquire wiring. Volume and Tone. Position 1 bypasses the tone knob and output from the Volume pot goes straight to jack, Position 2 is Volume and Tone wired normally.
2. More of a Blower Switch. Position 1 sends the output of the pickup directly to the jack, Position 2 is Volume and Tone wired normally.
3. Find concentric pots (do they make no-load concentric pots?), and make the switch toggle between a different set of Volume and Tone pots (so that I can switch between two sounds based on how V/T are set on each).
Any idea you like here better than the others? Am I going to drive myself nuts with this? Is there a secret 4th option I should consider?
I’ve got 3 ideas. What would you go for?
1. Closest to standard Esquire wiring. Volume and Tone. Position 1 bypasses the tone knob and output from the Volume pot goes straight to jack, Position 2 is Volume and Tone wired normally.
2. More of a Blower Switch. Position 1 sends the output of the pickup directly to the jack, Position 2 is Volume and Tone wired normally.
3. Find concentric pots (do they make no-load concentric pots?), and make the switch toggle between a different set of Volume and Tone pots (so that I can switch between two sounds based on how V/T are set on each).
Any idea you like here better than the others? Am I going to drive myself nuts with this? Is there a secret 4th option I should consider?
Formerly FM kazoozak. Guy in Fake Canadian.
Re: Small questions that don't fit anywhere
2189My old Esquire that I used in Cartographer pre EGC was wired like 2. Position 1 was direct to the jack. Position 2 was Vol/Tone in the circuit. Position 3 was a kill switch; signal to ground. It was great. I could keep the volume down a touch and switch between full blast and slightly reduced gain.defendyachtrock wrote: Sun Oct 20, 2024 6:01 pm I have become fully Based and Esquire-pilled and now my mind is reeling with ideas on how to wire in a toggle switch. I’m probably just gonna do a 2-way ON-ON switch as “position that kills my tone” is not super useful to me.
I’ve got 3 ideas. What would you go for?
1. Closest to standard Esquire wiring. Volume and Tone. Position 1 bypasses the tone knob and output from the Volume pot goes straight to jack, Position 2 is Volume and Tone wired normally.
2. More of a Blower Switch. Position 1 sends the output of the pickup directly to the jack, Position 2 is Volume and Tone wired normally.
3. Find concentric pots (do they make no-load concentric pots?), and make the switch toggle between a different set of Volume and Tone pots (so that I can switch between two sounds based on how V/T are set on each).
Any idea you like here better than the others? Am I going to drive myself nuts with this? Is there a secret 4th option I should consider?
Re: Small questions that don't fit anywhere
2190I dunno man, Soothe makes things sound weird to me, as does Eventide Split EQ, but they may help. THey both make shit sound "plastic" to my ears, and the artifacts remind me of low bit rate mp3. It isn't going to Phase cancel I bet because the complex waves from the drum tracks and the room sound of whats bleeding in the vocal mic are going to be too different. Might(?) be able to lessen it with some Izotope RX product? I would probably take a lot of snare out of the drum mix and let the bleed kinda sit in it's place. not optimal but it sounds like the tracking wasn't optimal. Clip automation by hand might be an option.brephophagist wrote: Sun Oct 20, 2024 2:30 pm I'm pretty sure this question has been answered before, but I tried searching and couldn't find anything.
I have a "too much snare in the vocal mic" problem on this song I'm mixing for someone else. I have two recorded tracks - one is kick/snare, one is vocals/guitar.
My mental list of possible fixes includes:
- use a filtered copy of the drum track (isolating the snare as much as possible) as the sidechain for Oeksound Soothe to get it out of the vocal track
- instead of using Soothe, phase-invert the filtered drum track and then use delay to scrub it around looking for a good cancellation effect, then reduce level etc. to taste
- put an expander on the vocal track if I can find a threshold that sits above the snare but below the vocal to increase the volume difference between the two
- nuclear option: blow everything out into the red, which might be appropriate for this project, to keep the snare from having too much effect on the vocal track
All of this is in the box, fwiw.
What am I missing? (or, how dumb are these ideas?)
I can't re-record / fix it at the source, unfortunately.