LEARN - Everest 701
Internal vs External
True Audio Master Clock
Back to Tokyo and back to sonic dream. Abendrot got me in studio to try out some gear, still primarily the Everest 701 clock unit, the same one I tested out on past May actually. This time thou I put my teeth on the real deal, meaning A/B'ing between this unit and the Pro Tools HD internal clock on a recording session...! In order to put this to practice I went to the SSL studio where they invited an (exceptional) acoustic duo to track one tune live, different times, using different clock units at every run.
The mic set up itself was easy albeit very effective sound wise: I put a Bock Audio 251 on vocal and for the guitar (not really a studio rich guitar but more like a performance guitar, pretty thin on the bottom end) I use my preferred close mic'ing technique, meaning a condenser mic Ear Trumpet Labs Edwina on the 12th fret, very close to it, and an Neumann M-149 on a player perspective position (basically besides the player's head on the right side facing downward with a little angle to the guitar top).
Pro Tools HD Internal 2mix : DOWNLOAD
Abendrot Everest 701 External 2mix : DOWNLOAD
Pro Tools Session File : REQUEST
Note: Each of 2mixes and session data should be playbacked on original master clock for the maximum quality. D/A quality is also adapted its master clock.
Again I was very keen to hear what it would happen so we tracked and when we started to A/B playing back... "bam", the truth! And the truth was that the sound was completely more opened and wide broadband with the Evergreen clock, no doubts about it. I also add some regular plug-in reverbs to embellish the guitar and the vocals and even on that the Evergreen unit made the tri-dimensional space truly happening, giving me and the audience around me a real sonic experience.
Like icing on cake, the very last "toy" of the day to play with was the 2-channel Analoguetube AT-101 Fairchild 670 replica which I inserted on the warm acoustic guitar mic track (the M-149 one) and on the vocal track. By varying the time constant control I could emphasize some 5-6 KHz on the vocals (something you may need on really low end male vocals with flushy attack, for instance) but also some interesting mids; on the guitar track I was happy with all different time constant settings, getting nice and controlled low-mids, giving me back what I was trying to get from the guitar in the very first place, meaning a warm body in a very natural fashion.
Recording Engineer - Enrico 'Kikko' Sesselego : http://www.sesselego.com/
Vocal – Hiromi : http://hiromi629.wixsite.com/hiromi
Acoustic Guitar - Mikio Fujioka : https://twitter.com/mikio158cm
Witten by Hiromi, Original song arrangement by Toshimitsu Dobon Tanaka
Abendrot Everest 701 : http://abendrot-audio.com/everest701/
Analoguetube AT-101 : https://www.analoguetube.com/
P.S. Guitarist, MIKIO FUJIOKA (Baby Metal) passed away about a month later of this session, 5th Jan 2018. We depressed on his bad news and very much hesitated to share this session. We heard his family wants all of us to share what has done for music in his brilliant life. We really appreciate we could have such a wonderful session with him. We believe it will contribute the future of sound music makes better world. Many Thanks, Mikio-san. Rest in Peace.