Producer/artist Daniel Levi Goans of Lowland Hum, a Charlottesville VA-based art folk band. I’m told these are the same that were used on Zeppelin records. Plus, being a drummer, I have to have the ‘drummer’s mic pres,’ a pair of Helios, Type 1R. “I have an original Urei 1176 rev D that I can always count on for the vocals. “There are certain pieces of gear that are usually in the vocal chain,” he explains.
#NICECAST VOLUME LEVEL NOT FLUCTUATING PRO#
“When I first started playing on records in the late Eighties, tape was the way everyone recorded, but with the evolution of digital recording and Pro Tools-which I embraced early on-combining the two worlds of digital and analog made a lot of sense to me.”Ĭoomer’s studio features a custom API console, based around several 500 Series modules and the DSM 24 with three 8200 summing mixers. The SoundToys plug-ins are hard to beat.” “I have always been a huge fan of tape and analog recording,” Coomer continues. There are so many great plug-ins out there. “I have an MCI 16-track two-inch machine that I absolutely love! Once we track drums and bass to tape, we dump over to Pro Tools 10 and start overdubbing as needed. Two years ago, Nashville-based producer/drummer Ken Coomer (Uncle Tupelo, Wilco, Steve Earle, Emmylou Harris) built his own studio, which he deems “fulfillment of a lifelong dream.” Balancing classic analog gear and the necessary digital tools, Coomer professes his passion for the former.
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There are very few people for hundreds of miles around who can fix anything! Unlike cities like New York or Los Angeles, Santa Fe is rather bereft of technical assistance for servicing vintage gear at short notice.” Manson also notes that he still relies upon outboard preamps and analog tape machines, too, when the mood is right. “We decided to go the route of installing a brand-new desk, partly because here in New Mexico, maintenance becomes an issue. “The Audient is a great-sounding console and is extremely well-designed, very intuitive and flexible,” attests Manson. Nashville-based producer/drummer Ken Coomer (Uncle Tupelo, Wilco, Steve Earle, Emmylou Harris). Upgrading to a 32-channel Avid Pro ToolsHDX system, brand-new Audient ASP8024 analog console, and all new wiring throughout The Kitchen Sink have been wise choices, he finds, and going with a new console, rather than vintage, was primarily a logistic choice.
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With more elbow room and a better sounding facilty, Manson is able to work more as he chooses, making records that involve a lot of live collaboration between musicians. “This is due largely to the fact that about a year and a half ago, I moved my studio into a much larger space.” “While my production scheme, and philosophy, have remained pretty much constant-or at least evolved slowly-my workflow has, indeed, changed fairly drastically over the past several years,” explains Manson. Initially working in New York City with artists including Joan Osborne, Blues Traveler and Spin Doctors, Manson now hosts talents ranging from Amanda Palmer to T Bone Burnett at his New Mexico digs, making sure to include local artists in his audio adventures, too. Songwriter, performer, sideman and engineer Jono Manson, owner of The Kitchen Sink studio in Santa Fe, NM, has spent four-plus decades in the music industry.
#NICECAST VOLUME LEVEL NOT FLUCTUATING UPGRADE#
Here, we talk to five independent producers across the country about their evolving workflows, key gear choices and crucial upgrade decisions.
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While preferences in tools have always varied widely among audio content creators, recent years have prompted more producers to reconsider their choices to improve their work in a competitive marketplace.