Hi everyone! Here's some info about me:
---
With a diverse career in audio, Cato has worked on everything from traveling Broadway shows, to Super Bowl commercials, to working with numerous Grammy winners. She currently works full time as an audio engineer and music producer, specializing in indie cinematic pop music. She is the head engineer at Lost and Sound Foundry, a boutique studio in San Diego that she is proud to have recently opened after years of working in larger commercial studios.
She recently graduated from Columbia University, getting straight A’s (not even a single A minus!) while earning a masters in Music and Music Education. During her time there, she worked for Columbia University as an applied studio music instructor, teaching digital composition and audio engineering to a few students each term. She was also hired as a TA for her program advisor for two semesters in a row (her final two semesters).
---
linktr.ee/catonoise
Contact me: [email protected]
Пікірлер
diddy party
My favorite trick, back in the day, was to run a tape to pre-delay the send to the plate (EMT 140) or the spring (AKG BX-20) simulating the back wall scatter of a hall. Distance between record and play head gave the delay. Could get the slap in tempo by vari-speeding the tape. Then the studio bought a 250 (and 251) and the universe changed.
Oooooh, I wish I could've been in the room for that!
❤❤❤❤
this was very helpful thanks
Also, has that studio ever recorded/mixed your type of genre? I worked with a studio that was owned by someone that played in a famous band in my area. I suspect, this studio had only recorded rock/metal because they didn't know how to mix in the congas or timbales. After the band decided to pay for extra studio time that night, the tech says "We can't have the studio run late because of the apartments next door." And everybody that heard the final mix said you couldn't hear the congas and the bass was too boomy. Never went back to that studio.
Oh yeah, that's a good one! And you're right: the genre thing also applies to the studio, and not just the engineer. That's too bad about your experience with that studio, I'm sorry to hear that happened.
I've always found it odd when the studio's set up time is within the session timeframe.
I’m glad I’m not the only one that thought this.
Yeah, I like to see it included, but the other side of that is that if you expect them to set up for you outside of your studio time, that often translates into asking them to run setup for free - and depending on how much time you've booked with them, and how much setup you require, that may or may or may not be worth it for them.
You can also look at this as… the bulk of what you’re paying a studio to do is accomplished during the setup. This is the time an engineer takes care of the technical stuff a musician would rather not. The workload during tracking is relatively light in comparison.
@@jamesseabrook3631 To some extent, yeah, I think I agree. But I also think a good engineer will actually be doing a lot during tracking too - it's just a different type of workload really. So for example: I listen critically and will coach my clients on performance and use some psych tricks to help them get a better performance, while also taking notes on takes, prepping and sometimes doing quick comps as we go - plus organizing the session, doing basic editing as we go, queuing up processing so it's ready to go when they walk back in, and more. Depending on the genre, this will often look a little different, but I think a good engineer does a lot during the recording process so that things will be as far along as possible by the time you walk back into the control room.
@@CatoNoise I understand what you're saying, and I don't mean to discount the work we do during tracking. It is very involving and engaging, especially if we are also wearing the producer hat. However, musicians tend to dismiss the time they aren't actually playing or performing as less relevant. It's a constant conversation I have with clients helping them understand why setup/soundcheck time is just as valuable and therefore deserves to be considered "part of the session." I suspect @englishoakrecording has never actually worked in a studio that was booked 24 hours every day in 8 hour blocks and doesn't fully appreciate what the studio does for it's clients. :) More conversations like this are hugely beneficial to that understanding.
Thankyou Cato, appreciate this 🙂
Thanks - I'm glad you liked it ^_^
So I CANNOT find a single video on a similar but different issue - playback somehow always starts at the beginning of the track for me now, where it started at the cursor or my pre roll selection. I cannot for the life of me figure out what I've done to cause this. I know this vid is a year old but hopefully you'll see this and have a quick answer. All your vids are great. Thank you! Solution - (for anyone who may have the same idiotic thing happen to them) I had flipped my counter to minutes and seconds to I guess, check the length of my track. I didn’t realize pre and post roll follow that. So I was setting pre roll at 2 thinking that was 2 bars but it was 2 fucking minutes I am an imbecile and I will go die now thank you
do you have pre-roll on by accident maybe? Try pressing command K and see if that fixes it. LMK if it works, and if it doesn't we can try to figure it out.
@@CatoNoise with pre roll off it starts at cursor. I got that going last night. Now I can’t get the pre roll to work. Someone suggested I actually hit command k and that worked where clicking pre roll in the transport to turn it off didn’t. But now it’s either start at cursor or it starts at the beginning when I turn on pre roll. Grid is set to bars and beats, pre roll set to 2 bars, always goes back to the beginning of the song. Facepalm.
@@CatoNoise to confirm, pre roll is bars | beats | ticks, correct? There is no way I could have changed those values by accident? That is literally the only thing I can think of. That I’ve somehow changed it to min | sec even tho the grid is set to bars / beats.
@@CatoNoise hey don’t stress it. I have a “guru” but he wasn’t available til this weekend. I just thought I was going to lose my mind with this before then. He’ll get me squared away on a zoom call. Cheers. And thanks for the response :)
THANKS
Please do a mix unsing on;y the tascam model 16 with the Mtr switchtshes to the right and a misxdown on the tascam model 16. It would be so helpful for thothers who have this mixer board. I have one, and I love it.
Would this be the same process when time aligning a Dolby Atmos speaker array?
I ditched Reverb 8 years ago. I do fine on my own.
f yeah
Lower voltage will not be a problem as long as it is within the operating range of the unit...if the voltage is lower than the voltage regulator can handle, then there will be problems
I sold my album on RN and I tested this theory they paid me out for my album sales 5 days later and it was 200 dollars. So idk I guess everyone has a different experience. I don’t believe the whole ranking system is real on reverbnation . I agree with you 100%
I have a 414 portastudio Tascam that pretty much gave out on me I had it for 20 years and just as well it quit on me since its such a headache to get cassette tapeS I understand this 16 records to an sd card I can get those I dont have a computer but this could work for me if they are still selling Some of these models are introduced and then obsolete in 3 months🤔
I've been banging my head against the wall for far too long. At least the neighbours came by to say hello. Thanks for your help
I like this format!
I didn't and couldn't explain the difference between analogue and digital and real audio, but you did. i owe you atleast a dollar!
Like Like like😭
Do you know of any other board besides the Tascam Model line or the SSL BIGsix that has a usb direct connection per track? The BIGsix can work in 96K, but it's over 2500$US. I wasn't aware of the Tascam Model line having that capability until recently! It's been a year since you made this video, so how is it going? Are you still using the 16 or have you moved up to the 24 yet?
Enjoyed the video. First of yours ive seen or had recommended, subbed hoping for more.
This channel is really good. Finally the KZread gods like me
really glad the algorithm brought me here. love this historical stuff, very useful for people who never leave the house LOL
I really like this content. The history is great.
I really love this content! I hope you could continue with historical videos.
You're a boss, thanks Cato!
I do have a recommendation, come home to me, live with me and let's make some wedding plans. Oh my, you're so cute, you takes my breath away.❤
I like you. I love your eyes and your personality so much. I wouldn't know how to stop hugging you.
Oh my, your face is fire hot. ❤
Your explanation was super clear. I’ve been using ProTools for 25 years, and I learned a couple new things from you video.
Love this Cato Noise! The other day, my Eucon device kept closing a plug-in automatically before I was done. This is a "preference" that I have set up. But on this particular day, I didn't want that I remembered this tip from you. I clicked on "the little red square," and voilà!!
Let's hear the result then :D
Thank you ❤
///// how can i equalize the channel /13/14 of the bluetooth device ????? greetings from Perú ////
Hey! This was super helpful - love being able to use Pro Limiter Loudness Analyzer as an offline process... such a time saver! Thanks for taking the time to explain that AudioSuite occurs at the "clip level" and is not affected by volume fader or audio inserts. As you mentioned, there are great use cases for this. Sometimes if I want to check if an audiobook / podcast / long audio file has any points of clipping, this is such a quick way to find out! Cheers.
For starting out, any job would do. Just to get experience
Thanks!
You can also sidechain verbs and other FX, depending on whatever you want the focus to be on. Kick ass and I hope the new job is a great one!
Good, informative video. I have the Model 12. I think MTR is Tascam’s abbreviation for “multi-track”. But I think of it as “monitor” for playback from the SD card as you said. The mystery to me is why there isn’t a way to record with the built-in FX on the track. I use the Bluetooth audio on the mixer to receive my backing track on my iPad which is running OnSong. No problems so far.
A long winded way would be to play just the track you want the effect on and record main out (aka ch 11/12). Then swap either 11 or 12 back to any mono channel (or both to stereo 7/8 or 9/10). (p47 in manual)
so slow. I've always found Pro tools very counter intuitive. In Cubase i just click the Write button, hit play, and move the parameter and then in the arrange window it's right there to draw the automation. Funny thing is I can also do it in cubase the way you are showing but dang, by the time i found the parameter I would have forgotten what i was doing.
God bless you
Love me some reverbs!
Super clutch shortcut! Love that all your videos are concise and straight to the point. Btw powerclaw is Ctrl+Alt+⊞ (Start) on Windows 😊
Thanks!
the exact video i needed, you’re the best, thank you
Bless you this was the fix
I’m lucky, I haven’t experienced that type of failure. I even have three AKG c28b with 12AY7 tubes. I do have NOS spares.
Great short!
Beautiful voice
Sounds so good