Jump to content

Bob Drake

Samplitude Members
  • Content Count

  • Joined

  • Last visited

About Bob Drake

  • Rank
    Professional Member
  • Birthday 12/06/1957

Contact Methods

  • Website URL
  • ICQ

Profile Information

  • Gender
  • Location

Recent Profile Visitors

736 profile views
  1. Hey I forgot all about this thread! Thanks to those who have responded! Kraz: It's nice that you hear a Nice influence...because I actually don't know them at all! Though I'm certainly aware of Keith Emerson. Bolibolubab: Wonderful comment, thank you. MadeByRon: Thank you, glad you enjoyed it! Bob www.bdrak.com
  2. Hi Phil - the "fake Leslie" can really sound pretty good, I think the important thing is to get the actual cyclical, physical movement. I find it much more satisfying than an electronic chorusing or similar effect. Of course if I ever manage to get a real Leslie I'll be even happier!
  3. Just discovered "The Listening Room" here. Oh gosh...Always happy to inflic...oh, I mean share my stunningly awe-inspiring meisterwerks with others! Everything of mine post-1998 is recorded/mixed in Samp. These are all solo pieces where the only person involved is me, me, me, playing, singing and engineering. No samples or grids or virtual anything by the way. On this page, try "Acting Bears": http://www.bordebass...lo-archive.html From my 2011 album Bob's Drive-In: http://www.bdrak.com/sounds/drive-in.html After Drive-In I wanted to do an "overproduced album" so I did Lawn Ornaments: http://www.bdrak.com/sounds/lo.html Enjoy them! I love hearing what others do with Samp.... Bob www.bdrak.com
  4. oops sorry, I posted in your thread by mistake, Phil! I moved it to the "Listening Room" as a new topic instead.
  5. Interesting topic. I'm going on 57 and been recording/mixing bands and myself since the early 70's. Like you Irvin, I went through the sudden change to digital - more and more digital things just showing up in the studios and no one telling us anything about how to use them..I'll never forget when I mixed to a DAT for the first time and the studio manager came in and said "just saturate the input levels real good"!!! Anyway, I left the studio scene in 1994 before computers really had come into it, and since then have only worked at home. I used ADATS for a couple years until my first DAW which was Samp 2496 back around 1998 (?) and since then I have learned to be perfectly comfortable in "seeing" what I'm working on (edits, crossfades, curves of any kind etc) and still always let my ears decide, and even so, I'm frequently listening while not looking at the screens. Often when I've got a "client" sitting next to me, and we are doing an edit or crossfade etc, I can tell right away that they are sometimes paying more attention to what the edit "looks like" rather than the sound, which makes them believe they can hear it. When I know it's because they are looking at it, I roll back a bit before the edit, hit play and minimize Samp so there is nothing on the screens. Usually that results in "hey where was the edit?!" I am not much of an EQ user, most of my mixes apart from high or lowpass here and there, are EQ-free, but I can understand when doing additive EQ and seeing the curve going up, part of me wonders if I ought to be noticing more of a change than the visual representation could account for, and makes me feel I ought to be a tad more conservative although the ears win out 100% of the time. It's not only because of aging ears either, I still find so many mixes sent to me for mastering sound much too bright, and in my own work you will still never see high frequencies being added - always the opposite if anything. So, yes, it's a very interesting psycho-acoustical phenomena! Or is it "phenomenon", I never remember... Bob www.bdrak.com
  • Create New...