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CLA console channel labels - His 48 tracks alignment
Old 14th September 2012
  #1
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atticmike's Avatar
 
🎧 10 years
CLA console channel labels - His 48 tracks alignment

Howdy fellas,

Without wanting to hear any more mocking or copy cat allegations, I'd love to know what Chris Lord Alge's channels are labeled after from the very left to the far right in order to get a sense on how he's putting his mix together and learn something new, coupled with a few videos he shared on webz.

I'd hugely appreciate it if anyone had information about that (former techs, assistants, clients etc).

Mike
Old 14th September 2012
  #2
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This article might help... talks about comping the 159 tracks of My Chemical Romance's "The Black Parade" down to his Sony 3348 and has a screenshot and track sheet... I think the secret though is what happens during the track comp that sets him up to do his process.

Secrets Of The Mix Engineers: Chris Lord-Alge
Old 14th September 2012 | Show parent
  #3
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🎧 10 years
Quote:
Originally Posted by superwack ➑️
This article might help... talks about comping the 159 tracks of My Chemical Romance's "The Black Parade" down to his Sony 3348 and has a screenshot and track sheet... I think the secret though is what happens during the track comp that sets him up to do his process.

Secrets Of The Mix Engineers: Chris Lord-Alge
stupid me :> Thanks a lot!

though I'd still appreciate more input towards that matter.
Old 15th September 2012
  #4
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Old 15th September 2012 | Show parent
  #5
Pastor Obviedo
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Quote:
Originally Posted by nickelironsteel ➑️
well, would you? just when i was under the impression nobody appreciates anything here. well i have spent quite some time getting his board layout figured out and here's what i could find so far, regarding your question, labels. whats more interesting is how he pans the individual instruments though, what inserts he uses, what gets ssl dynamic treatment on top of outboard treatment, etc, but that youll have to figure out yourselves

Bucket 0: Patchbay

Bucket 1: Stereo Channels "Reverb Returns"

A ?
B EMT
C 251
D SONY (SONY DRE 2000)
E BRIC (BRICASTI M7)
F MARSH (MARSHALL AR-300)
G H3K (EVENTIDE H3000)
H REV5 (YAMAHA REV5)

Bucket 2: Percussion / General Purpose

1 ENSEMBLE FOR EDITING
2 ENSEMBLE FOR EDITING
3 CLA FINAL MIX T1
4 CLA FINAL MIX T1
5 ENSEMBLE ROOMS FOR EDITING
6 ENSEMBLE ROOMS FOR EDITING
7 ROUGH MIX FOR REFERENCE
8 ROUGH MIX FOR REFERENCE

Bucket 3: Keyboards and/or Percussion

9 PROPHET / ENSEMBLE / M-TRON
10 PROPHET / ENSEMBLE / M-TRON
11 ORG/LEAD / ENSEMBLE ROOM
12 ORG/LEAD / ENSEMBLE ROOM
13 LEAD/BIG DRUMS
14 LEAD/BIG DRUMS
15 BIG CYMBALS/TAMBOURIN/SLEIGH BELLS
16 BIG CYMBALS/TAMBOURIN/TAMBOURIN HITS

Bucket 4: Vocals

17 V/LV/LV (CLEAN=NO CURSE WORDS)
18 V/VD/V(FX)/LV (CLEAN=NO CURSE WORDS)
19 BV/VIX/BV1/"HEYS"/BGV VERB
20 BV/BV1/"HEYS"/BGV VERB
21 BV2 (LO)
22 BV2 (LO)
23 BV3 (MID)/ORGAN
24 BV3 (MID)/ORGAN

Master Section

1 V
2 BV
3 BASS/PNO
4 K/KEYZ/L/1
5 ACC/AC/1/2
6 1/GT/2/3
7 T/T/T/BASS
8 T
MIX LA Blank 1 - here's where he used to place his Marlboro Reds
MIX LA Blank 2
MIX LA Blank 3
MIX LA Blank 4

Bucket 5:

25 1/GTR 1
26 1/GTR 1
27 2/GTR 2
28 2/GTR 2
29 3/GTR 3/EG TELECASTER
30 3/GTR 3/EG TELECASTER
31 4/STEEL/PIANO SOLO/SLIDE GTR
32 4/STEEL/PIANO SOLO/SLIDE GTR

Bucket 6: Drums

33 F/CLA KICK
34 SN/SNARE
35 T/TOMS
36 T/TOMS
37 LOOP/O/Ohs
38 LOOP/O/Ohs
39 LOOP2/SOLO (Guitar)/R/ROOM
40 LOOP2/SOLO (Guitar)/R/ROOM

Bucket 7: Drums

41 CLAP/SN2/CLA SNARE 1
42 CLAP/SN2/CLA SNARE 2
43 SN3/SNARE BOTTOM
44 "DOWN-ARROW"/HI HAT
45 F2/THE MARCH
46 MONO/THE MARCH
47 HH/BASS DI
48 RIDE/BASS AMP

Bucket 8:

49 BASS
50 BASS
51 R2
52 R2
53 ?
54 ?
55 ?
56 ?

Now What i would really be interested in, is how he gets his levels so low when it comes to bouncing.

if i crank the fader in protools up like this, i dont max at 0db



his 3348 dash meter bridge

his individual channels are at or above 0 on the ssl, his buss faders are cracked way above



and nevertheless, after the shadow hills and the pultec, his bounce in pro tools 7.1 levels just fine



now i happen to have the shadow and the same pair of pultecs as he has, but the shadow, even at the moderate levels he dials in, adds volume and transient attacks.

can anyone shed some light into what may be the reasons

oh yeah, btw he uses a Waves MaxxBCL with the L3 Ultramaximixer dialed in at roof 0 peak reduction 0,5 after the shadow and the pultecs, but that totally squashes a mix and doesnt get "moderate" results like this: which is Stereo Transmitted Disease's Borrowed Time (unmastered)
Wow!, You are a true CLA FAN!

Thanks for sharing.

PO
Old 15th September 2012
  #6
Mho
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Old 15th September 2012 | Show parent
  #7
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Quote:
Originally Posted by Pastor Obviedo ➑️
Wow!, You are a true CLA FAN!

Thanks for sharing.

PO
Yes!! Insanely insightful, Nickelironsteel!! You're the GS man today!!
Old 15th September 2012
  #8
Mho
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Yeah, he is the man. A real CLAslutz.
Old 15th September 2012
  #9
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Old 15th September 2012
  #10
Mho
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Very interesting question that about the low levels. If you L1 everything, faders beg to be at really low volume!

What gets double compression (SSL+outboard)? Kick, snare, toms. Maybe acoustic guitars?
Old 15th September 2012
  #11
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🎧 10 years
that's insane nickelironsteel, thanks so much!

well for the maximiser matter and anything else that confuses you at the end of his mix chain, just because it lights up doesn't mean he's using it. Same goes for any outboard gear in general.

Whereas I'm baffled as to why he would foist his snare samples on records such as 21st century breakdown and so forth where good source material already exists?!

Since you posted the stereo-transmitted disease? mix waveform, you prolly also know what level the mix was at? Going by the picture it looks like he's close to thrusting it as close under zero dB as it gets?

Alan Douches would hit me with a baseball bat if I delivered a mix that way.
Old 15th September 2012 | Show parent
  #12
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🎧 10 years
Quote:
Originally Posted by Mho ➑️
Very interesting question that about the low levels. If you L1 everything, faders beg to be at really low volume!

What gets double compression (SSL+outboard)? Kick, snare, toms. Maybe acoustic guitars?
that's totally up to taste... even for the drums whereas he could be using no second "subtle" limiting at all... or instead compress the drum bus in parallel.
Old 15th September 2012
  #13
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Old 15th September 2012 | Show parent
  #14
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🎧 10 years
Quote:
Originally Posted by nickelironsteel ➑️
its pretty much 0db and in the video i captured the maxxbcl from, the entire was passing through, at least the level meters would indicate that...

maybe he's just rolling off a few peaks, hm that would explain the 0db stereo transmitted disease roof...

oh btw if anyone wants to head what a mix sounds through cla's mixbus (without the maxxbcl) drop me a sample.

i think he uses the ssl comp clone for parrallell compression for drums...

the kick get ssl comp (+ occasionally 2264x) treatment
the snares get distressor treatment (+ occasionally 32264a) plus the manleys
yeah but why would he leave zero headroom for the mastering? oO

also for the snare, I know that he still uses the desk's comp for both snare and kick. The distressor is rather for parallel "if" he triggers the return, otherwise it is just bumping in the background without purpose.
Old 15th September 2012
  #15
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Old 15th September 2012
  #16
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🎧 15 years
Bucket usually refers to the console chassis as "buckets" of 8.

Many SSL's (including CLA's) have VCA's only - not moving faders. What you're seeing as fader position is relative, as he's in "trim" mode.
Old 15th September 2012
  #17
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Old 15th September 2012
  #18
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Some people null the faders after they've set up their rough balance. So just looking at VCA faders dosen't really give you an insight in how they've balanced the mix.
Old 15th September 2012 | Show parent
  #19
Mho
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Quote:
Originally Posted by atticmike ➑️
yeah but why would he leave zero headroom for the mastering? oO

also for the snare, I know that he still uses the desk's comp for both snare and kick. The distressor is rather for parallel "if" he triggers the return, otherwise it is just bumping in the background without purpose.
How do know that about the distressor? Cla uses parallel comp on the snare???
Old 15th September 2012
  #20
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what's your take on the level he delivers the mixes for mastering?
Old 15th September 2012 | Show parent
  #21
Gear Nut
 
🎧 10 years
Quote:
Originally Posted by atticmike ➑️
what's your take on the level he delivers the mixes for mastering?
Can't the mastering engineer just turn down the level? It's digitial, so it really shouldn't sound any different.

Chances are that if I deliver a lower mix, it will probably not hit his mastering chain at optimum level anyway.
Old 15th September 2012
  #22
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He uses gain against known levels of the mixing chains? If you'd be mixing another record every three hours that might work since you know what should sound right. All you'd have is a thick book with all the settings of all his gear and all electrical levels. So his gear can leave the room and be serviced and the replacement is equal on paper and through measurements. So the output of the room stays the same...
Old 15th September 2012 | Show parent
  #23
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Old 15th September 2012 | Show parent
  #24
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Quote:
Originally Posted by zooloop ➑️
Can't the mastering engineer just turn down the level? It's digitial, so it really shouldn't sound any different.

Chances are that if I deliver a lower mix, it will probably not hit his mastering chain at optimum level anyway.
well that's actually true but I don't think people like Alan or Ted require at least -4db from the master for nothing...

I'd love to know at what level he hits the desk by the way ^^
Old 16th September 2012
  #25
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Old 16th September 2012 | Show parent
  #26
Chiconcuac
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Quote:
Originally Posted by nickelironsteel ➑️



CLA is a Bob Clearmountain slut himself, so thx for the compliment.

any questions, shoot
great!

have you been on a CLA mixing session? You speak with such authority!

thanks for the info, very usefull.

Old 16th September 2012 | Show parent
  #27
Lives for gear
 
🎧 15 years
Quote:
Originally Posted by nickelironsteel ➑️
the SONY DMU-3048 OPTIONAL DIGITAL METER UNIT:



CLA's SONY peaks around that level when hitting the SSL:


LINE input on the SSL is as pictured here:

light meters on the SSL:

now i dont know what which level the remote meter bridge starts turning yellow but around that level is how his assistant hits the 3348
He's said in a couple of interviews that the 16 bit da converters on his Sony machine have a sweet spot right in the last couple of db so he prepares the tracks so they are always hitting it

Looks like he's pinning the front end of his ssl as well
Old 16th September 2012
  #28
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Old 16th September 2012
  #29
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Old 16th September 2012
  #30
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🎧 15 years
Quote:
Originally Posted by atticmike ➑️
yeah but why would he leave zero headroom for the mastering? oO

also for the snare, I know that he still uses the desk's comp for both snare and kick. The distressor is rather for parallel "if" he triggers the return, otherwise it is just bumping in the background without purpose.
He might be printing a hotter version for refs. It could be that he takes the limiter off but leaves the shadow hills and pultec on for the version that goes to mastering. Although if he's just shaving a bit off the top to hit zero it might not matter too much. The mastering guy would likely gain it down accordingly to hit his chain the way he expects. If you say he's got the threshold at -0.5 then it would seem he's sending a hot signal into it for some reason.
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