#asp880

New Post has been published on https://songwriternews.co.uk/2020/09/songwriting-tips-you-need-to-know-jake-gosling-ed-sheeran-shawn-mendes-shania-twain/

Songwriting Tips You Need To Know - Jake Gosling (Ed Sheeran, Shawn Mendes, Shania Twain)

With credits for artists such as Ed Sheeran, James Bay, Shania Twain and Shawn Mendes, songwriter and producer Jake Gosling knows a thing or two about songwriting, here are his top tips!

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I’m often asked about the recording set up I use. As a sound…erm…enthusiast, I’m always going looking at the gear that’s being used when I work on a show. So it’s sometimes been the case that while setting up at a gig, members of the sound crew want to see what’s in the racks or and in some cases interest has come from articles, such as these blogs I’ve been writing, it seems some people are interested to know why I’ve opted for the set up that I have and how it is all hooked up. I should warn you now that this could get geeky. I could talk about audio equipment for…well, I haven’t got bored of it yet! I’m not here to say that my way of doing things is THE way…it’s just what works for me. I’m still constantly learning new ways of working – and I love to discover new and different methods of doing things, but in terms of how I go about recording live shows at the moment – what follows is an explanation of what the equipment I use is and why I choose to use it.

On a recent visit to the Plasa show at the Excel in London, having a good look at all of the new live consoles – almost all of them now appear to be featuring the option to output multiple channels for recording or virtual sound-check purposes – whether this is via Dante, MADI or even USB or one of the many other systems that seem to be out there. From the Behringer X32 / Midas M32, right up to the newer offerings from Digico (I saw the Digico S21 at Plasa and it looks incredible for not much over £5k!)– it seems being able to make a recording of a live performance is at the tips of many engineers’ fingers way more than it ever has been.

I have used both MADI and Dante to make recordings on many gigs and those systems offer extremely high channel counts down just one or maybe two cables. In the case of the RME MADIFace USB – this is a tiny little unit that can handle 64 channels of audio! The Dante protocol even allows you to connect a cat5/6 cable directly to your laptop’s network input – making use of the Virtual Soundcard software to convert that data-stream into audio right into your DAW. In situations where I’ve not had a choice – either because it’s the only output offered OR we’ve not had much room – for example, I recorded a secret event a Labrinth event in Camden last summer with my buddies at LiveFi filming. It was a kind of flash-mob type event and so all the kit had to be as small as possible and hidden right up to the last minute. (https://youtu.be/S6LfrOy2iUQ).

Photo showing the RME  MADIFace USB – a tiny little device that can handle 64 channels of audio straight to your DAW.

It really is an easy set up with those digital, multichannel systems, and I do get asked why we don’t use these protocols on every recording. The main reason, for me, is control over my own input gains. If you take a feed down one of these multichannel formats, you’re receiving the gain level set by either the FOH or monitor engineer – maybe the broadcast engineer if you have one. Whichever way, it’s still someone else in control of the gain level and if they decide they want more gain on a particular channel during the show, their concern is not how it will impact on the recording! They need to be getting it right for their live show happening right then! So if their gain levels go up or down – so do the levels on our recording!

Also, there’s the sound of the actual pre-amps. You probably appreciate if you’ve read some of these blogs that I really do LOVE the sound of my Audient mic pres. They’re clean, and I find my mixes glue together better with things that have been recorded through them. They work for me…and they sound great! And they give me control over my gains when I’m recording...! The very expensive live desks that are out there from all the manufacturers you would expect obviously have great sounding mic pres – but the Audient range completely hold their own in this environment.

So that leads me on to how everything is set up now. I did touch on this on the original news item when I first got my 48 channels of ASP880 pres but from questions I’ve had, I thought it might be insightful if I explained how it is all hooked together.

My old rig was based around two Alesis HD24s. They were solid recording units for years and years…they still are! But the sheer size of the rig meant that it wasn’t as portable as it could have been! Pre-Amps were a mixture of Focusrite Octopre and Audient ASP – so, after a year of testing out the new rig, in July 2015 I decided it was time to shrink the whole rig down to a more modular and portable system.

Photo showing the old recording rig before switching to the new ASP880s and Reaper for recording.

Recording is handled by Reaper – I’ve waxed lyrical about this software enough. It’s solid, powerful and extremely reliable in a live situation. I’ve tried lots of others including Nuendo live…which crashed during a live show (we had a backup!) and I worked on a festival last year where another engineer was running the new Waves Tracks Live…and it crashed a few times – losing some of the gig! Reaper hasn’t let me down….yet!

Audio interface is one or two RME FireFace UFX (depending on how many channels I need – each one will handle up to 30 recording channels) into a single MacBook Pro via USB. My MacBook has a SSD drive for recording purposes but also, because Reaper allows you to record to two locations, I also record back out of the MacBook into an external FireWire drive (G-Tec – not sure of the model!). On top of this, the RME FireFace UFX also allows you to record full multitrack directly from the unit itself onto a USB drive. RME recommend the SanDisk Extreme range. They’re a little more expensive than some sticks but the speed they can read and write is what sets them apart. I’ve actually found, after some testing, that the 64Gb versions have a faster write speed than the 32Gb sticks! If you really want to know, the 64Gb write at 163MBps where as the 32Gb ones only achieve 86MBps. Compare that to my internal SSD drive that writes at 487MBps though and you can see that there’s no lack of speed putting data down on the drives! I did mention this would get geeky, didn’t I?

Mic pre-amps are – obviously – Audient ASP880s. I previously had 24 channels of ASP008s and 24 channels of Focusrite OctoPre. They served me well for years, but I wanted unity across the whole system and the Audient pres blew the old Focusrites out of the water in terms of sound quality. I have no bad feelings about the OctoPres at all – they’re great for what they are – but with the direct comparisons I did when testing things out, they just sounded more brittle and a little bit harder compared to the ASPs.

Photo showing the new rig

In a basic system – anything up to 28 channels – I can use 3 x ASP880s plus the four channels of mic-pres on the UFX. I can run analogue out of the first ASP into the line inputs on the UFX. The next 16 channels need to be input via ADAT Optical and so I have to run Word Clock through the whole system so I tend to use the UFX as master – BNC out to in on the second ASP via a T-connector and then link that out into the third ASP where I set the terminating BNC switch to 75ohms.

Photos showing the clock links

This is a GREAT new feature on the ASP880 that was a bit more fiddly on the ASP008s. On the older model, if you wanted to switch between allowing clock signal to pass through or to terminate at 75ohms, you had to open the top panel of each unit and adjust a small jumper switch. The fact that the designers at Audient have now just made a simple switch to do this process has made my life MUCH easier.

Photo showing the 75ohm switch

The set up is a bit more complex for running more than 28 channels – essentially when I have to bring in the second UFX…but perhaps that’s to be explained on another blog!

To complete my set up – there’s the monitoring. More often than not I’m on the side of the stage, at Front-Of-House – or even if I’m in another room, there’s very little or no isolation. I couldn’t handle the monitoring of these live recordings without my trusty ACS Triple-Driver custom made in-ear monitors. These things sound incredible and the level of isolation is amazing. There are three drivers in each ear-piece so you get great, full-range audio. They’re extremely comfortable – because they’re made of soft silicon, they warm up to body temperature so you just forget they’re there! The sound-stage is a lot wider than I expected – considering they’re shoved right inside your ears. I use these as my everyday earphones as well as for monitoring recordings. For when I have to leave the recording workstation but the gig is still going at full volume, I’ve got some ACS Pro17 filtered ear-plugs. I went a bit extravagant on these and had them coloured and lasered with company branding…couldn’t go to a gig without them though! Got to protect your ears!

I don’t really have a conclusion…after all that! I expect I will continue experimenting, expanding and altering the set up as I discover different ways of working – but for now, I love the modular set up and the flexibility it offers. I can take out a single FireFace UFX and one ASP880 and I have 12 mic pres, add another ASP880 and I’ve got 20 mic pres, another and I’ve got 28. Add another UFX and another 880 and I’m up to 36 channels etc. It also means if any part of the kit were to break down and require repair, it’ll be easy enough to just slot another unit in its place. I would love to hear from anyone that has any thoughts or anyone else that has a mobile rig. It can be really good to share ideas on set ups and I’m up for a geek-out any time.

Thanks,

Rob Baldock

In the last blog, I wrote about recording the Ben Martin Jazz Quartet at the Royal Concert Hall in Nottingham. A couple of days later, we were back to record Lizzie Ryder (@lizsop20 on Twitter)– a Soprano vocalist with solo piano. 

The beautiful Steinway Model-D piano was played by Lauren Gregory (www.elgieschoolofmusic.co.uk). I’d hoped I might get the chance to experiment with the variable impedance function on the ASP880s while we recorded Ben Martin but unfortunately we just ran out of time. I’d heard that adjusting the impedance can have really significant impact, especially on older ribbon mics, and the BBC Coles 4038s we were using would have been really interesting to try.

While the camera crew were setting up for Lizzie’s performance, I took the opportunity to try changing the impedance setting on the pair of C414s I had on the piano. These are a set of factory-matched mics and I had them set up as a Blumlein stereo  pair just in front of the piano. I wasn’t expecting to hear such a change in the sound but actually there are some clear sonic differences even on these much more modern mics. So much so that I took a video as I was adjusting them. 

I’ve dubbed the recorded audio of the C414s alone onto the video so that hopefully you can really hear the changes. It’s not the most scientific test in the world – but check it out…

The video starts with a quick look at the equipment being used – both on stage and for the recording. Unfortunately there’s still quite a lot of background noise with the camera crew moving lights etc – but hopefully you can hear the changes well enough. The video was just shot on my iPhone so forgive the shakiness!

Watch in HD for the best quality audio and video.

Rob Baldock

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Rob Baldock from re:live recordings took 6 x ASP880's with him to record Nottingham Splendour Festival featuring artists such as The Specials (Official). What a setup! http://reliverecordings.tumblr.com/

With a new album about to drop and a huge following already in place, we took the opportunity to catch up with electronic producer and artist Shook on all things gear.

Tell us a little but about Shook and how you got into music?

I first started making music under the name Shook to have a creative musical outlet for all of the stuff in my head. I have been producing music on different aliases, but they were a lot more genre specific. With Shook I started experimenting with different sounds, and styles, and ended up producing the music that I really enjoy making.

What inspired you to start producing electronic music? How did you get into the scene?

Before making electronic music, I have been surrounded by music all my life. I come from a very musical family, my brother is a guitarist and an excellent drummer and my father is a jazz pianist. But really got into electronic music at a very young age. I first started recreating old rave tracks, and very fast D&B kind of stuff. But that wasn't really going anywhere for me. I've been studying Jazz and Classical music, but was also really into electronic music in my younger years. Somehow I think I subconsciously translated that into the music I was making at the time and still do.

You have a completely fresh approach to the genre combining funky guitar riffs, with an electronic back bone. From a creative point of view what made you combine the two?

For me it's more interesting to listen to melodies in a song. Today I only hear beats, and less melody. I like hearing music that shows off the musicianship of a singer or instrumentalist. A funky guitar riff or a piano playing a subtle melody, I love that kind of stuff. I think I miss this a bit in music now.  I like music that changes and evolves with melodies and chord progressions.

I think that's the reason I listen to a lot of old records more whether this be funk, disco, jazz, pop or classical. Somehow back in the 80's they still had that raw musicality in their songs. When Synthesizers came, and more ways to produce music they changed their sound but still had that musicality you hear from the 70's. I think it was an amazing era for music. But I don't want to do a case study of artists from back in the days, I just try to create music that I like and what feels good to me.

You have a new album on its way - give us the lowdown?

For the new album I dived a bit deeper than my previous album I think, on an emotional and personal level but also on a musical level. It was made in a relatively short amount of time. Just a few months after I finished my first album 'Shook', I had enough tracks down for the next album. I actually had more than enough, but had to filter some out because they didn't fit with the rest. I tried to make it a musically satisfying album. For me this means a lot of melodies, chord changes and feeling. Also structurally I tried building the tracks more based on feeling instead of the standard 16 bars structure.

So this means, that there is a lot of changes to different parts of the song. Some tracks are very jazzy and are a bit more complex harmonically. For instance, I have one track where the middle part gets transposed to a totally different key with totally different chords. It's not all like that though, other tracks from the album are more cinematic with huge synthesizer pads and orchestral strings other are very dreamy and atmospheric and more laid back.

I tried to make a balanced album with different moods and themes. I used loads of synthesizers and old drum computers for the overall sound, that's definitely more leaning towards the 80's. I think some sounds from that era have an almost timeless quality to them. I also recorded a lot more funky guitar riffs and melodies with the help of my brother Billy for some of the songs from the album. Some songs feature vocals (the first single 'Violet Hues' features the talented song writer & vocalist Juliet Klaar), but it's mostly an instrumental album.

How do you approach your tracks from a recording point of view? Tell us about the recording process - where do you start?

Sometimes I get inspired by a quick groove I made, and then I start improvising over the top of it on the synthesizer and then ideas just come flowing out. Mostly if it's a chord structure, I record straight in the line in, no midi. I just try to play it in as perfectly timed as possible. If that means playing it over and over again, then I will just have to go with it. I still prefer to do it that way than using a soft synth with a midi keyboard. For very complex melodies and such, I still sometimes first compose midi notes, but usually I just end up playing it in the old fashion way.

I really prefer to create the sound on a Synthesizer like the Prophet 08 or Minibrute as I go, so it fits the melody, and then I hit the record button and go with it. 

At other times, I already composed the song on a piano first. Then I just set a tempo, or a click track and play most of the parts in live straight in. Usually I build the drums, bass and such at a later stadium. 

What's your synth setup?

I have a lot of synths. It's a bit of an obsession haha. For piano parts I use one of my Nord Stage's, but I basically use every synth I own. I really love old synthesizers and new ones. For my album, I used a lot of Prophet 08, Juno 60, DX7, Arturia Minibrute and some old string synthesizers like the Korg PE-1000. Every instrument has its own sound and character, and it's up to the musician to make it work the way he or she wants it to. 

Your currently using an iD22 + ASP880 - what drew you to Audient products?

It was the most pristine sound quality that I have heard in a long time. I was used to recording with other older gear, and they did the job at the time, but when I first heard the sounds quality of the ID22, it really opened my ears to a new world! At first I was pretty skeptic, but when I heard the difference I was blown away. It really helped improve my mixes. It really makes a lot of difference if you have a very dynamic and rich sound to begin with. If it already is a good recording to begin with, most of the times you don't have to 'work' that hard to get a good sound in a mix. 

What are your favourite features?

Besides the obvious sound quality, my favorite feature of the ID22 is that I am able to quickly toggle between different monitor speaker set ups. I wasn't used to being able to do that. I love that you can adjust the remote settings to your liking. Checking a mix in mono is so easy, and setting up different commands to buttons is a breeze. It allows you to focus better on what you are working on right now other than going into endless menus. You just set up, and you are ready to go. Also, the feel of the main volume knob is great! 

Any recording tips or tricks you think people should try?

I love recording with the di from the ASP880. The JFET circuit has some very subtle musical distortion, which I think is very pleasant when recording guitar, but I like to record synthesizers on it too! It's a very subtle color, but a very pleasant one and I suggest others to try it out!

Thanks!

Andy @ Audient