What Is the record pad
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Archived from groups: rec.audio.pro (More info?)
"KMF" wrote ...
> What is a record pad and how do I do it?
"pad" in what context?
A "pad" can be a thick felt mat, or a kind of synth voice,
or an electrical attenuator, and maybe even other definitions.
"KMF" wrote ...
> What is a record pad and how do I do it?
"pad" in what context?
A "pad" can be a thick felt mat, or a kind of synth voice,
or an electrical attenuator, and maybe even other definitions.
Archived from groups: rec.audio.pro (More info?)
KMF wrote:
> What is a record pad and how do I do it?
If you're referring to analog tape, the record pad is a section of tape
that is leadered off and used for record alignment throughout the project.
--
Eric
www.Raw-Tracks.com
KMF wrote:
> What is a record pad and how do I do it?
If you're referring to analog tape, the record pad is a section of tape
that is leadered off and used for record alignment throughout the project.
--
Eric
www.Raw-Tracks.com
Archived from groups: rec.audio.pro (More info?)
On 5 Dec 2004 06:51:13 -0800, KerkRobbin@aol.com (KMF) wrote:
>What is a record pad and how do I do it? <snip>
The "pad" in analog tape parlance is a section of tape at the head of
a reel on which you can record the originating deck's head and EQ
signature using standard alignment tones (100 Hz, 1 and 15 KHz) for
use on another deck for alignment purposes. Blank time is left in the
"pad" to provide some tape for the engineer using a subsequent deck to
set up his record section to match (well, as much as possible)
azimuth, OPL and EQ with whatever the originating deck had. You
started seeing this in the late '60s, when production would jump from
studio to studio at the dawn of the "multi-track era." Prior to that,
in the dark ages of 3 track, you'd get an opening pad of three
alignment tones and that'd be it, but after copious multi-tracking in
different studios became the norm, the pad was enlarged to provide a
"scratch pad" area when the subsequent studio could play with record
parameters, also. Usually the "pad" is marked off from production
takes with a length of leader, although not always. Hopefully, the
sending engineer would scribble out his tone and pad times on the box,
but many didn't.
How to do it? Well, everyone seems to have their own way of doing
this, usually to the consternation of whoever gets the tape later. I
used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
a 3 minute record pad, then a leader break. I never got too many
complaints from others about that, although some always want a longer
record pad after the line-up tones, some would want more frequencies,
and some would want longer tones. Want to piss off someone down the
line? Give 'em the tones at 5 seconds each and a 30 second record
pad. The problem with doing that for the subsequent engineer is that
it always required a lot of rewinding to get through the line-up, and
unnecessary winding is a bad thing, period.
Usually, guys that would do this or wouldn't send you tones at all
would also be the ones who'd send you a really screwed up
tape...levels all over the map on takes, tracks pushed way into
saturation, lousy head line-up, you name it. I remember getting some
¼" two track "masters" from a certain funk singer who shall remain
nameless that were so screwed up, I sent them back with a note, "Try
again, do it right this time." He wanted them dubbed to ½" 2 trk,
because "that was mo' betta..." Durrrrrrrrr.... His "pad" was 1 KHz
at some ungodly hot level into saturation, and 100 Hz about 15 dB
down...and no azimuth tone at all. No sheet came with them, just some
indecipherable scribbling of song names on the box with no times. The
clown was running his own machines and obviously had not a clue as to
what he was doing. Also annoying were traces of coke dust all over
the reels. He didn't have many hits after that, either, as he had an
extended engagement at Hotel Greybar to attend to.
dB
On 5 Dec 2004 06:51:13 -0800, KerkRobbin@aol.com (KMF) wrote:
>What is a record pad and how do I do it? <snip>
The "pad" in analog tape parlance is a section of tape at the head of
a reel on which you can record the originating deck's head and EQ
signature using standard alignment tones (100 Hz, 1 and 15 KHz) for
use on another deck for alignment purposes. Blank time is left in the
"pad" to provide some tape for the engineer using a subsequent deck to
set up his record section to match (well, as much as possible)
azimuth, OPL and EQ with whatever the originating deck had. You
started seeing this in the late '60s, when production would jump from
studio to studio at the dawn of the "multi-track era." Prior to that,
in the dark ages of 3 track, you'd get an opening pad of three
alignment tones and that'd be it, but after copious multi-tracking in
different studios became the norm, the pad was enlarged to provide a
"scratch pad" area when the subsequent studio could play with record
parameters, also. Usually the "pad" is marked off from production
takes with a length of leader, although not always. Hopefully, the
sending engineer would scribble out his tone and pad times on the box,
but many didn't.
How to do it? Well, everyone seems to have their own way of doing
this, usually to the consternation of whoever gets the tape later. I
used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
a 3 minute record pad, then a leader break. I never got too many
complaints from others about that, although some always want a longer
record pad after the line-up tones, some would want more frequencies,
and some would want longer tones. Want to piss off someone down the
line? Give 'em the tones at 5 seconds each and a 30 second record
pad. The problem with doing that for the subsequent engineer is that
it always required a lot of rewinding to get through the line-up, and
unnecessary winding is a bad thing, period.
Usually, guys that would do this or wouldn't send you tones at all
would also be the ones who'd send you a really screwed up
tape...levels all over the map on takes, tracks pushed way into
saturation, lousy head line-up, you name it. I remember getting some
¼" two track "masters" from a certain funk singer who shall remain
nameless that were so screwed up, I sent them back with a note, "Try
again, do it right this time." He wanted them dubbed to ½" 2 trk,
because "that was mo' betta..." Durrrrrrrrr.... His "pad" was 1 KHz
at some ungodly hot level into saturation, and 100 Hz about 15 dB
down...and no azimuth tone at all. No sheet came with them, just some
indecipherable scribbling of song names on the box with no times. The
clown was running his own machines and obviously had not a clue as to
what he was doing. Also annoying were traces of coke dust all over
the reels. He didn't have many hits after that, either, as he had an
extended engagement at Hotel Greybar to attend to.
dB
Archived from groups: rec.audio.pro (More info?)
In article <cf553486.0412050651.793d7f06@posting.google.com> KerkRobbin@aol.com writes:
> What is a record pad and how do I do it?
"Pad" means a lot of things. What's the context?
A mat under a phonograph record?
A couple of feet of blank tape before the recording starts?
A dreamy, diddly stringy-synthy background sound that drifts around a
musical piece?
An attenuator?
Something to keep your back from getting tired when you're sitting at
the console?
The place where you both live and record?
In fact, just what the heck IS a "record pad?"
--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
In article <cf553486.0412050651.793d7f06@posting.google.com> KerkRobbin@aol.com writes:
> What is a record pad and how do I do it?
"Pad" means a lot of things. What's the context?
A mat under a phonograph record?
A couple of feet of blank tape before the recording starts?
A dreamy, diddly stringy-synthy background sound that drifts around a
musical piece?
An attenuator?
Something to keep your back from getting tired when you're sitting at
the console?
The place where you both live and record?
In fact, just what the heck IS a "record pad?"
--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
Archived from groups: rec.audio.pro (More info?)
"KMF" <KerkRobbin@aol.com> wrote in message
news:cf553486.0412050651.793d7f06@posting.google.com...
> What is a record pad and how do I do it?
You rent buy or borrow a place to live, set up all of you gear and then
invite hep cats and mellow dudes over to record at your pad. ( black
lights, bean bags, bead curtains, and cute girls body painting each other
strewn about can make it a totally groovy scene. YMMV )
John L Rice
Drummer@ImJohn.com
PS - sorry, just having some fun, please explain a little more of what you
are trying to do and we'll be better able to assist you.
"KMF" <KerkRobbin@aol.com> wrote in message
news:cf553486.0412050651.793d7f06@posting.google.com...
> What is a record pad and how do I do it?
You rent buy or borrow a place to live, set up all of you gear and then
invite hep cats and mellow dudes over to record at your pad. ( black
lights, bean bags, bead curtains, and cute girls body painting each other
strewn about can make it a totally groovy scene. YMMV )
John L Rice
Drummer@ImJohn.com
PS - sorry, just having some fun, please explain a little more of what you
are trying to do and we'll be better able to assist you.
Archived from groups: rec.audio.pro (More info?)
In article <znr1102260633k@trad>, Mike Rivers <mrivers@d-and-d.com> wrote:
>
>In fact, just what the heck IS a "record pad?"
It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
In article <znr1102260633k@trad>, Mike Rivers <mrivers@d-and-d.com> wrote:
>
>In fact, just what the heck IS a "record pad?"
It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
> It's the cotton thing that keeps good tape-to-head
> contact on a Uher 4000.
It's more commonly called a pressure pad.
> It's the cotton thing that keeps good tape-to-head
> contact on a Uher 4000.
It's more commonly called a pressure pad.
Archived from groups: rec.audio.pro (More info?)
On Sun, 5 Dec 2004 12:33:32 -0800, "John L Rice" <Drummer@ImJohn.com>
wrote:
>( black
>lights, bean bags, bead curtains, and cute girls body painting each other
>strewn about can make it a totally groovy scene. <snip>
Hmmmm...sounds like American Recording back in the early '70s!
dB
On Sun, 5 Dec 2004 12:33:32 -0800, "John L Rice" <Drummer@ImJohn.com>
wrote:
>( black
>lights, bean bags, bead curtains, and cute girls body painting each other
>strewn about can make it a totally groovy scene. <snip>
Hmmmm...sounds like American Recording back in the early '70s!
dB
Archived from groups: rec.audio.pro (More info?)
In article <covhp2$mkm$1@panix2.panix.com> kludge@panix.com writes:
> It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
I thought that was a pressure pad. Sometimes it could be a play pad.
--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
In article <covhp2$mkm$1@panix2.panix.com> kludge@panix.com writes:
> It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
I thought that was a pressure pad. Sometimes it could be a play pad.
--
I'm really Mike Rivers (mrivers@d-and-d.com)
However, until the spam goes away or Hell freezes over,
lots of IP addresses are blocked from this system. If
you e-mail me and it bounces, use your secret decoder ring
and reach me here: double-m-eleven-double-zero at yahoo
Archived from groups: rec.audio.pro (More info?)
"Mike Rivers" <mrivers@d-and-d.com> wrote in message news:znr1102280969k@trad...
>
> In article <covhp2$mkm$1@panix2.panix.com> kludge@panix.com writes:
>
> > It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
>
> I thought that was a pressure pad. Sometimes it could be a play pad.
>
> --
> I'm really Mike Rivers (mrivers@d-and-d.com)
> However, until the spam goes away or Hell freezes over,
> lots of IP addresses are blocked from this system. If
> you e-mail me and it bounces, use your secret decoder ring
> and reach me here: double-m-eleven-double-zero at yahoo
Are you absolutely certian this isn't a reference to my house?
DM
"Mike Rivers" <mrivers@d-and-d.com> wrote in message news:znr1102280969k@trad...
>
> In article <covhp2$mkm$1@panix2.panix.com> kludge@panix.com writes:
>
> > It's the cotton thing that keeps good tape-to-head contact on a Uher 4000.
>
> I thought that was a pressure pad. Sometimes it could be a play pad.
>
> --
> I'm really Mike Rivers (mrivers@d-and-d.com)
> However, until the spam goes away or Hell freezes over,
> lots of IP addresses are blocked from this system. If
> you e-mail me and it bounces, use your secret decoder ring
> and reach me here: double-m-eleven-double-zero at yahoo
Are you absolutely certian this isn't a reference to my house?
DM
Archived from groups: rec.audio.pro (More info?)
<< Well, everyone seems to have their own way of doing
this, usually to the consternation of whoever gets the tape later. I
used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
a 3 minute record pad, then a leader break. >>
My version, no doubt learned from Steve Guy at Location Recording Service, was
1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
meant no NR, just in case the reel became separated from its box.
Scott Fraser
<< Well, everyone seems to have their own way of doing
this, usually to the consternation of whoever gets the tape later. I
used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
a 3 minute record pad, then a leader break. >>
My version, no doubt learned from Steve Guy at Location Recording Service, was
1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
meant no NR, just in case the reel became separated from its box.
Scott Fraser
Archived from groups: rec.audio.pro (More info?)
On 06 Dec 2004 02:40:25 GMT, scotfraser@aol.com (ScotFraser) wrote:
>My version, no doubt learned from Steve Guy at Location Recording Service, was
>1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>meant no NR, just in case the reel became separated from its box. <snip>
Calibratable "NR" of any kind was a LITTLE before my time. Remember,
this was back when Scotch 250 was a "miracle" tape.
There was considerable disagreement about which highs and lows to use
back then. Some argued that, due to different head geometries, 50 was
too low, as expected reproduce levels at 50 were less predictable than
at 100 between different head makes, but that all machines would be
just as well EQ'd for bass at 100. Still others (including me) argued
that 10 KHz was too low to achieve quick resolution of azimuth for
phasing issues, especially on the tall multi-tracks where gap scatter
was a invariably a problem. Most of what I'd get was 100/1/10, I'd
send out 100/1/15. 15 would be a good way to let the other end know
if their heads were in need of lapping, too!
dB
On 06 Dec 2004 02:40:25 GMT, scotfraser@aol.com (ScotFraser) wrote:
>My version, no doubt learned from Steve Guy at Location Recording Service, was
>1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>meant no NR, just in case the reel became separated from its box. <snip>
Calibratable "NR" of any kind was a LITTLE before my time. Remember,
this was back when Scotch 250 was a "miracle" tape.
There was considerable disagreement about which highs and lows to use
back then. Some argued that, due to different head geometries, 50 was
too low, as expected reproduce levels at 50 were less predictable than
at 100 between different head makes, but that all machines would be
just as well EQ'd for bass at 100. Still others (including me) argued
that 10 KHz was too low to achieve quick resolution of azimuth for
phasing issues, especially on the tall multi-tracks where gap scatter
was a invariably a problem. Most of what I'd get was 100/1/10, I'd
send out 100/1/15. 15 would be a good way to let the other end know
if their heads were in need of lapping, too!
dB
Archived from groups: rec.audio.pro (More info?)
In article <20041205214025.06323.00001090@mb-m26.aol.com>,
ScotFraser <scotfraser@aol.com> wrote:
><< Well, everyone seems to have their own way of doing
>this, usually to the consternation of whoever gets the tape later. I
>used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
>for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
>a 3 minute record pad, then a leader break. >>
>
>My version, no doubt learned from Steve Guy at Location Recording Service, was
>1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>meant no NR, just in case the reel became separated from its box.
I learned to just do 1KC in the broadcast world. It was a few years before I
saw 1K and 10K tones.
These days I put a full tone ladder down. Why not? Somebody might need it
someday.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
In article <20041205214025.06323.00001090@mb-m26.aol.com>,
ScotFraser <scotfraser@aol.com> wrote:
><< Well, everyone seems to have their own way of doing
>this, usually to the consternation of whoever gets the tape later. I
>used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
>for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
>a 3 minute record pad, then a leader break. >>
>
>My version, no doubt learned from Steve Guy at Location Recording Service, was
>1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>meant no NR, just in case the reel became separated from its box.
I learned to just do 1KC in the broadcast world. It was a few years before I
saw 1K and 10K tones.
These days I put a full tone ladder down. Why not? Somebody might need it
someday.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
you guys are generous with the clients tape. I do 30 sec each of 1k 10khz
and 100hz and a one minute pad
--Lou Gimenez
The Music Lab
2" 24track w all the Goodies
www.musiclabnyc.com
> From: kludge@panix.com (Scott Dorsey)
> Organization: Former users of Netcom shell (1989-2000)
> Newsgroups: rec.audio.pro
> Date: 6 Dec 2004 10:25:53 -0500
> Subject: Re: What Is the record pad
>
> In article <20041205214025.06323.00001090@mb-m26.aol.com>,
> ScotFraser <scotfraser@aol.com> wrote:
>> << Well, everyone seems to have their own way of doing
>> this, usually to the consternation of whoever gets the tape later. I
>> used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
>> for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
>> a 3 minute record pad, then a leader break. >>
>>
>> My version, no doubt learned from Steve Guy at Location Recording Service,
>> was
>> 1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>> meant no NR, just in case the reel became separated from its box.
>
> I learned to just do 1KC in the broadcast world. It was a few years before I
> saw 1K and 10K tones.
>
> These days I put a full tone ladder down. Why not? Somebody might need it
> someday.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."
you guys are generous with the clients tape. I do 30 sec each of 1k 10khz
and 100hz and a one minute pad
--Lou Gimenez
The Music Lab
2" 24track w all the Goodies
www.musiclabnyc.com
> From: kludge@panix.com (Scott Dorsey)
> Organization: Former users of Netcom shell (1989-2000)
> Newsgroups: rec.audio.pro
> Date: 6 Dec 2004 10:25:53 -0500
> Subject: Re: What Is the record pad
>
> In article <20041205214025.06323.00001090@mb-m26.aol.com>,
> ScotFraser <scotfraser@aol.com> wrote:
>> << Well, everyone seems to have their own way of doing
>> this, usually to the consternation of whoever gets the tape later. I
>> used to start with I KHz at 0 VU (usually 250 nWb/m back in my day)
>> for 60 seconds, 5 second break, then 100 Hz, break, then 15 Khz, then
>> a 3 minute record pad, then a leader break. >>
>>
>> My version, no doubt learned from Steve Guy at Location Recording Service,
>> was
>> 1k, 10k, 50, then Dolby or a 1k through dbx. Nothing following the 50Hz tone
>> meant no NR, just in case the reel became separated from its box.
>
> I learned to just do 1KC in the broadcast world. It was a few years before I
> saw 1K and 10K tones.
>
> These days I put a full tone ladder down. Why not? Somebody might need it
> someday.
> --scott
> --
> "C'est un Nagra. C'est suisse, et tres, tres precis."
Archived from groups: rec.audio.pro (More info?)
"DeserTBoB" wrote:
> On 5 Dec 2004 06:51:13 -0800, KerkRobbin@aol.com (KMF) wrote:
>
> >What is a record pad and how do I do it? <snip>
>
> The "pad" in analog tape parlance is a section of tape at the head of
> a reel on which you can record the originating deck's head and EQ
> signature using standard alignment tones (100 Hz, 1 and 15 KHz) for
> use on another deck for alignment purposes.
<snip>
Putting it on the tail is probably better. I learned this the hard way when
I let the intern do the alignment on the multitrack for a mix session. For
some reason he decided to do record alignment as well, and apparently didn't
notice the 15 or 20 seconds of leader between the pad and the first song
while recording the bias tone.
The drag for me persoaally about that was that I got fired instead of him
since it was technically my responsibility.
-jw
"DeserTBoB" wrote:
> On 5 Dec 2004 06:51:13 -0800, KerkRobbin@aol.com (KMF) wrote:
>
> >What is a record pad and how do I do it? <snip>
>
> The "pad" in analog tape parlance is a section of tape at the head of
> a reel on which you can record the originating deck's head and EQ
> signature using standard alignment tones (100 Hz, 1 and 15 KHz) for
> use on another deck for alignment purposes.
<snip>
Putting it on the tail is probably better. I learned this the hard way when
I let the intern do the alignment on the multitrack for a mix session. For
some reason he decided to do record alignment as well, and apparently didn't
notice the 15 or 20 seconds of leader between the pad and the first song
while recording the bias tone.
The drag for me persoaally about that was that I got fired instead of him
since it was technically my responsibility.
-jw
Archived from groups: rec.audio.pro (More info?)
John Washburn wrote:
> Putting it on the tail is probably better. I learned this the hard way when
> I let the intern do the alignment on the multitrack for a mix session. For
> some reason he decided to do record alignment as well, and apparently didn't
> notice the 15 or 20 seconds of leader between the pad and the first song
> while recording the bias tone.
Another good reason for putting it at the tail is you don't need to
rewind all the way to the beginning of the reel to do the alignment. If
it's at the tail, you just need to thread the tape and rewind into the
tape about 3-5 minutes, rather than the full 16. Seems trivial, but if
you have a dozen other things you need to get done before a session
starts, the last thing you want to do is sit and wait for tape to rewind.
--
Eric
www.Raw-Tracks.com
John Washburn wrote:
> Putting it on the tail is probably better. I learned this the hard way when
> I let the intern do the alignment on the multitrack for a mix session. For
> some reason he decided to do record alignment as well, and apparently didn't
> notice the 15 or 20 seconds of leader between the pad and the first song
> while recording the bias tone.
Another good reason for putting it at the tail is you don't need to
rewind all the way to the beginning of the reel to do the alignment. If
it's at the tail, you just need to thread the tape and rewind into the
tape about 3-5 minutes, rather than the full 16. Seems trivial, but if
you have a dozen other things you need to get done before a session
starts, the last thing you want to do is sit and wait for tape to rewind.
--
Eric
www.Raw-Tracks.com
Archived from groups: rec.audio.pro (More info?)
On Mon, 06 Dec 2004 20:41:58 GMT, "John Washburn"
<johnwashburn99@nyc.rr.com> wrote:
>Putting it on the tail is probably better. I learned this the hard way when
>I let the intern do the alignment on the multitrack for a mix session. For
>some reason he decided to do record alignment as well, and apparently didn't
>notice the 15 or 20 seconds of leader between the pad and the first song
>while recording the bias tone. <snip>
First rule: READ THE BOX AND/OR SHEET THROROUGHLY BEFORE EVEN
THREADING.
>The drag for me persoaally about that was that I got fired instead of him
>since it was technically my responsibility. <snip>
A rough break, but still, why was he even bothering to line up the
record sections? He should've been told in no uncertain terms,
"Playback line-up only." I've gotten a few tapes now and then with
the pad on the tail, and it makes sense, especially since you get it
tails out, anyway. Communication with assisting tech people is
imperative, sure, but he should have at least known enough to read the
sheet and have a ROUGH idea of how much pad he had to work with. If
he'd known it was a mixdown run, he would've known record line-up
wasn't even necessary in the first place. Another "intern" fave:
line up the machine on the wrong curve. Makes for LOTS of blue air
during the first playback!
dB
On Mon, 06 Dec 2004 20:41:58 GMT, "John Washburn"
<johnwashburn99@nyc.rr.com> wrote:
>Putting it on the tail is probably better. I learned this the hard way when
>I let the intern do the alignment on the multitrack for a mix session. For
>some reason he decided to do record alignment as well, and apparently didn't
>notice the 15 or 20 seconds of leader between the pad and the first song
>while recording the bias tone. <snip>
First rule: READ THE BOX AND/OR SHEET THROROUGHLY BEFORE EVEN
THREADING.
>The drag for me persoaally about that was that I got fired instead of him
>since it was technically my responsibility. <snip>
A rough break, but still, why was he even bothering to line up the
record sections? He should've been told in no uncertain terms,
"Playback line-up only." I've gotten a few tapes now and then with
the pad on the tail, and it makes sense, especially since you get it
tails out, anyway. Communication with assisting tech people is
imperative, sure, but he should have at least known enough to read the
sheet and have a ROUGH idea of how much pad he had to work with. If
he'd known it was a mixdown run, he would've known record line-up
wasn't even necessary in the first place. Another "intern" fave:
line up the machine on the wrong curve. Makes for LOTS of blue air
during the first playback!
dB
Archived from groups: rec.audio.pro (More info?)
DeserTBoB wrote:
> If
> he'd known it was a mixdown run, he would've known record line-up
> wasn't even necessary in the first place.
I beg to differ on that point of view. Even on mix sessions, the machine
should be lined up for recording. It's not unusual for a last minute
overdub to crop up. The extra couple of minutes it takes to do the
record alignment while setting up for the session is worth it. If the
producer all of the sudden gets the idea that "This song really does
need cowbell", the last thing he wants to hear is that he'll have to
wait until the machine get aligned for recording.
--
Eric
www.Raw-Tracks.com
DeserTBoB wrote:
> If
> he'd known it was a mixdown run, he would've known record line-up
> wasn't even necessary in the first place.
I beg to differ on that point of view. Even on mix sessions, the machine
should be lined up for recording. It's not unusual for a last minute
overdub to crop up. The extra couple of minutes it takes to do the
record alignment while setting up for the session is worth it. If the
producer all of the sudden gets the idea that "This song really does
need cowbell", the last thing he wants to hear is that he'll have to
wait until the machine get aligned for recording.
--
Eric
www.Raw-Tracks.com
Archived from groups: rec.audio.pro (More info?)
On Mon, 06 Dec 2004 18:51:44 -0600, EricK <eric@Raw-Tracks.com> wrote:
>I beg to differ on that point of view. Even on mix sessions, the machine
>should be lined up for recording. It's not unusual for a last minute
>overdub to crop up. The extra couple of minutes it takes to do the
>record alignment while setting up for the session is worth it. If the
>producer all of the sudden gets the idea that "This song really does
>need cowbell", the last thing he wants to hear is that he'll have to
>wait until the machine get aligned for recording. <snip>
Point well taken.
dB
On Mon, 06 Dec 2004 18:51:44 -0600, EricK <eric@Raw-Tracks.com> wrote:
>I beg to differ on that point of view. Even on mix sessions, the machine
>should be lined up for recording. It's not unusual for a last minute
>overdub to crop up. The extra couple of minutes it takes to do the
>record alignment while setting up for the session is worth it. If the
>producer all of the sudden gets the idea that "This song really does
>need cowbell", the last thing he wants to hear is that he'll have to
>wait until the machine get aligned for recording. <snip>
Point well taken.
dB
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