Creative Cribs - Alan Meyerson

hello come on in welcome to studio LM at remote control productions otherwise known as my studio I'm Alan Meyerson very nice to meet you this is my co-pilot Monty Meyerson I don't do a mix without them and this is Studio M so come on in so we're excited here because we've just installed our brand-new avid s6 which is a latest in kind of mixing technology it's a it's a huge controller no longer passes any audio but what it does do is it enables me to take massive sessions for example the one I'm working on now which has about 600 tracks in it right there we have one passive Orchestra 2 passes of Orchestra 3 passes of Orchestra and there's two other passes then we're going to pass as a percussion and it enables me to when you have a session of this size to easily be able to get around and to be able to look at any group of faders at any time by hitting a button and the whole thing spills out it's just changed it's changed my workflow completely it's really really flexible and fun to work with so you know I this is sort of the basis of what I'm doing now and I use a TC speakers a TC 100 s with three subwoofers I use one subwoofer which sort of extends the bass frequencies of just the main monitoring system although you would think they would be big enough the way they are actually wanted more and then for film mixing I use two more subwoofers for just low frequency effects and things I just want to send in theatrically to a subwoofer in a theater so and then in the surrounds I'm still using B and W surrounds which is unusual but that's something that I have to eventually change its get it all matching ATC's so this is all brand new but it's still it's it's the world I've been working in for quite a while I'm still a little bit of a hybrid analog digital guy for example all of my orchestral stuff I still pump through my manly eq's even though I have plug-in versions of them it's which sound really really great there's still something about the sound these that is really special something I haven't been able to quite capture really all I'm doing with them is in this particular case I'm just adding a tiny bit of warmth but really all I'm doing is trying to hit the tube and excite everything a little bit just add a little bit more kind of harmonic content to stuff that's very well recorded but it's recorded digitally and still there's something about this it could just be the randomness of it the fact that the tube made not 100% match left to right whatever it is it just creates more depth and it's a little bit more exciting sound for me and then the other place I still use analog is when I do my stereo soundtrack albums from the surround mix is that I do I do i mix down to stereo inside of Pro Tools but then I pump it out and I go into this chain I go from my the first place I go in is my manly very mu EQ with the t-bar mod and the and the high frequency side chain mod and that thing sounds great and the reason and I just use a tiny bit of compression really just one or two DB of compression you see it's a pretty odd setting I'm sort of keeping my gain way down on it because I don't want to hit it too hard and I don't want to add too much limiting when I do soundtrack album there's plenty of places that this thing is going to get compressed and I'm not really trying to do a ton of compression I'm just trying to do a little bit of sound growth and then from there I hit this year this s/o tech esoteric audio research 825 EQ which is an amazing EQ and again I'm really just doing some large sound shaping you know a lot of times it's it's I'm not using it right now but I'll just boost every single frequency band I'll sort of use the four bands to cover the full frequency spectrum from like 60 or 100 down to 41 k 6k and 20 K or twenty six twenty K and all I'm really trying to do is add just a little bit more kind of like friendly gain so I come out of there with a little bit of heat and then from there I go into the Allen smart C one and there is where I might do a tiny bit more impression maybe another 2 or 3 DB of compression and I'm using this gained makeup to get the basic level that I want to hit my stereo soundtrack with which is usually about 3 or 4 DB below maximum zero because from there I'm going to go to a mastering engineer who knows a lot more than I do and let him take the last shot at it because I love collaborating and I love having that last step with my favorite mastering engineers I use Gavin Larsen and Pat Sullivan they're my two favorite mastering engineers depending on the album and I go there and I finish things off the rest of the the rest of the gear my knees when I do a drum kit I still use my needs from a basic drum setup you know kick snare hat toms and overheads I try to keep it pretty simple if I need to go with more mics than that I have I have these two here and I have another set of these and you know a ton of other preamps that I could bring in if I want but basically my for my little overdub room which I have a small overdub room you know eight mics is pretty much all I'm ever going to use so I pretty much have it covered and then these two the summit compressors I just use if I'm doing vocals or guitars and I want and I'm recording and I wanted tiny bit of compression or again just sort of some gain control I'll put it through there just as another kind of stop in the pathway keeping it very very simple and you know from the days in my old days where I used to use ton of analog gear this is sort of when I'm down to when I'm working in here in my room which is primarily a mix room but when I do do overdubs I try to keep you pretty simple I do a lot more stuff in the box there's so many great plugins now there's so much great sound making that you can do with plugins that I do a ton of that and I still use some outboard reverb I have my six per cast ease I guess people know that I sort of embraced the brick asti sound pretty well and I got six of those puppies and I still have a bunch of four 80s and 960s but I use a ton of plug-in reverbs and most of the compression and EQ I do now I do in the box simply because well first it sounds really great you know now no compromise at all in my opinion this one guy's opinion that I'm not compromising anything anymore and the flexibility of the recall ability of it so when I do use analog gear what I do is I set it to one setting and then I don't change it for a project and that way when I need to recall stuff which I'm constantly doing you know that's mixing is no longer linear you know it's no longer start a piece then finish a piece then start the next piece of finish the next piece basically you you know you mix you put it away you make something else you put it away you come back to it you build your sound and then you start playing it for the people that you need to get approval from so that's the way I like to work now and I think that's one of the beauties of modern you know music making is the fact that you can really sort of build your house and then go back in and repaint the walls and stuff like that so so that's really it I mean it's it's a pretty simple space you know on the walls instead of putting up gold records and awards I'm not really that comfortable with that stuff I have the scores from some of the films I've worked on this was the Last Samurai and it was signed by the the star of the movie ken wantanabe and then over here I have the score from Tron which is signed by the Daft Punk guys and then that one is gladiator signed by Ridley Scott and and then this over here is I used to work I worked for many years who's sort of my musical mentor my musical father Herb Alpert and he that's a painting that he painted and when I built the room he offered me he said if you got a spot for me I got a painting for you when he gave me that painting and other than that you know I do have a little bit of memorabilia some some baubles you know a couple of Grammys which are nice and a couple of awards and my constant love from Miles Davis if you look around there's lots of stuff about Miles there are lots of stuff about jazz sort of where I grew up and and how I started getting into music and that's really it that's the life of Allen in studio m so thanks very much and keep listening you

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Length: 9min 17sec (557 seconds)

Published: Mon Feb 22 2016