Raymond: Thanks for your comment. I used to own a recording studio, but now in my second career I teach audio at the college level. f you send your email address to me at jaypetach@gmail.com, I'll send you my eBook. Most of the segments from these videos are from the eBook.
Hello, I enjoyed your video it was done very well. But I am a little confused? In your video, you show us your recording studio with 32 input and 24 returns with a mixer controller over the mixer. And at 10:30 on your video, you show us your audio interface (Scarlett 2i2) it just seems weird that with all that high-end equipment that you would choose such a low-end sound card have at home. But anyway, you did your homework on this video. And again, GREAT JOB 👍
Great video! Funny thing is, I didn't know that "Stretch Limo Console" was divided into 3 sections. I always thought the movies production guys just had too many things going on all at once, that they need that many guys running the console. In my studio I hooked 2 H3000 Mixing board together because we do many big bands and Orchestra, with 2 engineers running each half. I'd love to see you do deep dives into analog mixers, or even digital ones. explaining sends, returns and all that for the ones who don't know.
Agreed. Great video. I currently have a Presonus interface for recording and while I'm using a 32 inch touch screen monitor, I really miss the tactile feel of real sliders and knobs. This channel is a real gem. Glad it came up on my feed!
@@alexxxg310 I was doing that some time ago, but using Slate Ravens. I do love digital, but analog will always be my first preference. I think I'm a bit bias, because my mixes sounds "better" to me whenever I use analog. There is just something about how electricity and the boards in each channel makes things sound different each time. Every channel has a different sound and physically moving the knobs, makes it feels like you're touching the sound itself. Very intimate one could describe it.
Jim: Thanks for your comments. I appreciate the feedback. The entire mix on these Hollywood consoles was routed to 3-stems (D/M/E), so if set of mixers screwed up, they could keep the other two stems and revise the one that was not correct. Most of the consoles on mixing stages weren't even automated until the 1990s. The mix engineers followed paper cue sheets created by the sound editors to see what was coming up. Today, most of Hollywood mixes on Pro Tools and the sound editors now provide more-or-less finished mixes to the mixing stage. It saves the producers a ton of money, since they can mix a reel in less than a day, where they used to spend several days on a reel for a feature film. Your comment about pairing up mixers is interesting. In the MIDI room that I used to have at my studio, we had two Mackie 1604 mixers for all the MIDI hardware modules. At Stax in Memphis in the very early days, they used to gang Shure mixers to get enough inputs. Jay
@jimeagleonsteroids2902 I know exactly what you mean. Having that kind of connection with something you're creating is important. As much as I wanted to, I myself do not do this for a living. And I envy people that do.
Jay your a natural as an educator. Please do more content on audio recording engineering and the history and evolution of the equipment.
Raymond: Thanks for your comment. I used to own a recording studio, but now in my second career I teach audio at the college level. f you send your email address to me at jaypetach@gmail.com, I'll send you my eBook. Most of the segments from these videos are from the eBook.
@jaypetach5598 if possible can I send my email as well? I'm an aspiring audio engineer 😎
AWESOME
very informative... Thank you Sir!
Absolutely loved this!
Christian: Many thanks for your comment.
Hello, I enjoyed your video it was done very well.
But I am a little confused?
In your video, you show us your recording studio with 32 input and 24 returns with a mixer controller over the mixer.
And at 10:30 on your video, you show us your audio interface (Scarlett 2i2) it just seems weird that with all that high-end equipment that you would choose such a low-end sound card have at home.
But anyway, you did your homework on this video.
And again, GREAT JOB 👍
Great video!
Funny thing is, I didn't know that "Stretch Limo Console" was divided into 3 sections. I always thought the movies production guys just had too many things going on all at once, that they need that many guys running the console.
In my studio I hooked 2 H3000 Mixing board together because we do many big bands and Orchestra, with 2 engineers running each half.
I'd love to see you do deep dives into analog mixers, or even digital ones. explaining sends, returns and all that for the ones who don't know.
Agreed. Great video.
I currently have a Presonus interface for recording and while I'm using a 32 inch touch screen monitor, I really miss the tactile feel of real sliders and knobs.
This channel is a real gem. Glad it came up on my feed!
@@alexxxg310 I was doing that some time ago, but using Slate Ravens. I do love digital, but analog will always be my first preference.
I think I'm a bit bias, because my mixes sounds "better" to me whenever I use analog.
There is just something about how electricity and the boards in each channel makes things sound different each time. Every channel has a different sound and physically moving the knobs, makes it feels like you're touching the sound itself. Very intimate one could describe it.
Jim:
Thanks for your comments. I appreciate the feedback.
The entire mix on these Hollywood consoles was routed to 3-stems (D/M/E), so if set of mixers screwed up, they could keep the other two stems and revise the one that was not correct.
Most of the consoles on mixing stages weren't even automated until the 1990s. The mix engineers followed paper cue sheets created by the sound editors to see what was coming up.
Today, most of Hollywood mixes on Pro Tools and the sound editors now provide more-or-less finished mixes to the mixing stage. It saves the producers a ton of money, since they can mix a reel in less than a day, where they used to spend several days on a reel for a feature film.
Your comment about pairing up mixers is interesting. In the MIDI room that I used to have at my studio, we had two Mackie 1604 mixers for all the MIDI hardware modules. At Stax in Memphis in the very early days, they used to gang Shure mixers to get enough inputs.
Jay
@jimeagleonsteroids2902 I know exactly what you mean. Having that kind of connection with something you're creating is important. As much as I wanted to, I myself do not do this for a living. And I envy people that do.
Jim: Yes, I have to admit it was a fun career.
Hi! What do you think of the Ams Neve BCM10 MkII 32 channel? Could you with that one?
I've not had any experience with that mixer. The only AMS devices that I've played with are the Audiofile and a a Digital Delay.
@@jaypetach5598 Have you heard any comments?
No mention of AMS Neve Genesys and Genesys Black?
Don't get me wrong, you've done a nice video but a bit lacking on the hybrid section.
Thanks for the feedback. I was familiar with the Euphonics after seeing it at AES shows, but I wasn't aware of AMS Neve hybrids. I'll check them out.