Digital Igloo (Eric Klein, YGG)

dbagchee said:
This Will Destroy You is fantastic. If These Trees Could Talk and Russian Circles are another couple cool post rock/metal bands.
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Someone after a gig last year told me that we reminded them of If These Trees Could talk and it was one of my favorite compliments ever. I don't think we sound like them at all but I'd be lying if I said they weren't an influence lol
 
Sigh... "Vocal" as is insatiable.
spawnofthesith said:
Someone after a gig last year told me that we reminded them of If These Trees Could talk and it was one of my favorite compliments ever. I don't think we sound like them at all but I'd be lying if I said they weren't an influence lol
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Oh man, it's impossible to completely purge yourself of your influences. An A&R rep at my sister's company listened to my record and asked her if I'd heard of the band Curve. She responded "yeah, it's been his favorite band since college."
 
Is there a chance there'll ever be a portable stereo HX unit like the Yamaha THR or the Positive Grid Spark? I've got a full-fat Helix and two 12" co-axial floor wedges, but a tidy portable unit for back-room pub sessions with acoustics, ukes, banjos and keyboards would be wonderful.
 
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Hi @Digital Igloo, since Helix has been out for while now, any chance Helix Control or maybe the FBV 3 floorboard could get an update for Sysex messages over USB?
 
ragingplatypi said:
Is there an amp or effect you would like to see modeled that isn’t yet in the Helix?
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Oh yes.

Sleezy E said:
Vocoder
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That's one of 'em, yeah.

CakeEater said:
Is there a chance there'll ever be a portable stereo HX unit like the Yamaha THR or the Positive Grid Spark? I've got a full-fat Helix and two 12" co-axial floor wedges, but a tidy portable unit for back-room pub sessions with acoustics, ukes, banjos and keyboards would be wonderful.
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That's sort of Yamaha's domain, and I don't think either of us would want to step on each other's toes. I could maybe imagine a POD-branded solution at that price point, however. Consumer-level products don't really scream "Helix" or "HX" IMO.

By the way, Positive Grid's Spark is basically what the future of AMPLIFi might've have looked like had we not made a bunch of terrible decisions (and/or had horrible luck) back then. PG was smart enough to read between the lines with AMPLIFi, took the ball, and ran with it. Can't hate 'em for prognosticating; it's been a wildly popular line for them.

Los-D said:
Hi @Digital Igloo, since Helix has been out for while now, any chance Helix Control or maybe the FBV 3 floorboard could get an update for Sysex messages over USB?
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That's totally in my wheelhouse, but SysEx is generally beyond the vast majority of guitarists. Hell, it's beyond the vast majority of studio synthesists these days. I figure if they can't figure out the proper definitions of "hook," "beat," or "stems," they'll never get SysEx. Get off my lawn!

That said, its implementation is designed (entering hex strings from Helix/HX hardware isn't exactly ideal), but admittedly, it's pretty far down the list.
 
Digital Igloo said:
So will I.

COMPLETE MULTITRACKS ARE NOT, NEVER HAVE BEEN, AND NEVER WILL BE "STEMS." The number of mixing sessions completely ruined by the misuse of this term is formidable.
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Tell it to the judge!

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:rofl
 
Digital Igloo said:
So will I.

COMPLETE MULTITRACKS ARE NOT, NEVER HAVE BEEN, AND NEVER WILL BE "STEMS." The number of mixing sessions completely ruined by the misuse of this term is formidable.
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I might be wrong but I always understood stems to be a stereo mixdown of a group of tracks within a full project. Like just the drums for instance. These days people send me their performances (individual vox passes for instance) and they're calling them stems. I dunno now.
 
Even in Orvillain's Reaper example, the user is selecting one or more multitracks and bouncing/rendering them with any embedded effects and automation and the track(s)—which may have been three stacked single mono snare samples repeated 400 times starting at bar 49 with 6 plugins each and meticulous automation—are now a single long stereo file starting at bar 1 with everything burned in. Freezing tracks, on the other hand, maintains the original multitracked audio files and their EDL, plugins, and automation, which is why "Stems" is not called out for those items.

If I'm remixing a well-produced and well-mixed song, I'll ask for stems because they're easier to manage. If I'm mixing/remixing a track with vocal tuning problems, or drum timing problems, or mic bleed problems, I'll ask for multitracks so I can fix things. Oftentimes I'll want to build vocal harmonies that don't exist so I'll ask for stems of everything but the vocals, where I'll request multitracks. (It's much harder if not impossible to Melodyne vocal stems with stacked takes and/or reverb/delay burned in.)

Ten years ago, the client would know what I'm talking about. Now I have to spend 20 minutes explaining the difference between multitracks and stems, purely because of the misuse of the latter term. Mix engineers have had to push sooo many deadlines because stems were sent instead of the requested multitracks or vice versa.
 
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Digital Igloo said:
If I'm mixing/remixing a track with vocal tuning problems, or drum timing problems, or mic bleed problems, I'll ask for multitracks so I can fix things
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Tbf I’d say that this is more in the realm of production than mixing, even though it can be done at the mixing stage.

Usually when I’m mixing, I’d rather carry on from where the production leaves off - if their production has created a particular drum sound or effect, I’d rather start from that (than have to recreate it and it not quite be right). Having plain unprocessed multitracks for a mix is only really useful if the producer has done a bad enough job that they can’t commit to any sounds.

Likewise, more than happy to just receive a stereo bounce of backing vocal layers or harmony stacks if it’s done well.

I don’t really like how the word stems gets banded about for all kinds of different things, but I’m also more than happy to receive groups of tracks summed together if that makes sense to work from. Quite often I’ll mix using a completely wet vocal track, or stereo drums. It’s surprising how malleable things can be even after relinquishing controls of the individual tracks.

If I was working on the production, then I’d absolutely want to full sessions, warts and all.
 
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