On the Digital Edge

After a hiatus that began in February 2011, work has returned me to Las Vegas and the 4,082-seat Colosseum Theater at Caesars Palace, where I spent the better part of three years mixing FOH for Cher and Bette Midler. This past month, rehearsals for Shania Twain’s new Still The One show commenced at Solotech in Las Vegas. Ten musicians and three singers will be joining Shania onstage, and sheer numbers are making things very cozy right now in the 45-by-50-foot rehearsal room we now occupy. The Solotech staff has been incredibly helpful and accommodating while our entourage has nearly overrun their facility. This is a fantastic conglomeration of musicians and vocalists, and many of Shania’s amazing songs already sound show-ready after less than two weeks of work.

At the end of last month’s column, Five For Fighting’s John Ondrasik and I had been saved from a stranding in Minneapolis by a quick thinking, fast-talking travel agent who somehow resurrected our accidentally-canceled reservations from the digital trash can at Delta Airlines. A routine, uneventful flight home to LAX on the following day was exactly what we needed after the stresses caused by the previous day’s travel panic.

Since I made the choice to migrate from analog consoles to a digital platform, something that’s become increasingly clear to me is the requirement to be even more selective and judicious in my microphone choices. I believe it’s reasonable to conclude that the process of digital conversion after the mic preamp is maximized when the processor engine is provided with the highest possible degree of useful detail from the transducer. In the last six years, I have been adding more and more precision high-end condenser, ribbon and dynamic microphones to the James Taylor show’s input list.

We have recently completed James Taylor’s 2012 European tour, and I am writing this column while kicked back in a comfortable London hotel room, enjoying a couple of days of R&R. My flight home from Reykjavik to LAX was routed through Heathrow (yes, really), so I decided I would do two things. First, I spent two extra days in Iceland sightseeing with my friend (and JT monitor engineer) Rachel Adkins. It was the first time either of us had been to Iceland, and we each figured that we might never get back there. It is a starkly beautiful country, and we enjoyed every minute we spent there exploring the island. Second, I jumped ship in London and took a little time to myself. Everyone in our business deserves a little pampering once in a while.

Today is Friday the 13th, so I guess it’s only fitting I’m writing Part 13 of these Waves plug-in reviews. I’m also guilty of distracted writing, because the NHL Stanley Cup playoffs have begun and I am hopelessly addicted to both playing and watching hockey. My Los Angeles Kings are definitely a long shot, but they won their first game on the road against the mighty Vancouver Canucks and are playing up there again tonight.

Greetings from Ancona, Italy, located on the beautiful coast of the Adriatic Sea! This latest installment of this column is the twelfth of these reviews describing my experiences with Waves plugins. This year seems to have gone by very rapidly.

This afternoon, at rehearsal for an upcoming concert showcasing the release of his new CD, Joe Walsh watched me struggling to remember the correct keystroke sequence for taking a screen shot on my Avid VENUE console. Joe asked why I needed the screen shot, and I told him that for the past 10 months I had been writing this column about Waves plugins for FRONT of HOUSE magazine. He then asked which particular plugin would be the subject for this month’s entry. My answer was that I would be discussing the Renaissance Reverb that we are currently using on background vocals.

Last month, I wrote about my positive experience with the Waves CLA-2A plugin (FRONT of HOUSE, Jan. 2012, page 39). The excellent results obtained from using that emulation encouraged me to try another studio classic compressor that Waves modeled from the personal collection of Chris Lord-Alge. The CLA-3A plugin is derived from the much-revered LA-3A compressor. This solid-state unit employs the same T4 optical attenuator found in the LA-2A. However, the sound of the original LA-3A is more transparent and punchy when compared to its warmer, thicker tube-driven cousin.

In previous columns, various Waves plugins that I use on vocals, horns, violins, electric guitars, bass guitars and drums have been discussed. By now it should be apparent that I like to use a lot of compressors. This current entry will focus on my compressor of choice for the acoustic grand piano: the Waves CLA-2A Classic Compressor.

Okay — I will freely admit it.  There are some processors from my real-world rack of outboard gear that I have been missing since adopting the Avid VENUE mixing platform and then choosing to fully embrace the digital domain by relying exclusively on plugins rather than hardware.  One absent, and very much missed unit, was an easy-to-use, musical-sounding tap delay.  For years, I had been accustomed to having to having one and, quite often, two tc electronic 2290 delay units that I dedicated to lead vocal effects. One would be set for a fairly tight delay time in the 160ms range and returned at a low level to add just a bit of resonant depth to a vocal.  The other 2290 was customarily designated for longer delays, utilizing programmed special effects presets that I would change with a remote MIDI keypad.