Recording - June 2020 - 18

FORGING
THE

EXOTIC

with Richard Devine
So, rather than just recording section-bysection or patch-by-patch and stitching it
together later in the DAW, you're literally setting
up and performing whole songs all at once?
It's exactly that. I wanted it to sound very organic. I felt like this last
record had a much warmer organic sound to it because it was all
done with control voltages and tweaking with my hands, and listening with my ears rather than using a mouse and clicking on a timeline.
When you're working in just a DAW, you start to make decisions
based on what you see and not necessarily what you hear. You can
see that something is 32 measures long, and your eyes tell you where
something has got to happen. I would program something there in the
timeline just because I see it-not really paying attention to carrying
out an emotional experience for the listener. Sometimes your tools can
mislead you. You have the same templates, you can recall channel
strip settings at the click of a button. You don't find yourself experimenting as much because it's just so easy. What I like about modular
is that you have to start fresh. No presets-once the patch is pulled,
that's it. You either record it at that one moment in time, or you lose it. 

There's no undo button.
No undo button. It's almost like you have this ghostly entity
that you've caught for that one moment in time, and before it's
gone, you have this one chance to capture it. That's the thrill!

You use field recordings and samples.
What gear do you use out there?
My main rig right now is a Sound Devices 788T recorder,
and I also use two Sound Devices 442 analog mixers, especially if I'm recording guns or really, really loud sounds, like
explosions or that sort of thing. They have Lundahl transformers
and these old analog limiters that I just can't live without.

What do you use for mics?
I've got a huge collection of mics.

I think it's refreshing to hear an electronic
music guy say, "I've got a huge mic collection."
A lot of people are like, oh, he's the synth guy, but I've probably got 50 or 60 different mics now. I've been big into ambisonic
recording lately. I've got the TSL Soundfield ST450, the Sennheiser
AMBIO VR mic, and the RØDE NT-SF1. If I'm just doing stereo, I
use a lot of Sennheisers like the MKH 8040 and 8050. I love the
8040 in an ORTF configuration in a Rycote blimp, and usually,
when I do shoots I'll do multiple setups and use a second set
in X/Y. They have a great extended range that goes to about
40 or 50kHz, so they're great for recording sound effects. I do
a lot of work on video games, and I do a lot of pitch shifting.
So, I'll take a high sample rate capture and shift it down in
18 RECORDING June 2020

Sound Miner or WaveLab. Another favorite mic that I've been using a lot is the Sanken SC100. That mic is super macro detailed
and goes up to 100kHz. It's really awesome for creating creature voices. Then there's the old classic Neumann RSM 191. It's
a mid-side shotgun microphone that has a decoder box that can
switch between X/Y or M/S and adjust the degree of the angle.

How do you deal with the biggest enemy
of field recording-environmental noise?
iZotope RX 7 Advanced, it's open on my computer constantly,
every day, no matter what. Right now, with the quarantine going
on, I've been going out and doing a lot of field recordings-
no airplanes, motorcycles, highway noise, or other stuff that I'd
generally have to battle it out with. No matter what, I always
have a recorder on me-a Sony PCM D-100, which is a small
handheld recorder that can record at 24/192, and the built-in
microphones actually sound really great.

So, once you have your sources and
patches, when it's time to record, do you
multitrack those, or are you just capturing
a stereo take into the computer?
I multitrack it. I have two modules by a company called N2WS.
They convert 16 modular signals to balanced line-level outputs via
two DB 25 cables. I have two of these modules in my mixer case,
and I can take 32 outs from my modules, and each one of those
will be recorded as a separate stem. These connect to two Universal Audio Apollo x16 interfaces for tracking. Input one might
be the kick sound, input two is the snare, three might be some
weird percussion sound...sometimes I do subgroups of stuff like
weird spectral or granular effects or bass sounds. I try to keep the
signals separate as much as I can, get a good premix with the UA
Console app, and then capture it as clean as possible.

Once it's in the box, then what?
Then I have two Dangerous Music Convert-8 D/A converters
where I can split out the stems, and I'll play those through the
Dangerous Music 2-BUS+ analog summing mixer. I have that
chained to a 2-BUS LT, so if I wanted to, I could mix out 32
channels, but generally, I'm about 16 to 20 channels.
When I used to work just in the computer, I'd have like 60
tracks, but lately, I've been trying to do more with less.

How do you integrate the analog
compressors and EQs you mentioned earlier?
I have all my outboard gear hooked into a Flock Audio
Patch. It's a digitally controlled analog patch bay that uses software for routing. I can drag and drop any of those pieces of
hardware anywhere in the signal chain.



Recording - June 2020

Table of Contents for the Digital Edition of Recording - June 2020

No label
Fade In
Reviewed & Revisited: Steinberg Cubase Pro 10.5
Soundware Showcase: EastWest Hollywood Pop Brass
First Look: Universal Audio LUNA
Forging the Exotic with Richard Devine
Plugin Outlet: Nugen Audio SEQ-S Linear Phase Spline EQ
Reviewed & Revisited: Pro Tools 2020
That One Effects Plugin, 2020 Edition: Reverb and Delay
Plugin Outlet: Arturia FX Collection
AMS Neve RMX16 500
Inside the Box with Joe Albano: The DAW: When Less Is More
Solid State Logic SSL 2+ USB Audio Interface
Reviewed & Revisited: RME Babyface Pro FS
Plugin Outlet: PIO: oeksound soothe 2 dynamic resonance suppressor
Inside the Studio with Mark Hornsby: Mixing Nick D’Virgilio’s new album, Invisible
Soundware Showcase: Spitfire Audio: Ólafur Arnalds Stratus
Plugin Outlet: Baby Audio Comeback Kid Delay Plugin
Merging Technologies MERGING+ANUBIS
Once Over: Joule JouleBar Compact Power Strip
Readers’ Tracks
Considering a Keyboard-Based Studio
Advertiser Index
Plugin Outlet: IK Multimedia Sunset Sound Studio Reverb
Fade Out: Favorite DAW? Pshaw! Why choose only one?
Recording - June 2020 - Intro
Recording - June 2020 - No label
Recording - June 2020 - Cover2
Recording - June 2020 - 1
Recording - June 2020 - 2
Recording - June 2020 - 3
Recording - June 2020 - Fade In
Recording - June 2020 - 5
Recording - June 2020 - 6
Recording - June 2020 - 7
Recording - June 2020 - Reviewed & Revisited: Steinberg Cubase Pro 10.5
Recording - June 2020 - 9
Recording - June 2020 - Soundware Showcase: EastWest Hollywood Pop Brass
Recording - June 2020 - 11
Recording - June 2020 - First Look: Universal Audio LUNA
Recording - June 2020 - 13
Recording - June 2020 - Forging the Exotic with Richard Devine
Recording - June 2020 - 15
Recording - June 2020 - 16
Recording - June 2020 - 17
Recording - June 2020 - 18
Recording - June 2020 - 19
Recording - June 2020 - Plugin Outlet: Nugen Audio SEQ-S Linear Phase Spline EQ
Recording - June 2020 - 21
Recording - June 2020 - Reviewed & Revisited: Pro Tools 2020
Recording - June 2020 - 23
Recording - June 2020 - That One Effects Plugin, 2020 Edition: Reverb and Delay
Recording - June 2020 - 25
Recording - June 2020 - 26
Recording - June 2020 - 27
Recording - June 2020 - 28
Recording - June 2020 - 29
Recording - June 2020 - Plugin Outlet: Arturia FX Collection
Recording - June 2020 - 31
Recording - June 2020 - 32
Recording - June 2020 - 33
Recording - June 2020 - AMS Neve RMX16 500
Recording - June 2020 - 35
Recording - June 2020 - Inside the Box with Joe Albano: The DAW: When Less Is More
Recording - June 2020 - 37
Recording - June 2020 - 38
Recording - June 2020 - 39
Recording - June 2020 - Solid State Logic SSL 2+ USB Audio Interface
Recording - June 2020 - 41
Recording - June 2020 - Reviewed & Revisited: RME Babyface Pro FS
Recording - June 2020 - 43
Recording - June 2020 - Plugin Outlet: PIO: oeksound soothe 2 dynamic resonance suppressor
Recording - June 2020 - 45
Recording - June 2020 - Inside the Studio with Mark Hornsby: Mixing Nick D’Virgilio’s new album, Invisible
Recording - June 2020 - 47
Recording - June 2020 - 48
Recording - June 2020 - 49
Recording - June 2020 - Soundware Showcase: Spitfire Audio: Ólafur Arnalds Stratus
Recording - June 2020 - 51
Recording - June 2020 - Plugin Outlet: Baby Audio Comeback Kid Delay Plugin
Recording - June 2020 - 53
Recording - June 2020 - Merging Technologies MERGING+ANUBIS
Recording - June 2020 - 55
Recording - June 2020 - Once Over: Joule JouleBar Compact Power Strip
Recording - June 2020 - 57
Recording - June 2020 - Readers’ Tracks
Recording - June 2020 - 59
Recording - June 2020 - 60
Recording - June 2020 - 61
Recording - June 2020 - 62
Recording - June 2020 - 63
Recording - June 2020 - Considering a Keyboard-Based Studio
Recording - June 2020 - 65
Recording - June 2020 - 66
Recording - June 2020 - 67
Recording - June 2020 - Advertiser Index
Recording - June 2020 - 69
Recording - June 2020 - Plugin Outlet: IK Multimedia Sunset Sound Studio Reverb
Recording - June 2020 - 71
Recording - June 2020 - Fade Out: Favorite DAW? Pshaw! Why choose only one?
Recording - June 2020 - Cover3
Recording - June 2020 - Cover4
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