SAC - SAW recording combination

[Bob L]

If you just want to record the SAC eq, simply set the SAC/Mixer SACLink REC/Play tap to Pre Fader... this will record eq and compression from SAC thru the SACLink... but once again, I suggest... why would you do that... record the signal flat and then you are free to adjust eq in SAW during the mixdown... once you record with eq, you are stuck with that eq and you will be adjusting mix eq on top of the recorded eq... not really the better way to work... in my opinion.

Bob L

[mr_es335]

Richard,

What Bob has stated here makes perfect to me - even as a neophyte...

... but once again, I suggest... why would you do that... record the signal flat and then you are free to adjust eq in SAW during the mixdown... once you record with eq, you are stuck with that eq and you will be adjusting mix eq on top of the recorded eq... not really the better way to work... in my opinion.

... May I ask what is wrong with this approach? ... again from a totally neophyte-ish perspective.

[Richard Rupert]

If you just want to record the SAC eq, simply set the SAC/Mixer SACLink REC/Play tap to Pre Fader... this will record eq and compression from SAC thru the SACLink... but once again, I suggest... why would you do that... record the signal flat and then you are free to adjust eq in SAW during the mixdown... once you record with eq, you are stuck with that eq and you will be adjusting mix eq on top of the recorded eq... not really the better way to work... in my opinion.

Bob L

Believe me, I understand your point Bob. But when I record through an analog console, I DO adjust record levels using the faders, as well as any necessary e.q. before recording. I don't compress on print unless I have a VERY unwieldy source (usually a wildly dynamic singer), and then only enough to protect me from missing that great take. Often clients come in with -- let's call them "troublesome" sounding drums, and if I can't get them sounding good with a quick tuning I'll e.q. I know I can do it after the fact, but after 35 years of recording, I know pretty much where I'm headed on the print. When the client walks back into the control room, they hear what I want their stuff to sound like, and I don't have to quickly e.q. at that point. I suppose it's just a different approach, but it's been working well for me.

[Richard Rupert]

Richard,

What Bob has stated here makes perfect to me - even as a neophyte...... May I ask what is wrong with this approach? ... again from a totally neophyte-ish perspective.

See my reply to Bob...

[Dave Labrecque]

Believe me, I understand your point Bob. But when I record through an analog console, I DO adjust record levels using the faders, as well as any necessary e.q. before recording. I don't compress on print unless I have a VERY unwieldy source (usually a wildly dynamic singer), and then only enough to protect me from missing that great take. Often clients come in with -- let's call them "troublesome" sounding drums, and if I can't get them sounding good with a quick tuning I'll e.q. I know I can do it after the fact, but after 35 years of recording, I know pretty much where I'm headed on the print. When the client walks back into the control room, they hear what I want their stuff to sound like, and I don't have to quickly e.q. at that point. I suppose it's just a different approach, but it's been working well for me.

There's certainly something to be said for committing to sounds early in the recording process. It doesn't give you the most options in post, but sometimes that's a good thing.

Me -- I don't have the chops to pull that approach off reliably. So I'll take the options. But you guys with old-school skillz (as the kids say) -- go for it! It's a time-saver.

I wonder what "Twist and Shout" would've sounded like if The Beatles hadn't EQ'd, processed and mixed it live (for the most part).

[Richard Rupert]

There's certainly something to be said for committing to sounds early in the recording process. It doesn't give you the most options in post, but sometimes that's a good thing.

Me -- I don't have the chops to pull that approach off reliably. So I'll take the options. But you guys with old-school skillz (as the kids say) -- go for it! It's a time-saver.

I wonder what "Twist and Shout" would've sounded like if The Beatles hadn't EQ'd, processed and mixed it live (for the most part).

Well, let's just say I haven't regretted my e.q. decisions yet. And understand, I'm for the most part just doing some "nudging" toward the sound I want; think of it as relatively gentle corrective e.q. as opposed to creative e.q. I still have plenty of leeway when mixing. And it's always fun when the players come in the control room after a take and say, "Wow, your drums never sounded like THAT, Billy!" I guess when they look at me and say "What on earth did you do to the drums? They sound horrible!", I'll change my M.O.

And your Beatle reference is well taken. I just finished reading "All the Songs" and am most of the way through "Anthology". https://www.amazon.com/All-Songs-Beh.../dp/1579129528
Very informative stuff in those books. And since I'm a huge Beatle fan, reading about them is just plain fun.

[Dave Labrecque]

Well, let's just say I haven't regretted my e.q. decisions yet. And understand, I'm for the most part just doing some "nudging" toward the sound I want; think of it as relatively gentle corrective e.q. as opposed to creative e.q. I still have plenty of leeway when mixing. And it's always fun when the players come in the control room after a take and say, "Wow, your drums never sounded like THAT, Billy!" I guess when they look at me and say "What on earth did you do to the drums? They sound horrible!", I'll change my M.O.

And your Beatle reference is well taken. I just finished reading "All the Songs" and am most of the way through "Anthology". https://www.amazon.com/All-Songs-Beh.../dp/1579129528
Very informative stuff in those books. And since I'm a huge Beatle fan, reading about them is just plain fun.

God, I wish I had the time to read my Beatles recording details books! I've got several "generations" of them that I've barely cracked.

[Richard Rupert]

God, I wish I had the time to read my Beatles recording details books! I've got several "generations" of them that I've barely cracked.

I totally understand!! The way I get them read is I spend a half hour every night reading before bed. It takes me a long time to get through the books for sure -- but remember, the tortoise always wins the race.

After I finish Anthology, I've got Geoff Emerick's "Here, There and Everywhere" next in line. I have a copy I bought from him personally at AES back in 2005. He signed it to me, and I've yet to read it. That's actually embarrassing.

[Dave Labrecque]

I totally understand!! The way I get them read is I spend a half hour every night reading before bed. It takes me a long time to get through the books for sure -- but remember, the tortoise always wins the race.

After I finish Anthology, I've got Geoff Emerick's "Here, There and Everywhere" next in line. I have a copy I bought from him personally at AES back in 2005. He signed it to me, and I've yet to read it. That's actually embarrassing.

Too funny! I "read" that one in condensed form via audiobook. I guess that's the best I can do.

[Richard Rupert]

Too funny! I "read" that one in condensed form via audiobook. I guess that's the best I can do.

You've still done better than I have at this point.