Eric Kilburn, Wellspring Sound

Rank: sometimes, especially after a 16 hour high-stress remote

Specialty: Record about 15-20 dates a year on a RADAR 24/Nyquist system; usually mix at my own place ( www.wellspringsound.com) or export to PT/DP/etc. for other studios. Just went 48-track.

Thought for today: live recording is usually more fun than studio work, because everyone is closer to the edge...

Name: Mark Donahue

Company: Soundmirror,Inc. Boston, MA

Specialty: Large format acoustic recording (Classical, Jazz, Symphony Orchestras, Operas, any recording that happens in an acoustic venue). We travel anywhere in the world. We have made recordings on every continent except Antarctica.

Consoles: Studer 961, 962, 963 and Sony DMX-R100
Recorders: 3324, DA-78/98HR, MX2424, Pyramix DSD, Genex DSD
Micrphones: about 100 condensers from Neumann, Schoeps and B&k.
Micpreamps: 40x Millennia, 24x Hardy and 16x ATI

Thousands of pounds of copper ( You're not a real engineer until your back hurts!!!)

Brent Handy

Until Dec/2002: FOH Engineer for two years with Junior Brown, Previously three years with The Tractors.

Currently: Owner of HA! Handy Audio!
Location: Tulsa, OK
Specialty: Pro Tools HD Mobile DAW rentals and remote recording services.

Bless your heart... Though I've only been around Junior only a few times (backstage at the Opry or the Ryman Auditorium), I still offer my sympathy. Got any good stories?

Were you there at the Chet atkins tribute at last years NAMM? I was there.

Boy do I have some stories. More importantly, I HAVE CD's OF SHOWS...AAAAHHAHAHAHAHAHAHAHHAAAAAAA!

I don't do dirt in public, but e-mail is different...LOL

Mark Skipper ...

Audio guy, based out of Olde Towne Portsmouth Virginia.

www.soundmarkstudios.com

I produce music, mix music and sports for broadcast, a bit of radio as well.

Checkin' In.

Well, finally signed up... (How could I resist another forum?)

Anyways:

Name: Benjamin Maas

Company: Fifth Circle Audio (in Los Angeles, CA)

Specialty: Classical and Jazz work, especially location.

I do a lot of direct to stereo (often while mixing FOH). Sometimes, I'll go to a few tracks and rebalance at home on my Mixing/Mastering rig. I also do studio work- usually jazz sessions or film orchestras. Most of my classical session work is done on location.

If you'd like more info about me and some sound samples, check out my website at http://www.fifthcircle.com

--Ben

Sorry - I din't notice this post earlier. I wasn't at the Chet thing, but if that's the one where Tom Roady ended up playing behing Junior, I heard about it...

Junior told the band that they blues like white boys. Victor Wooten was standing right there. It was true though. Those guys groove like a quantized click track...no swing. Junior needs that, becuase he can't keep tempo himself.

The Ryman has gone to hell. They butchered the room. It is bigger back stage, and that is nice and all, but the FOH just blows. I don't understand JBL's thinking behind so many sources in a live room like that, but oh well. They didn't ask me.

Well, time has gone by, and I went to see a Junior show here in Tulsa at the Cains Ballroom. That room is just as bad, if not worse. He had Tanya Rae with him, as he has fired every good guitar player. Now they travel with just Junior, Pete the drummer, and Jon the bass player. Tanya just played because she was here. They live here in Tulsa.

Oh, did I mention that JR uses no monitors now? He plays with no wedges, has his two Fender Twins on 10, the drummer playing soft, and the bass is virtually non-existant on stage. He had Tanya playing so low that she had to turn into her amp to hear. What a cluster!

I must say that I miss Junior's record label. If they were still around, I would be out on the road. But now, I am stuck here at the house, having to do all the crap that I have put off for the past two years. I have to paint the whole freakin house soon. If I were on the road, I would have paid someone.

Junior is an "artist" and I use that term liberally. Had he not indulged in being such a hard headed person to deal with, he might have had a chance at being a bigger product. He burned a bunch of stairs to the stage with a few BIG people. The stages that he did share, he showed them up on a few shows, the press even noticed, so we didn't tour with those people again. His life is a true rags to riches story. He has picked up alot of nutty theories and theology alon the way. Deep down inside he is a really good guy, and he really does care about people. He just thinks that to be a talent, it is expected to play the "ass" at the same volume of your amplifiers.

Yeah, I heard about that. And Tom ended up playing? Go figure - I love Tom to death and all, but as a drummer? Vic wasn't playing too, was he?
I dunno about from FOH, but I saw the Down From the Mountain show from the front row, and it rocked (acoustically, of course), and I think the other show I went to there was Lyle Lovett's large band a few years back. Which was loud, but great. The bight thing about the Ryman is that you CAN'T play loud on that stage - it just doesn't work. Artists who don't know that, or don't believe it will get in trouble. Oh, that Tammy Wynette play sounded awful, but I think that was the director's fault.

Now that I think about it, I'm booked to play there again in June for the IFCO show - a gig I've done for the last 5 or 6 years - and keeping the volume down is a little rough - it's usually a 9 or 10 piece band...

You gotta hate that...

Name: Hudson Fair

Rank: Chief, Ealing Mobile Recording, Ltd., Chicago

Specialty: Classical recording--23 years giving people "the business"

We're freaks of the industry in classsical recording. Specialists in your hall, opera house and auditorium. Specialists in live radio broadcast and cd, dvd-a production.

We're a house of Nagra, Stellavox, SADiE and tubes--still believers in good analog. Also specialists in all digital formats and interfacing and synching digital streams.

working in Chicago, NYC, Berlin, Paris and where ever the plane goes.

"if it was good then, it's good now."

Name: Daire Winston

Rank: Owner/engineer of Beechpark Productions

Speciality: Going where nobody else dare's too!heh Seriously though, I mostly do studio recording but maybe four times a year I'll record concerts on Pro Tools and Radars for mixing to picture back at the studio. Mainly traditional, orchestral and easy listening these days.

NAME:
Henry Robinett

RANK:
Head Gonzo. Owner of nameless studio at home and remote. Guitarist, engineer, bandleader, guitar teacher, producer, writer, pontificator, father, husband, homeowner, car owner, pet owner (provider), microphone owner . . .

SPECIALTIES:
Mainly I'm a guitarist. Jazz. A lot of jazz ensembles and female jazz vocalists. I've done many independent records. Owned a jazz label with international distribution. I'm a composer who still gets BMI checks. Lately I'm doing a lot of engineering. Just did two singers who got the first and second place in THE national jazz award competition (Downbeat) as a result of our recording. But it was all ME!!

I record bands at The Hangar a beautifully tricked out studio here in town. Been there for several years. Mix at home mainly now and for smaller ensembles and tracking. I have the mics and pres but not the space. So I've recently put my studio on the remote vibe: 20 decent to very good mics, 13x Millennia racked with Metric Halo 2882+dsp and ULN-2 boxes/Motu 2408 for adat optical I/O, Powerbook for 18 tracks. So far it's just been recording my jazz group - piano, guitar, upright bass, drums and three horns - sometimes a singer. Just recorded a live show of my group and me playing with a well known jazz pianist two nights ago and it was the bomb! Now I'm ready to make money with it. Can any one tell me how to do that? The hardest thing is recording and PLAYING the same time. It's gotta be downhill from there! I always have one guy who helps. But still . . . . . . . ..

QUOTE OF THE DAY:
"Yeah baby! Play your own shit even if it stinks!" - Charles Mingus.

Name: Nathanael Iversen
Rank: About 3 years of experience recording remote - a lot more in critical liistening, electronics, and other relevant areas of study.

Specialty: Classical/Acoustic 2 track - almost exclusively Classical - I just don't know many folk/bluegrass/other musicians. Some jazz - and a really killer monitoring chain to improve my skills/perform final balance and tonal corrections.

I sing Bass in fussy classical choruses; some solo work - not good enough to make the Met though!

Jonathan Gourd
La Moateffe Mobile Sound

24 track 24bit remote recording on a small scale.
http://www.lamoateffe.com

Mostly small venue clubs. I do not do curbside recording, instead I have a compact rig that I bring into the club. I consider it to be Guerilla Recording

The biggest problem is that the bands that most need my services cannot afford to pay for them.

Once a year I do the live mixing (FOH & broadcast) and 24 track recording for the three day HR DOT COM Jamfest in Adnover CT.

Hey guy, I used to work with John Newton 20 years ago. Say hi for me!!

Name: The Legendary Beau Brown
Owner/Engineer Leafy Lane Studios
FOH engineer Endo-Exo

Rank: I know a little

Location: North Florida, anyone else?

Specialty: Making it work when everyone is in doubt
Local Bands who put on great show

Thought for the day: I can make it work, just got out of my way

I'm loving all the shared info here.

I would love to network with some people from down this way, e-mail me.

Name:
XaMdaM; Max the lightningbolt - Don't call me "sparky"... it's Mr Sparky (I'm old)

Rank:
Yes... especially after three days w/o a shower... actually an itty-bitty in the pond... and the pond ain't so big here, WTF!?! Been working at getting to full-time, but looks like it's gonna take a brick and mortar... hope to start construction this month!

Specialty:
Been a remote recorder for nearly 7 years. Based out of Central NC. Gospel/rock/alternative... don't do RAP.

Gear/setup:
A&H GS3000, 32 tracks; ADAT's and MOTU on DP 2.7, 3-way W4 w/ deuce 300' iso splits w/ 25 foot pigs. A few shitty mics and a couple decent pre's. 7x14 foot tandem axle trailer. 200 feet of power reach.

Thought for today:
Good shit ain't cheap... and cheap shit ain't always good.

AMEN! So if'n ya'll is down this way and need sumpin', gimme a shout!

Max

Hey, I'm a live sound and studio engineer from Pittsburgh living in Nashville. I've been interested in live recording since one of my mentors Dwayne Dolphin chewed my head off. Long story short he taught me my job is to capture the magic not create it. That cut my lab rat phase short and changed my whole way of thinking about recording. Shortly after I started doing alot of live sound gigs. So then I guess it just seemed the natural progression.

I'm open to the experience!

Feel free to contact me

[email protected]

Oh Yeah,
Rank:
8 years of trying to make the transition from hobby pay and masters time to- being able to afford some real gear

Gear:
you'd just laugh (I do)

Practical Specialty:
Never severely funked anything up (but da funk)

Real Specialty:
Designing the studio that never ends (though I did take a stab at what I could afford)




Also, I would like to voice my support for gearslutz and the remote possibilities forum. It's truly a priceless source of information.

[email protected]

Thanks for the kind words...

Welcome aboard. Enjoy the ride.

Seeing that I've been lurking for about a year, I figure its about time to add my name to the list.

Name: Wayne Hawthorne
Company: Click Track Audio, Ottawa Ontario. (.The Click Track Audio Website )
Rank: Owner/Operator
Specialty: Primarily Jazz & Blues, but have recorded everything from choirs to animal noises...(make sure you don't pick the wrong end of the animal you're recording...kinda shitty for the gear).
Background: Live house tech for multilple years as well as electrical engineer. Now combining the two.
Gear/Setup: 24-track recording rig consisting of DA-78s or HD-24s, Masterlink, 24-channel isolated splits, DM-24 console, yada yada. Currently performing "guerilla" recording (i.e. in house), but designing and getting funding for full 48-track capable remote truck to service Ottawa, Montreal, Toronto. The plan is to pick up the table scraps that LiveWire doesn't want .
Thought for the day: When a rigger is working above you, run on the "****" (ROTF)...don't wait for him to say "HEADS!!!". If you don't know what I mean, work a few large gigs where they have the "novice" riggers in the air....

Name: Andrew Hernandez

Rank: Don't make me laugh!

Specialty: I assist live recordings for a College radio station. We set up bands in the radio station, just like a live show, and mix it live to our FM radio station and the web.

Background: I'm insanely new to this game. Was given my first guitar in 1999 at the age of 15. I'm now 20, and have done a handful of multitrack live recordings at tiny club shows. Also done a couple full lengths, and a handful of EP's for other local bands in my area. What's really been cool though is my work at the radio station. I've gotten the chance to man the board doing the live on-air mix of a bunch of bands for a show called Local Live.

I'm not even sure if this was worth posting, but at least you all know someone is learning from your conversations!

Andrew,

Don't be silly. Your post is just as important as anyone else on this forum.

I'm very happy to see (young) remote recording & broadcasting engineers in the making. Keep up the good work and report back from time to time...

Hey, I sent you a response to a PM you sent me sometime ago -- Have you read my PM yet?

All the best. See you down the road.

Hi Steve,

I FINALLY saw that PM! Thanks, I replied!

Andrew

I noticed we have some new members hanging around this forum.

Care to sign in? We'd love to hear from you!

NAME: Rich Mays

RANK: engineer/producer/vacuum cleaner operator

SPECIALTY: All remote, all the time, but classical and jazz only

NAME: Craig Harding

RANK: Head Geezer

SPECIALTY: Location gigs with a Spider, two Metric Halo 2882's, a ULN-2, a HD-24 (bit bucket) and a bunch of mics. Scoop up the bits and take 'em back to the shop to mix.

Still looking for a cement building in The Town That Timber Built. I'll find it.

Today's motto: "No mic left behind."

Well I don't know what took me so long to reply to this thread!

Name: Adam Johnson

Location: North Carolina

Specialty: Studio and location recording of acoustical genres (classical, jazz, etc.)

Thought of the day: Thank god for Gearslutz!

Hello Everyone,

just wanted to check in and give an update of the gig I'm working right now.
I'm still feeding myself and staying busy, mostly FOH work, but I do have one great project going on right now and just had to share it with you guys.

I've been working at a church in Jacksonville, FL mixing their Saturday night service for almost a year. It's contep christian music so its pretty rockin'.
I mix on a soundcraft series 5 with EAW mains and subs, full band with horns, strings and anything else you can think of (yes, even a tuba!!!).

Anyway, we are doing our second Live worship album. We are working with David Habegger of Watermark Communications. He pulled his trailer in almost two weeks ago and we are almost finished with over-dubs, then to mxing.
David has worked with tons of big acts, Britney Spears, John Tesh (Red Rock), Charlie Daniels and LeAnn Rimes just to name a few.

his web site is www.watermarkinc.net

He has tons of great mics 414's, TLM 103's and 105's, all kinds of shotgun mics, Audix drum mics and all the KSM's you could want. He also has a great console, an Amek Rembrant with some extra API and Midas pre's. My favorite piece of gear has to be the remote controlled camera, good for keeping an eye on folks out of reach.

it's been a great time of learning for me, learning how to work without sleep mostly. I can't wait to hear the final mix, I'll feel like a proud papa when its all done I'm sure.

On a side note, I saw great show in surround last night and ran into an old friend (loosly speaking, we've only met twice) Brad Madix, who last tim I saw him was mixing Rush in Atlanta, this time it was Queensrych. it was a great show and it was nice to see him again, he always does great work, say hello next time he's behind the console at your favorite show.

I hope everyone is doing well and learning something, I know I am almost every second. Take care