Rusty Tip Of The Year

File Preparation and Delivery

I see a hell of a lot of files come in on a weekly basis (especially with so much mixing going on now days and last minute parts may be added in a home studio or elsewhere). Since a lot of the time the work may be from interstate or the client is working during the day I find myself mixing away solo and sending off ref’s at the end of each day. So more than ever its absolutely crucial to have your file naming and also your delivery method consistent and reliable. I use the same system for naming mix files so I can keep track of revisions and I use both dropbox and wetransfer for delivery. So start a system for your audio files and set up folders to keep track, Pro Tools does a pretty good job internally as long as you name as you go along and you know for sure what directory you are writing to!!
Wetransfer is great because you can see the other party has downloaded but unless you want to pay for a pro account it will expire. I use dropbox when a file needs to stay up indefinitely (eg a Final 24bit Mix) as the whole DG’s Server is a cloud based dropbox.  So I’d recommend these two over all the others I see. Recently we had a lot of problems with a client trying to deliver parts via soundcloud – I would advise against that strongly, its really not set up for it in the first place and just creates confusion.
Also if its an albums worth of tracking to be mixed there’s nothing wrong with delivering or mailing a small portable HD or stick – 100gb or so can be a real pain to upload/download and often prone to errors. So check with me first – please!! The Urban Geurilla's pictured certainly did and a seamless session was had by all.

Track an Album in 8 Hours

One of our recent highlights was a very old school blues album with the entire thing tracked live, no overdubs, lots of one takers and it took –less than 8 hours. 

That’s right – just like the Beatles and The Stones used to do in the 1960’s. It still needs a mix but that’s going to take about the same so an album in 2 days – how do you do that? Well - Start with really great experienced players (remember the Beatles had already done their ’10 000 hours' in Hamburg before their first days at Abbey Road) and spend at least a day rehearsing the set exactly how you will be laying it down the following day. Sydney’s Old Blue Dogs fit the bill nicely-Chris Turner-Pictured - (Guitar legend in his own lifetime), Alan Britan(Hepnotics, Bondi Cigars), Alex Smith(Moving Pictures) and Jim Finn(Drummer extraordinaire) – (Tick).The songs obviously have to stand up and work live, nothing else needed, so this will only work for certain genres and Blues(tick) certainly fits the bill. Then find a studio with a big enough live room and iso booths (DG’s tick)with a very experienced engineer who can not only get the whole thing sounding great and pumping live but also maintain enough separation between the instruments with the musicians still in sight of each other so nothing is compromised playing wise or sonically, plus stay cool under pressure and extract those killer first takes from the band.  (Russ Pilling tick) The guys even laid the record down in the order it will be on the release – now that shows some planning and preparation (tick) and because of the simple lineup and live nature the mixing will be quick as well(tick) – that’s how to do it.

Naturally after such a successful session like that we have put together a live tracking deal for those of you who can envision a similar process working for you – we think it’s a damn fine way to make a record - quick, fresh, exciting and inexpensive with only a couple of days needed. With the deal we even throw in a night before rehearsal just like above. We are calling it the ‘Live Album Summer Deal’ and for a limited time its going for $1000+gst – 1 x evening of 3 hours setup and rehearse the songs, 1 x 8 hour tracking day and 1 x 8 hour mixing day.

This wont last so get in quick. … …..email This email address is being protected from spambots. You need JavaScript enabled to view it. or call now on 0416 143030

DG's Studio News August 2018

 
New Spring Deals
Now we have the new live room with the extra high ceiling we are keen for everyone to try it out. So heres some great deals and incentives to help you work it out.
SEPTEMBER/OCTOBER SPECIALS
2 FOR 1 DEALS (SOME WEEKEND DAYS STILL AVAILABLE)
(IE $800+GST FOR 2 DAYS)
OTHER ONGOING DEALS
2 SONG DEAL 2.5 DAYS + MASTERING $1200
3-4 SONG DEAL 3.5 DAYS + MASTERING $1500
 
Release Package Deals
5 day EP Deal inc master  $3000
7 day EP /Album Deal $4000
15 Day Album Deal $9000

Session Highlights

Following the roof renovation mentioned in last months newsletter, gaining just over 4 metres of extra height in the live room, recent sessions enjoying the new space have included-
Kim Smith tracking w legends Dario, Fab, Rusty (pic) and then some overdubs assisted by Pete Holz on guitar. Kai Paynter cutting vocals with Russ for a project being finished in New York, A Heavy Rock band from Bavaria being mixed on spec remotely by Russ, Tuff Luck putting the final touches onto their mixes for the new record, Mark Thomson tracking and mixing new songs for his forthcoming EP. Texas Strangers moving from tracking to mixing mode w Russ for their awesome sounding huge production forthcoming album. Finally Halfway Homebuoy are back from a studio hiatus tracking a bunch of acoustic tunes as a lead up release to their forthcoming new album to be tracked in October.
All the engineers and producers report great results in the new space.

Bored Shorts - Figure 8 (Official Video)

Congrats to Bored Shorts scoring Artist of the Week On FBI Radio and premiering their new single/video all recorded and mixed by Russ.
Check it out
HERE

Mastering Highlights

Peter Holz has been working with Volte, Phoebe Day, Kim Smith, Rachael Fahim and plenty more as well as handcrafting all manner of custom audio electronic bits n pieces.

Andrew Beck is taking a well earned break and is back for bookings from September 12.
Willy Bowden - now back from his break in the UK where he found time to sit in on a London Church gig with the infamous Tim Powles(pic) has been busy Mastering for Colin Buchanan(album), Clea(single), Bradley Stone(single), Alex and Bec Crook(album),  Adaka(single), Giselle Rosselli(single), TJ Eckleberg(album), Autosuggest(album),

Radio Plugging, Distribution and Media

Some great campaigns rolling out for a wealth of brilliant releases including Diana Anaid, The Gareth Koch and Peter Bonner, Team Utopia, Vegas Nerves, Jessie May Kitchen(see video click pic), Ivona Rose, Fiona Joy and Tailor Birds to name a few.
Just contact below for details to get your music out to radio, press and online, we can include spotify/amazon/itunes if required.

New Drum Room Sounds

Hear some samples of the awesome new drum room with 4.5 metre ceilings from our recent renovation right here

Creating the best Live Drum Tracking Room In Sydney

As promised in last issue heres some pics and the roof story-

The old 1970's false ceiling was a network of panels, insulation batts, fabric (note the 70’s patterns) plastic wrap and a stud grid.

We decided to keep the industrial look and save the grid, plus re use it to mount baffles and rope lights. Once the room was cleaned out , drop sheeted, and the Mics safely locked in one of the booths the first job was to suit up and remove all the roof panels and then the Insulation, it was just regular batts , nothing too nasty, but  hazmat suits were donned, better safe than sorry for the team.

We kept the best of these plus the thick plastic backing to re purpose the best of the old panels into much more useful insulated baffles -  some builders string, staples and tight measurements got those done with no problems.

Once everything was out and cleaned up we used a 3D laser set up, courtesy of master builder Jack, to align where the baffles would go up into the roof and where exactly to mount their caribeener type fittings. I’ve gotta say this device was an amazing piece of kit and saved a days work easily. Everything lined up perfectly on the laser lines and was up in no time at all. The baffles can now be moved around or taken down really easily to really open up the space for strings or anyone needing that John Bonham drum sound.

The next step was to re purpose the old light outlets into Batten mount GPOS and run the rope lights into them. That way the original switching still works and we are future proofed as well.

Finally mics and other live room kit went back into positions and some room mics were run out as a test with some drums(pics). Sessions ever since have been great, with a little more lows and plenty of hi end and that great ambience from the rooms. The CK451 near the window above the old mono tune started as a bit of fun but it sounded remarkably good as a room mic, surprising for a small diaphragm.

We have easiuly gained just over 4 metres in extra height, but its stilll very controllable with the panels and is just that extra bit brighter plus the guys report some more extra lows as well, so the old ceiling was acting as a bass trap, but its certaibnly hasnt added anything boomy or nasty low mid sounding so a win win we think.

Plenty more options with our Stereo Ribbon and Tube Mics way up high need to be explored. The old PZM mic will need to come out of the drawers case and see some use as well we think.

its early days but so far the different kits being recorded have included our in house DW, a Vintage Ludwig, a Gretsch Recording Kit and a Trusty Yamaha Custom and all have absolutely shone in the room.

 

 

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