jacob feinberg

sound engineer

ABOUT ME
RESUME
PORTFOLIO
PRESS
CONTACT

Copyright 2024

jacob feinberg

Uncategorized

AVID Audio / February 2017

AVID Audio / February 2017

April 20, 2019 admin

AVID Audio / July 2018 AVID Audio / June 2017

Search for:

Recent Posts

Soothe Live testimonial
CAS Award Nomination / Beastie Boys Story / Outstanding Achievement in Sound Mixing for 2020
Emmy Nomination / Beastie Boys Story / Outstanding Sound Mixing
AVID Audio / June 2017
AVID Audio / February 2017

Recent Comments

Archives

July 2023
March 2021
August 2020
April 2019

Categories

Uncategorized

Meta

Log in
Entries feed
Comments feed
WordPress.org

soundbyjjmfp

Kicking off a new Father John Misty cycle with all

Kicking off a new Father John Misty cycle with all the best folks. Spent some time expanding my rig, trying out new things (thanks for the inspo @snarlyharley and @matthew_mixes) and finally digging into those new FJM songs. @sound.image.official and @ollie.vee coming through as always with the audio tools and toys and adding a hefty @rupert_neve presence this time around. Come say hi!

Not a single post this year but a single post for

Not a single post this year but a single post for the year. Truly too engaged and enamored with every project I worked on this year to reflect in real time. Here’s a, somewhat, chronological accounting of the year and the wonderful groups of folks and music I was able to spend it with. Hoping for a similarly as eclectic and enriching year ahead.

1 - Sunrise load in in the south of France, similar hope and cloudy eyes for the year ahead. I managed to rock climb in Vingrau and swim in the Balearic Sea in a span of 24 hours here, it was a great year for over achieving outside (around? during?) the workplace.
2 - Legendary Levon Helms barn in Woodstock, NY just a short drive from my house. Mixing Chadwick Stokes’ new rock opera with my good buddies Joel and Tim, a great way to ease into the year.
3 - Forest Hills, Queens with Firehouse Productions as mixer for Head In The Clouds festival mixing so many great artists and digging into the 338’s. Finally hanging with Nick, Austin, and Paul amongst all that great talent.
4 - Napa, CA mixing Waxahatchee in the grapes. First full run on an A&H filling in for TyBry and getting spoiled by Chris, Brandon, Peyton, Anslei, and Katie and her whole band. Such great music, people, and a pup.
5 - Mission Ballroom mixing Waxahatchee, I’d be back a couple of month later.
6/7/8/9- Europe with Placebo doing a great run of big headline shows and festivals. Great way to be In Europe in the summer filling in for Drew and doing the great gig juggle.
10 - Lititz for the quick VTg Adamson demo and throwing up some saucy FJM tracks to put it through the paces. Hoping to get my hands on some in 2025.
11 - Stone Pony (outside, thank god) with Joyce Manor near the tail end of an epic run supporting The Gaslight Anthem. Doing it all with Mr. do it all (audio too, phew!) Vaughn and the great and hospitable TGA crew Taylor and Tiffany. No big deal but NJ.com did call it “one of the best mixes I’ve heard at the Summer Stage maybe ever.” I remain humble.

Continued….

keeping my solid record of guests going strong

keeping my solid record of guests going strong

Taking even a short break from mixing live shows i

Taking even a short break from mixing live shows is a good way to reset the ears, the mix, the volume. You can get tunnel vision mixing the same show (no matter how varied it is night to night), isolated in your own mix, so it’s nice to reset a bit. This leg I’ve focused on some new tuning techniques, namely really balancing the lows and low-mids (30hz-200hz) when tuning. I’ve been using a slow frequency sweep of those frequencies in both subs and mains to check the balance after tuning and playing back only subby synths to see if any notes peak or disappear. ⁣
⁣
Another benefit of taking a break is the ability to sit the entire mix in a specific db range, especially in Europe where they have strict SPL limits and consistent SPL monitoring systems. I’ve been really pleased with where the entire show is sitting (around 95dBA Leq60, or LAeq60) and it really allows for a more dynamic show, which to me is more fun to mix and honestly can help a ton in more challenging rooms. ⁣
⁣
Next, I need to explore the effects on my mix of being able to make and consume really really good espresso every day, multiple times a day and then multiply that by the rest of the crew having the same espresso and the cumulative jitters effect?⁣

(Photo captions in comments below)

Home audio adventures. I’ve been seeing VST plug

Home audio adventures. I’ve been seeing VST plug-in host systems on the road, and bugging my friends (hello @pdhmix & PJ Harvey) about theirs, and working on incorporating one into my live rig. Finally got time to test my system out with tracks and stress test with hardware (thanks @j.sterling_ for Dante integration help). Hopefully, it’ll be useful for fly dates and lower budget runs that can’t take the full outboard rack. Just trying out some substitutions for my outboard (PSE = 5045, H3000 = H3000, Valhalla or Tails = OTO BAM). It’ll end up being a two space MADI I/O system. Anyone else carrying a live rig like this? The beauty is that I can use pretty much any plug-in, it’s not platform dependent, so long as latency isn’t prohibitive based on use.

(my mind, body, stomach, and relationships)

(my mind, body, stomach, and relationships)

Sound is fickle. It’s a physical entity and gets

Sound is fickle. It’s a physical entity and gets easily influenced by humidity, temperature, surfaces (types of surfaces!), distance, other sound (reflections), and a myriad of other uncontrollable variables. Only the biggest, and most well funded, tours can try to mitigate these variables by carrying the same consoles and PA (speakers) for each show, playing similar rooms each night (hello arenas and stadiums!), and having a large team to maintain consistent backline. Think of all the tiny elements and variables that add up to a mix: musicians, instruments, pedals, amps, microphones, drum sticks, drum heads, vocal cords, mic stand heights, consoles, plug-ins, system EQs, analog or digital, etc. Even with the best we (sound engineers) cannot control everything and it’s unfortunately a fact that the person sitting all the way in the back, or side, or top, of a venue will get a different experience than the one standing right up front at the barricade or standing next to us at FOH where we mix. Mixing is a challenging task even with most variables under control and is a nearly impossible task to perfect in all other scenarios. ⁣⁣
⁣⁣
When I tune (EQ, balance levels, time align, etc.) a PA I take measurements all over a venue and average them out to try and give everyone in the audience a similar experience. Most venues already have a PA installed and visiting engineers have minimal control over how it covers a room, how the sound impacts each person in the audience, and we try to average it to maximize the enjoyment of the majority of the audience. It’s a maddening endeavor because I know, as a FOH mixer, that I want everyone in the room to have the same best experience and it’s just not possible in most venues. At times I’ll sacrifice what I hear at the mix position because I know it’s not what’s best for the majority of the audience (I’m not getting the “average” sound so I can’t judge what everyone else hears.)⁣
⁣
(Continued in comments…)⁣

I swore off tour managing years ago (except for Gi

I swore off tour managing years ago (except for Gillian Welch, anytime Gill!) because I would never have enough time in the day to do what I actually loved doing on tour: mixing. I’ve always been defacto production manager because most tours the size I’ve done don’t have a dedicated PM and, to be honest, I like being in control of my own destiny! However, these tours have gotten bigger and the PM position has gotten more demanding, and I have to decide where to put my time: PM, FOH, or IG? You can guess what was sacrificed in the last couple of weeks, sorry IG (FOH is still holding on strong!)⁣
⁣
I moved (very quickly) from Modest Mouse to Father John Misty at the end of July (Europe to US) and right into an incredible night at Red Rocks with the Colorado Symphony Orchestra. Yet another FJM orchestra show but most likely my favorite in one of my favorite venues in the world. Fun fact: I was looking at a spreadsheet of shows that I attended as a fan of a certain band and my first time at Red Rocks was to see 4 nights of this band in 1996, with a little taster of the Allman Brothers the night before, 5 nights at Red Rocks! We’re getting the FJM “Chloe” album cycle going and did a few days in San Diego on the water as rehearsals and shows and are now a couple of weeks in. I’ll get some more technical posts out for this run including info on handling our streaming shows and bootleg series, getting back to my S6L after a tenuous time on the S3L in Europe, and anything else that pops up (let me know if you have questions, my PM brain wants to post about union labor scheduling, rigging, forklifts, and the best way to stack cases in the truck, help me!)⁣ ⁣ …continued…

Due to a variety of challenges (gear shortages, tr

Due to a variety of challenges (gear shortages, transport shortages, budget shortfalls) we were not able to bring out S6Ls on the European leg of our tour. What we could find are S3Ls for FOH and monitors. While these are Avid consoles they are not compatible with S6L files which meant that Nick (MONs) and I had to essentially start over again, build files from scratch. Since our European bookings had us starting at a festival and only playing festivals for the first week, we didn’t have any prep days, headlining shows, or rehearsals so we were able to source a couple of S3Ls in the last weeks of our US tour. We set them up besides our tour S6Ls and had a soundcheck or two to dial them in as best as we could so that we weren’t starting from scratch. Of course, most of the backline in Europe is different so when I opened the PA/console that first show at Roskilde in front of 10,000 people it was basically a good old fashioned throw and go! Definitely a bonus to roll into a festival with one rack, small console, and a tiny footprint, I can fit anywhere (even nowhere, like photo 3.) Festivals have supplied the Cat6 x 3 cables to stage and power and we don’t even have to run our snake. We’re using those Cat6>XLR breakout boxes for shout and backup mix, no analog lines run. Happy to have the consistency of carrying consoles though, even if it doesn’t have all the bells as whistles. I’ll just live vicariously through my FOH pals out here and grill them on their setups!⁣

Setlist Post! Disclaimer: I don’t sit around all

Setlist Post! Disclaimer: I don’t sit around all the time thinking about how people annoy me, really, but since this is literally part of every show I figured it’s relevant. ⁣
⁣
Everyone knows the printed setlist is the hottest commodity from a show (what about those sweet custom picks Adam had made up?!) If you’ve ever been to a show, or have walked past FOH, you’ll see a setlist there. That should be yours, right? Well, if you want that (my!) setlist here’s a handy guide to getting it:⁣
⁣
No, I don’t (and won’t take) money for it. Please do not touch me, tap my shoulder, grab my arm, or invade my physical space. That includes walking into the barricaded FOH area. Sometimes my area is very small (photo 2&3) and you’ll be tempted to grab me, please don’t. Do not yell at me (“hey sound guy!”) or scream into my ear (I use those, thank you.) I’m working, I work/mix right up to the point of house music coming up (which, incidentally is me working!) I’m ignoring you because I’m working. Yes, I hear you yelling at me. I will not save you a setlist for after the show. ⁣
⁣
I like polite people with good timing. If that’s you, you’ll get a setlist. Also, that other guy in front of the lighting board (“turn the vocals up, bro!”) probably has the same rules. Though, he keeps notes, he might keep the setlist for, you know, work!⁣
⁣
Photo 5: a nice vegan cookie Joel left me ❤️⁣
Photo 6: some of my favorite coffee in the world, from Portland, ME. Gesha! Thanks Will at Tandem and James. ⁣
Photo 7: decompressing from setlist requests on a run with Joel in Portland.

Edit: damn dudes, apparently everyone else in the

I did some post-production work on this and make a

I did some post-production work on this and make a cameo around 22 seconds in. This was my first music gig during COVID and hearing these songs for the first time with the LA Phil and Dudamel was an incredibly moving experience. I didn’t even mix any of it! Maybe just listening to music is enjoyable? Full episode on YouTube.

Back with Modest Mouse to start this next year’s

Back with Modest Mouse to start this next year’s worth of shows. Figured it’d be appropriate to post another video my wife did from last year. These will be the first shows with my console, I didn’t have it out on this last FJM run I did, so I’m sure I’ll be troubleshooting that until it’s stable and smooth. Some changes onstage too, more to come!

How does the biggest show at The Rainbow Room happ

How does the biggest show at The Rainbow Room happen? With months of planning, dozens and dozens of emails, calls, and zoom meetings. Father John Misty had 18 musicians for this show and a production built from scratch. It was a nonstop day, doors pushed, and two great shows. Not an easy one but memorable, especially with my family in attendance. Ryan and I learned the hard lesson of being really really specific about advancing a one-off rig, down to console card counts and requesting someone who actually knows how to set up a PA (not just deliver it). This show taught me not to take anything for granted!⁣⁣⁣
⁣⁣⁣
I had one day off with the family today in NYC and now I'm off to the Modest Mouse tour. ⁣⁣⁣
⁣⁣⁣
Photo 1 (📷 Reddit: mks2020) Glamour! Abby nailing the look with red curtains, cinematic lights, and chandeliers galore. ⁣⁣⁣
Photo 2&3: (📷 Daniellehettara) Rare action shot. ⁣⁣⁣
Video 4&5 (📷 Shin @ Wizard) build and breakdown time-lapse. ⁣⁣⁣PS: notice the star floor rotate right at the end, it spins!
Photo 7: views! 360 degree from the top floor. ⁣⁣⁣
Photos 8,9,10: family comes to work day.

Big Father John Misty “Chloë and the Next 20th

After months of planning our London Barbican show

I made the plunge and bought my own S6L! I wasn’

I made the plunge and bought my own S6L! I wasn’t looking to but the opportunity came up and it made (enough) sense to take the plunge. Ever since deciding to do it I’ve been dreaming up rack plans, gear to include, signal flow, rack panels and the problem solving that that all entails. I’m the kind of person that whenever I get a rig from a sound provider I spend a day ripping it apart and putting it back together the way it makes sense to me and what I think makes sense on the road. I try and limit connections, inter-rack runs, and simplify as much of it as possible. Of course, I’m partial to some outboard so that inherently means some complications. I’ve been taking photos of racks at festivals, venues, IG posts and soliciting them from my friends to steal (I mean be inspired by) all the great things they’ve got going on. Thanks to everyone who’s helped along the way and gave me support or tried to talk me out of it. ⁣⁣
⁣⁣
I did my first build in the shop and I’m trying not to be too precious about it as I’m sure I’ll spend that first day on tour cursing the guy who built it (me) and ripping it apart. Please, give me ideas about how I can do it better whether it’s gear I should include, a widget that will make my life so much better, or a place to get custom stencils for my racks! By the way, I’m building this system for me to use and tour with with my bands. I’ve also designed it to exclude my “personal” outboard rack and make it rentable as a base system. Gotta get that rental income! ⁣
⁣
Photo 3/4/5: outboard gear rack top to bottom: USB keyboard and trackpad for Smaart and Pro tools on slide out drawer with KVM remote / Scarlett 2i2 for Smaart inputs, KVM for keyboard/monitor switch between computers, OTO BAM reverb all on slide out drawer / Blackmagic SSD drive bay / Sonnet with two Mac Mini computers for Smaart & Playback and Pro Tools / Ferrofish A32 Dante for AD and DA to MADI-192 card in E6L / Neve 5045 / Distressor x 2 / Eventide 3000 SE⁣
⁣
Photo 6: a family build with my wife and pup.

We’ve been trying to make this one work for mont

We’ve been trying to make this one work for months, delay after delay and now we’re finally back at the Late Show! This one felt sweet after decades of doing TV shows showing up at 4am to load in a doubler header, escaping the freezing 48 degree studio, sneaking naps in downstairs in the basement “green room”, or trying to sneak a taping in on a show day. 17 musicians later (the most they’ve had in a “post-COVID” period) we had a beautiful take, felt effortless. I’d also never noticed the theater ceiling is a very symmetrical dome (photo 3) or the concert worthy VTX system in there (photo 4.) I swear even Harvey was into it (photo 6) and went back to clean things up after because the mix really deserved to be as perfect as it could be, and he knew it. Photo 7: all the things I wish I was smart enough to buy 10-20 years ago, not shown is the new Bricasti reverb system x 2 I wish I could afford now! Quick scouting visit to The Rainbow Room (photos 8 & 9) for an upcoming show with my tour partner in crime (photo 9.) Tonight on CBS at 11:30pm EST, or find it online like I will tomorrow.

First Father John Misty show in a few years and wh

First Father John Misty show in a few years and what a show to start up again with! Backed by the LA Philharmonic at Disney Hall with the band debuting a couple of songs off the new record. I’d mixed at Disney Hall previously in 2007 and learned a lot from that show, even though the PA has changed the room is the same. I mixed both the support, Gillian Welch, and headliner and Gillian was sublime with two musicians and 5 open mics only. The headliner was 76 cacophonous inputs (with NO orchestra!) that saturated the room with stage volume alone. I knew this one had to sit in the sweet spot: under 95 dbA the entire night. LA Phil mixer Fred mixed the entire orchestra (close mics) on his Digico while I took the entire 10 piece FJM band. We worked off each other’s dynamics and it was a great balance of 100+ inputs between us (photo 6.) Also loving how no mics on the guitar cabs let’s us shield them from both sides! (photo 4.) Stage view from Josh’s Telefunken M81 vocal mic and the two house orchestra/audience mics above him (photo 8.) The show was seated in the round with 360 degree Meyer coverage (photo 9.) Many more orchestra shows to come this year!

Firing it back up for Father John Misty’s next c

Firing it back up for Father John Misty’s next cycle. Surrounded by gold and platinum motivation in the control room. Just a one-off but lots of rehearsals to reinvent my 3 year old mix and try new things. I might not have spent the pandemic watching as many Scovill videos as I should have (sorry Ty) but I’ve still got ideas! More to come as I see if they work or not. Photo 2: Dan is trying a double kick approach with one completely closed headed drum so we’re mounting a beta91 in there, see you next in 2023 I hope! Photo 3: needed some more DSP, didn’t get it as you can see, swapped engines and made it happen (we blame Arizona and dusty card slots for the error.) Photo 4: daily dose of testing. Photo 5: long setup days means I never remember where I park in garages. Photos 6-9: new “toys”.

Load More... Follow on Instagram