Episode One – David Joyner
Welcome to the first episode of the Gear & Beers Podcast. In our first episode, we kick off by speaking with Producer and Engineer David Joyner about his background, workflow and what inspires him to write music. We will also be going over the signal chain being used to record the podcast, different DAWs that can be used when creating music, and other pieces of advise that can help with your path in audio production. Below is a Bio on David:
Born in Philadelphia Dave “AuD’oe” Joyner grew up loving music. His musical journey began as an artist while attending High School in Wilmington, DE. With the stage name DOE, Dave honed his craft and recorded 2 independent albums. His skills as an MC earned him opportunities to open for acts such as Talib Kweli, and Ludacris. Then in 2007 while searching for tracks to record to, AuD’oe decided to take a crack at production himself! Armed with Reason 3.0 the producer/composer arose! He spent the next year composing and producing tracks more than actually writing lyrics. It was at this point AuD’oe decided to take his love for music to another plateau … Engineering. Attending Full Sail University and graduating top of his class in 2009; AuD’oe ventured to Atlanta to begin working out of Music House Studios. As an Assistant Engineer (directly under Alec Newell and Dru Castro) AuD’oe worked with artists such as Yo Gotti, Gucci Mane, Young Jeezy, Nicole Wray and producers like Rich Harrison and Drumma Boy. Although engineering proved to be a logical source of income, AuD’oe’s love of production and composing still ran deep. After being in the engineers’ chair for a little more than a year, AuD’oe got a call that would ultimately change his life. That call came from Remix Magazine and Icon Collective. AuD’oe had been invited to join the Icon Collective team, so he packed his bags and moved to LA in 2010. While in Los Angeles, he successfully placed his music with labels such as Universal Music Group, and brands like Skee TV and SmartENERGY Cocktails; which has proven only to be the beginning of a long successful career!
If you have any requests for topics or would like to be a guest please send over an email.
See the details below:
Mic: GLS ES 57 with a Triton Audio Fethead
Mic Pre: Focusrite Red 8Pre
DAW: Pro Tools
Converters: Burl B2 Bomber, Red 8Pre, RedNet 1, RedNet D16
Plugins: Dynamics III De-Esser and 7 Band EQ, Waves CLA-2A, Waves C1 Gate for Vocals, Massey L2007 and Event Horizon for the Master Buss
Now that you have all the details here is the signal chain:
ES 57 > Fethead > Red 8Pre > Dante Virtual Soundcard > Pro Tools
With the input I used the Fethead to provide me with 27 dB of clean boost. Because the ES 57 is a SM 57 clone, it has a low output as well. That said using the Fethead will provide me with a nice about of boost without introducing any noise as you would get when turning up the preamp pretty high. The signal is then sent from the Red 8Pre to Dante Virtual Soundcard via Ethernet to Pro Tools.
Pro Tools Outputs > Dante Virtual Soundcard > RedNet 1 > Burl B2 Bomber > RedNet D16 > Red 8Pre > Dante Virtual Soundcard > Pro Tools
In Pro Tools, I then send the vocals out via the RedNet 1 to the Burl B2 Bomber via analog. Here is where I adjust how much of the signal is going into the Burl. Some people may ask “Why?” My answer, because I can. Once I got my level, I then send the signal out of the Burl via SPDIF to the RedNet D16. From there the signal is then sent via the Dante Network to Dante Virtual Sound Card to record into Pro Tools. So while I am recording the input signal from the mikes I am also sending the audio to the Burl and recording that software as well. The Red 8Pre allows for me to make a mix of the mic inputs and then send it to the headphone outs. This is a bonus because it allows for me and a guest to monitor our mikes as we are speaking with no latency.
Once the recording is done I use the plugins to polish the vocals and clean them up a bit. I try not to compress too much so that I do not squash the vocals after all we are having a conversation. I also use the EQ for subtractive purposes to get rid of any low end frequencies that can happen with plosives or external noises. I bring up the high end a bit to get some clarity but I don’t go over board. The gate is used to kill the mikes whenever not in used. Definitely helps with providing more clarity in the mix. Once all the editing and mixing is done I then slap on a Massey L2007 Limiter along with an Even Horizon Limiter to bring up the level. I make sure not to hit them hard so that the audio is not squashed and sounds weak.
There you have it. My vocal chain for this episode. Every episode may vary in chain. I will try to do my very best to post it on here and also talk about it on the podcast for each episode.
Stay tuned for more episodes and posts!!!