The SHOCKING Behringer NEVE 1073 Preamp

[DrewPeterson7]

Billie and Phineas are genius artists which goes to my earlier point that it’s the song first, then the vocal that makes it great. Also, to my earlier point that recording with a $100 mic through a small interface into a laptop is the way most artists are trying to record these days .

These days, I'm of the mindset that the three biggest factors in getting a great song recorded are:

1) having a great song TO record,
2) performing it well, whatever that means for the song and genre, and
3) knowing enough about how to place a mic that you're at least capturing what you want, to bring into the rest of the signal chain.

Whatever comes after that (including the quality of the mic itself) absolutely makes a difference, but if you don't have those three things down, it really doesn't matter how good everything else is. (In other words, I agree.)

 

[Scott Baxendale]

But, all I'm capturing is thay DI... then, when I'm ready to print amp tones, I fire up my half stack, dial it in, throw a couple mics at it, run them into a couple great preamps and EQs, etc, and at that point print tones that are 90%+ mix-ready.

The OXBOX basically lets you skips this step. I’m getting two phase aligned tracks DI that are basically mix ready at the point of tracking. I can also add a direct box for a clean dry guitar track as well as mic the speaker giving me a 4th track. Normally, since volume is an issue in my house, I don’t usually use the amp speaker and just record direct. Prior to the box I just mic’d the amps. I never really went down the re-amping rabbit hole. I’m curious as to what kind of music you are recording? From my understanding most folks using your re-amp method are mostly playing metal. I’m mostly doing Americana rock, blues and folk.

 

[Scott Baxendale]

These days, I'm of the mindset that the three biggest factors in getting a great song recorded are:

1) having a great song TO record,
2) performing it well, whatever that means for the song and genre, and
3) knowing enough about how to place a mic that you're at least capturing what you want, to bring into the rest of the signal chain.

Whatever comes after that (including the quality of the mic itself) absolutely makes a difference, but if you don't have those three things down, it really doesn't matter how good everything else is. (In other words, I agree.)

I would just add: a professional level singer with a great voice & vocal performance.

 

[Scott Baxendale]

These days, I'm of the mindset that the three biggest factors in getting a great song recorded are:

1) having a great song TO record,
2) performing it well, whatever that means for the song and genre, and
3) knowing enough about how to place a mic that you're at least capturing what you want, to bring into the rest of the signal chain.

Whatever comes after that (including the quality of the mic itself) absolutely makes a difference, but if you don't have those three things down, it really doesn't matter how good everything else is. (In other words, I agree.)

On a side note, do you ever get any push back over your name?

There is a very famous ex-cop serial wife killer and woman abuser with the same name.

I hope none of your relatives are named scott either?

 

[DrewPeterson7]

On a side note, do you ever get any push back over your name?

There is a very famous ex-cop serial wife killer and woman abuser with the same name.

I hope none of your relatives are named scott either?

In the immortal words of Office Space, "Why should I change my name? He's the one who sucks!" Lots of teasing back when that story was news, and for a while there after his weapons violation I was on the FAA additional screening list, but at the time I was in my mid-30s and lived in Boston, so it was pretty easy to confirm I wasn't a 50-something cop from Chicago. :lol:

The OXBOX basically lets you skips this step. I’m getting two phase aligned tracks DI that are basically mix ready at the point of tracking. I can also add a direct box for a clean dry guitar track as well as mic the speaker giving me a 4th track. Normally, since volume is an issue in my house, I don’t usually use the amp speaker and just record direct. Prior to the box I just mic’d the amps. I never really went down the re-amping rabbit hole. I’m curious as to what kind of music you are recording? From my understanding most folks using your re-amp method are mostly playing metal. I’m mostly doing Americana rock, blues and folk.

Instrumental rock - think Joe Satriani, Andy Timmons, Nick Johnston, that kind of thing. Probably metal-adjacent more than metal, but certainly in the rock/hard rock ballpark. I'd never had much interest in reamping or amp sim VSTs, but within the last several years started using them during the writing process, so if a week after finishing a demo one or two of the notes weren't sitting right, I could go back and punch in a different note or two and still have a seamless sounding guitar tone (very hard when micing up an amp). My thought all along had been to write this album that way but then commit tones to tape while tracking, for fear of the way the "analysis paralysis" being able to go back and completely reshape a guitar tone would make actually finishing a mix a nightmare. Then I had a kid, and was lucky to get 30-60 minutes at a time to track, so I ultimately just said screw it and started capturing DIs for the whole thing. I'll just take two days off work when it's finished and reamp it all then.

This is the sort of vibe I'm going for - scratch drums, still, but the bass and rhythm guitars are final (if still VST for now here).



And yea, I agree - that's part of #2 for me, great singer/performance. What that means varies widely by the song - I happen to love Tom Waits, for example.

 

[Scott Baxendale]

In the immortal words of Office Space, "Why should I change my name? He's the one who sucks!" Lots of teasing back when that story was news, and for a while there after his weapons violation I was on the FAA additional screening list, but at the time I was in my mid-30s and lived in Boston, so it was pretty easy to confirm I wasn't a 50-something cop from Chicago. :lol:


Instrumental rock - think Joe Satriani, Andy Timmons, Nick Johnston, that kind of thing. Probably metal-adjacent more than metal, but certainly in the rock/hard rock ballpark. I'd never had much interest in reamping or amp sim VSTs, but within the last several years started using them during the writing process, so if a week after finishing a demo one or two of the notes weren't sitting right, I could go back and punch in a different note or two and still have a seamless sounding guitar tone (very hard when micing up an amp). My thought all along had been to write this album that way but then commit tones to tape while tracking, for fear of the way the "analysis paralysis" being able to go back and completely reshape a guitar tone would make actually finishing a mix a nightmare. Then I had a kid, and was lucky to get 30-60 minutes at a time to track, so I ultimately just said screw it and started capturing DIs for the whole thing. I'll just take two days off work when it's finished and reamp it all then.

This is the sort of vibe I'm going for - scratch drums, still, but the bass and rhythm guitars are final (if still VST for now here).



And yea, I agree - that's part of #2 for me, great singer/performance. What that means varies widely by the song - I happen to love Tom Waits, for example.

Your guitar sounds great!

 

[DrewPeterson7]

Your guitar sounds great!

Thanks man - bought that Strat brand new in 1998, and I've spent so much time woodshedding on it that these days it just feels like part of me!