Pedal steel Sessions
Every year I carry out sessions for many artists, sometimes I move around, but most of my work is done remotely and in my home studio. Now with clouding and computer software power the responsiveness and flexibility are really impressive.
Most of my configuration is centered around a Pro Tools HD system, an Antelope interface on a dedicated station with a Trident compressor préamplifier and home made tube DI box. Few plug-ins, but only good ones upstreaming an analog audio chain with everything I like to hear when I play!
The more important on a pedal steel is the impression of accuracy that the instrument gives to you (once properly adjusted of course), it must be organic, the friction is light but far in the additive harmonies. I cannot explain this, the placement and especially the practice allow us to achieve this organic accuracy, like the violin in short.
I choose several configurations depending on what I should or have to do.
Solo exemple on my Mullen G2
-Protools HD-recording up to 24/192-Antelope discrete 8 DAW-Oram Trident préamp compressor-Akg 414, Schoeps mic.
Files delivered (Mono and/or stereo): Mic/Room mic/Tube DI/Effects/-Reverb wet/Dry...
Final tracks can be provided in the following formats:
- 8,16,24,32 bits.
- 44,100 Hz, 48,000 Hz, 96,000 Hz, 192,000 Hz.
- 2.1 to 7.1 & subs
Note: The worldwide CD and digital standard are 44,100 Hz. This means that for every second, there are 44,100 samples played. The higher the sample rate (the number of "snapshots" of sound taken per second), the more precise the analysis and encoding of music into digital data will be. The sample rate affects the range of audio frequency from the lowest to the highest tonal value that can be stored.
The whole sound chain has been an obsession for me since I started doing this job. Through my various past experiences as a sound engineer, and even if now i spend more time for musicality i always was fascinated by the technical possibilities that constantly evolve materials bring. Here I will present in detail my pedal-board, my amplifications and the way in which I envisage the signal path, the options that I have chosen to implement and the numerous experiments (HP, chaining ....). Enjoy!
The rebels of Tijuana - Alexis Kacimi - Romain Dehusses - Rhesus - Babet (Dionysos) - Brother Roger - The green flamingos - Cheap Star - Daddy O Velvet - Dallas Puppen - Duster 77 - Eight Sins - Elevate newton's Theory - The Posies - Mathias Malzieu - Evohe - Flashfalcon - Flop - Foes & Darlings - Gilles Appap & friends - Home Taping - Eric Ferrand-N'Kaoua - It came from beneath - Moonjackers - Andy - Telemetric - Les Wagonaires - Melk - Septime - Naveed - Night Buzz (Berberian-Denis) - Yes i - Root's secour - Ninety One - Moka - Oboken - Paloma - Pokett - Le bal zinzin - Radiobargain - Rodeo massacre - Schwere artillerie - Lassina Scotty Touré - Crooner mic action - Melchioreto - Neve - Stereotypical working class - Honeymen - Rom-Temper - The wise guys - Add - COREAM - Minimum serious - Zozophonic Orchestra - Jswing orch - Vesperland - The pusseaters - Oakx - Wielfied - Mango Gazzi - Jpex - Kipling - José & the wastemen - Didier Boucher - La fanfare de cornemuse - Tim Hurley - Duo baroque - Ramiro Calderon - Andy - Pedro Leal - Pierre Henry Michel - Louisville - Thousand - Pauvre glenda... & Some line dance stuff that I'm not proud of...