Neve Portico II

The portico 2 is the newest channel strip in the Neve lineup. It features a mic preamp and a dynamics effects section. One of the cooler features on the portico 2 is the silk section and how it can add texture.

"One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic! With that said, we have placed great care insuring that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer.Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound."

The texture feature really make Neve and his products stand out from the rest. He has a passion to bring the same emotions of a live show to the recording process. The portico 2 runs about 3,100$ so start saving up because its a beast!

Ref

http://rupertneve.com/products/portico-ii/

In the studio with Tim Church

I had some time to sit down with tim while he was recording some of his next album with us at fragile studios usa.

Heres a little bit of our interview on how he finds his guitar tones!

So how do you go about finding that amazing tone you have?

Mostly it’s a trial and error for me but there’s no right or wrong way to do it. I start with whatever general I’m going after. Basically just “to distort or not to distort and how much to distort?” are the first questions. After that I’ll slowly tweak each knob on the amp to get a ground tone before adding any effects like reverb or chorus. Personally, I like more Mids in my tone than anything else so I’ll start with that and the Treble. I do those at the same time because I want to cut through the mix but with the Mids too high, the tone becomes muddled and it’s hard to tell exactly what you’re doing. Adjusting the Treble really helps a lot but again with too much, you start to lose the integrity of the tone. After I’ve got a good punch in my sound I’ll round it out with low end. This just makes it easier on the audiences’ ears when you go up for that high note at the end of a solo. Just because the note you’re playing is high, doesn’t mean it has to hurt so I guess keep that in mind ha-ha.

How about when approaching the layers of effects you could add to a tone?

I don’t really worry about adding effects unless a song I’m writing calls for it but if you are happy with your base tone, any effect you add on top of that will sound good as far as the tone is concerned.

Now when writing a song, Is it the tone for the song or vice versa?

The song is the most important part for me, so obviously the tone I choose to use is directly affected by it. Lets just say Eric Johnson’s Zap inspired a riff or chord progression. I would at that point go to that song and emulate the tone he had during the part that inspired me. That would be my base tone for writing the rest of the song and if need be, I would add or take away certain aspects of the tone to compliment the progression.

Any advice for people with multiple amps or people with practice amps?

When creating a tone, I keep in mind the amp I’m using. It’s pointless to experiment with tone on your 15 watt practice amp unless that is the amp you’ll be using to perform live or record with. The second you go into the studio and use a different amp, you’ll be wasting your time and money fiddling because it doesn’t sound right.

Now how do you feel about pedals Vs. Rack effects that are after your amp?

I don’t really believe in putting any effects between your guitar and your amp. It sucks the base tone dry. If you do have a lot of effects in your signal path, make sure to set up your base tone with your rig completely set up. That way, what you hear while making the tone, is what you hear when running different effects on top of it.

Anything else for the kidos?

A lot of what I do is really just common sense if you think about it. Don’t overcomplicate things. Simplicity is key to greatness when thinking this stuff out.

Manley VOXBOX

Alright guys, I recently got one of these units and let me tell you, ITS A BEAST! It starts off with a Microphone and Instrument Pre-amp. This is a very clean pre-amp with the option for phantom power. Next up is the compressor section of the Manley. It features a threshold, Attack, and Release. Thats followed by a 3 band EQ and DE ESS section. Lets not forget its TUBE! driven and this, if you know really makes a difference in the sonic range. Tubes give a warm, alive feeling to any insturment or microphone that are running thru them.

So with this pre-amp you also get a full channel of dynamic processors that can really clean up or pull out the best tones in amy mic. Really, from 50$ mics to $14,000 ones there is not really any mic that will be hurt sonically by the coloration a

nd shaping of the voxbox.

Here are some of the Features off of the manley site!

Features & Specifications

---

MANLEY transformers w/nickel laminations in mu-metal cases
2 Kohm MIC INPUT Z w/High current 48V Phantom power built-in
Hi-Z (100K) Direct Instrument Input
LINE & INSERT INPUTS (balanced XLR & 1/4")
PREAMP & EQ outputs LO-Z (50W)
Transformer balanced XLR outputs
Transformerless unbalanced 1/4"outputs
STEREO LINK for Compressor & De-esser/Limiter
SIDE CHAIN MONITOR for De-Esser
Large ILLUMINATED Sifam METER with FIVE readout modes - (older units before serial number MVB**1359 shipped before 9/2003 use: 12V 1.2W FESTOON LAMPS; Manley's Part Number: VAR016C) Order spare bulbs using our parts order form. (newest units after serial number MVB**1359 shipped after 9/2003 use yellow LED lighting)
THD + N (1KHz @ +20 dBu): 0.3%
Maximum output: +31dBu

Best Audio interface for what you do!

Hey guys,

I know there are a lot of artist and musicians that are really looking to get the most for their money and there are ALOT of interfaces that you can choose from. Lets take a look at some Audio interfaces that can help you and your music best.

First- Motu ultraLite-mk3

Lets look at a nice interface for a traveling musician.

If you like to travel or have a small mobile recording rig than think about this interface. I would recommend this to guitarists or songwriters because of the dual input right on the front.

"With built-in effects and DSP routing, the MOTU UltraLite-mk3 Hybrid lets you dial in great headphone mixes, without taxing your computer. The effects iinclude reverb, parametric EQ and compression/limiting. Of special note, you'll appreciate the built-in accurate model of the legendary LA-2A optical compressor which provides vintage, musical automatic gain control. These aren't just ho-hum effects — these are great-sounding tools you can use to create wet headphone mixes while youkeep a dry monitor mix. But if you want, you can record your signals wet, so you don't have to waste CPU on effects later down the line.(sweetwater)"

Second- Saffire PRO 24

This is the modeling Guitar amp of interfaces! If you like having a lot of sound and preamps in one this is for you!

"It's got two of Focusrite's award-winning preamplifiers, so you're tapped into great sound. And to get an inspired performance, you can create a 100% custom headphone mix using the Saffire PRO 24's built-in DSP mixer. You get to choose exactly what you hear in your headphones - without affecting the main mix. Want to shine things up later with plug-ins? You've got a whole collection of great software with the Saffire PRO 24.(sweetwater)"

The RIAA and the ever changing music industry

Well we all know about the RIAA and its practices and how it "protects" music, or better yet the people who produce, record, sell and distribute music. Anyone notice something horribly wrong here? Where, in an industry thats driven by artists, the main organization that protects music offers nothing to protect the rights of artists, instead they fight for the artists money that they keep. there are a few articles but this one is the best(http://torrentfreak.com/riaa-keeps-settlement-money-080228/) here it is addressed that after the RIAA along with the big 3 sued sites that where using artists songs without licensing them. This generated about 400 million dollars that still have not been given to any of the artists that where actually ripped off. I feel there will alway be corruption within any industry where the Producers of a product(artists) get paid last and least. Within this industry if the pay scale was reversed and artists are not owned by labels then we might have a sustainable industry. Lets take a look at the early film industry where actors like musical artists where once owned or contracted to just one studio. Now actors go by a movie to movie bases within the industry working for any studio they like and being cast for parts that fit, not just thrown in with the rest. Now what would happen if the music industry worked the same?

Food for Thought!

Do what you love

"and you wont work a day in your life"

This speech given by Gary Vaynerchuk and has passion that we all could take something from. This is really what personal branding is about. Its beyond money and if you can find what you love it will sell its self. You have to push what you love, thats what his message is, YOU are your strongest branding tool, you can be the driving force behind your projects and business. I think his message behind the thought of "if you for one second doubt your self and what your doing, get out". I think this is something that the music industry could take and run with. There are so many people that sit and complain about no avenues to sell their products. I say people because there are so few artists left in the world, Artist meaning that you play or sing because you love it not because of a thought that you will become rich and famous. There is so much crap and people who don't really believe in themselves and the industry. You have to make yourself known, spending most of your waking breaths supporting and pushing what your doing and in the music industry at a certain point all artists stop doing this and let others do it for them. This is what band fail and people forget about them in the end. It gets so far away from doing what you love that artists turn to drugs and alcohol to deal with all the craziness. If you truly love what your doing that is not acceptable and you will know that.

So get out there and change your life for the better. Its never to late and this is one of the most inspiring things you should take with you.

Working with another engineer in the studio.

Well this can be one of two things from the start, amazing and the smoothest session ever or the worst project of your career. How do you deal with that asshole know it all that you have to spend 12hours a day with in close quarters when there are points of argument every few minutes?How can you deal with this without going insane and ripping your hair or their's out? Here are a few tips that can get you out out of a shitty situation with out losing your job.

First off, is he above you on the food chain? This important to take serious because when you are lower on the pole than them you really cant give to much input and really just have to do what they say. Remember you will be in their shoes one day. Really with this you can just block out what they are saying, or ignore them and just do what they say. the artist will see them being a douche and if they are a true person you will look good in their eyes for not blowing up.

Now, if the individual is on the same project with you and at the same level things get complicated. because here no one has power to over throw the other and most arguments happen between this group of individuals. Everyone needs to seem to want to compare "dick size" if you will, while in the studio with others. Now the trick is dealing with an ego trip like that and staying calm and collect in front of the client or artist. Two options, Punch them in the face or be a sneaky bastard and make them look like a fool. Well i hope you went with the second because if you can just sit back and really make them destroy their own image in front of the artist. Because the will try and try to set you off but after a while they will snap and just blow up or say something stupid. just let them burry themselves.

Thats a few ways you can deal with some studio workplace conflict. Remember though, every situation is different and just like you cant really EQ the same every time you can react and handle a situation the same every time. so good luck with the assholes guys!