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[duckhunter]

Fiasco wrote on Thu, 16 October 2008 12:51

Gosh Dean, I hope you don't go forgetting about me. And leave poor John alone, he is obviously defenseless. From your email sent to me: "I have narrowed down the possible culprits who contacted my prospective production deal artists and interfered with our contract negotiations, to you and three others..." I would love to know how you figured this one out.

....motive, context and inference.

[bblackwood]

Fiasco wrote on Thu, 16 October 2008 12:51

Gosh Dean, I hope you don't go forgetting about me. And leave poor John alone, he is obviously defenseless. From your email sent to me: "I have narrowed down the possible culprits who contacted my prospective production deal artists and interfered with our contract negotiations, to you and three others..." I would love to know how you figured this one out.

I find it disturbing that anyone from this forum is sending threatening emails to other members of the board.

Dean, you're on notice. You need to chill out. Do whatever you wish to do, but stop threatening the members here or you're gone.

[fiasco ( P.M.DuMont )]

dguidry wrote on Thu, 16 October 2008 14:07

Fiasco wrote on Thu, 16 October 2008 12:51 Gosh Dean, I hope you don't go forgetting about me. And leave poor John alone, he is obviously defenseless. From your email sent to me: "I have narrowed down the possible culprits who contacted my prospective production deal artists and interfered with our contract negotiations, to you and three others..." I would love to know how you figured this one out. ....motive, context and inference.

Laughable...














... and incorrect. Move on.

[rnicklaus]

dguidry wrote on Thu, 16 October 2008 11:07

....motive, context and inference.

Things that you allege.

I'll go with Proof for 500, Alex.

[mgod]

rnicklaus wrote on Thu, 16 October 2008 11:23

dguidry wrote on Thu, 16 October 2008 11:07 ....motive, context and inference. Things that you allege. I'll go with Proof for 500, Alex.

Otherwise its defamation.

DS

[John Ivan]

dguidry wrote on Thu, 16 October 2008 12:21

Because the nexus of the facts and damages occurred in Louisiana, and that the plaintiff resides there, as well,  any conflict of laws issue would favor application of Louisiana Law and Louisiana state courts would have jurisdiction.  The threshold  for damages for removal to federal court would not be met in a diversity situation, i.e. defendant resides in another state or country.  And since we are only talking small damages, notice and service of process could occur simply by mail.  So its real easy to do.

Well, then, you should go right ahead and file then.. Because if I wanted to, based on your ridicules threshold, I could counter sue you.. My suit would in fact meet the diversity jurisdiction requirements as the amount would FAR exceed $75,000. I'm just not stupid enough to sue someone over something so meaningless.

Sir, you need to understand some things..

A{ I am the God of hell fire! {ok, not really but I'm trying to scare you}

B{You are a mean person because you said someones music sucked.

C{ I'm a mean person too now, and I think your everything sucks.

D{Republicans are finished for a while and this makes me happy

E{Only certain types of coffee beans work for very strong coffee

F{It can be hard to REALLY tell when a Banana is truly ready to eat

G{Based on the photographic evidence, you should stay away from recording Drum kits.

Go in peace with this wisdom my son.. "Rockin' and a rollin', is only howling at the moon."-Steve Walsh

Ivan..............

[John Ivan]

Fiasco wrote on Thu, 16 October 2008 13:51

Gosh Dean, I hope you don't go forgetting about me. And leave poor John alone, he is obviously defenseless. From your email sent to me: "I have narrowed down the possible culprits who contacted my prospective production deal artists and interfered with our contract negotiations, to you and three others..." I would love to know how you figured this one out.

Um, ah,, YREAH!! What about this bastard here? He did it! He did it!! I'm telling MMMMOOOOMM!!

sorry,

Ivan............

[Vertigo]

Quote:

Much has changed since the early days. Behind those "blankets" are 2 inch isolation panels that have since been installed permanently and in a rather more attractive fashion. The only remaining mic you see in that photo is the 57 on the snare. Don't knock the tv...its the drummer's camera monitor to the vocal booth, control room, and live room...works like a champ with wireless cameras and split screens for everyone.

Sorry Dean, I shouldn't have ragged on your drum room. That was snarky of me and I do apologize. But to be honest; the TV, the packing blankets, the milk crates, and the sm57's are NOT the immediate problems I see with that setup...

And as long as I'm being honest, I think your productions sound amateurish and poor. Your vocals in particular sound like they were recorded through a boom box from 5 feet away. Good job on the guitars though, which makes me wonder if the person who did those recordings was a guitarist himself.

I also think you'd probably find far more profit from developing your production skills than filing frivolous lawsuits against random strangers on the internet. And the fact that you're pursuing this now, 7 months after the issue in question is just bizarre. Are you related to Jack Ortman? I swear you could be his brother.

-Lance

[fiasco ( P.M.DuMont )]

Dean

[duckhunter]

Ivan, I really think we'd get along....for a while, until our egos got in the way.

[duckhunter]

Vertigo wrote on Thu, 16 October 2008 13:40

Quote: Much has changed since the early days. Behind those "blankets" are 2 inch isolation panels that have since been installed permanently and in a rather more attractive fashion. The only remaining mic you see in that photo is the 57 on the snare. Don't knock the tv...its the drummer's camera monitor to the vocal booth, control room, and live room...works like a champ with wireless cameras and split screens for everyone. Sorry Dean, I shouldn't have ragged on your drum room. That was snarky of me and I do apologize. But to be honest; the TV, the packing blankets, the milk crates, and the sm57's are NOT the immediate problems I see with that setup... And as long as I'm being honest, I think your productions sound amateurish and poor. Your vocals in particular sound like they were recorded through a boom box from 5 feet away. Good job on the guitars though, which makes me wonder if the person who did those recordings was a guitarist himself. I also think you'd probably find far more profit from developing your production skills than filing frivolous lawsuits against random strangers on the internet. And the fact that you're pursuing this now, 7 months after the issue in question is just bizarre. Are you related to Jack Ortman? I swear you could be his brother. -Lance

On some of the productions, particularly with vox, I struggle with the convolution IR1 reverb settings, and on occasion I too think the result is a bit boxy sounding.  Parallel compression phasing where I was lazy about latency compensation may have also contributed.  On the song "I Was a Fool" by Sugarhouse, that production sounded at least as good as the Tab Benoit album's production, at which I was aiming,  and maybe better.  All in all, I think I do pretty darn good for a part timer who probably knows more theory on recording than the average full time engineer than practical knowledge.  And given the simplicity and constrictions of our facility set up, no one could do better.

[John Ivan]

dguidry wrote on Thu, 16 October 2008 15:02

On some of the productions, particularly with vox, I struggle with the convolution IR1 reverb settings, and on occasion I too think the result is a bit boxy sounding.  Parallel compression phasing where I was lazy about latency compensation may have also contributed.  On the song "I Was a Fool" by Sugarhouse, that production sounded at least as good as the Tab Benoit album's production, at which I was aiming,  and maybe better.  All in all, I think I do pretty darn good for a part timer who probably knows more theory on recording than the average full time engineer than practical knowledge.  And given the simplicity and constrictions of our facility set up, no one could do better.

Oh,, there are many cats here who could come to your room and make national level recordings.. It would be a pain in the ass but it could be done ..For instance. If my side trio came in there and we did everything, and you guys left us alone for a day, you would not believe it came out of your room.. There. I said it.. You wouldn't believe it.

The gear you use is really the least of your worries.. Nice gear can make a big difference but only if the other things that make a recording great are in place to begin with..This explains why there are a bunch of recordings made on 1/2" 16 track and old chipped consoles with a bunch of 57's and PZM's that sound better than everything you have ever done..

They call it skill and talent. Hey, it's not my fault. It's just true.

Ivan..............

[ssltech]

The gear is just a pile of tools.

To that extent it's like a set of high-quality wrenches and socket-set... -The best wrenches in the world won't EVER make a good or a bad job fixing your car; -it's the MECHANIC who determines the quality of the job, -NOT the tools. -In the same way, it's the RECORDISTS (engineer/producer) who determine the standard of the work more so than the gear.

Of course good mechanics adore lovely tools, but it really does more to make the task of doing the job more enjoyable, than making the job itself good or bad.

At this point the oft-quoted chestnut that Sgt. Pepper was done on a 4-track is usually dragged out.

Keith

[duckhunter]

John Ivan wrote on Thu, 16 October 2008 14:11

dguidry wrote on Thu, 16 October 2008 15:02 On some of the productions, particularly with vox, I struggle with the convolution IR1 reverb settings, and on occasion I too think the result is a bit boxy sounding.  Parallel compression phasing where I was lazy about latency compensation may have also contributed.  On the song "I Was a Fool" by Sugarhouse, that production sounded at least as good as the Tab Benoit album's production, at which I was aiming,  and maybe better.  All in all, I think I do pretty darn good for a part timer who probably knows more theory on recording than the average full time engineer than practical knowledge.  And given the simplicity and constrictions of our facility set up, no one could do better. Oh,, there are many cats here who could come to your room and make national level recordings.. It would be a pain in the ass but it could be done ..For instance. If my side trio came in there and we did everything, and you guys left us alone for a day, you would not believe it came out of your room.. There. I said it.. You wouldn't believe it. The gear you use is really the least of your worries.. Nice gear can make a big difference but only if the other things that make a recording great are in place to begin with..This explains why there are a bunch of recordings made on 1/2" 16 track and old chipped consoles with a bunch of 57's and PZM's that sound better than everything you have ever done.. They call it skill and talent. Hey, it's not my fault. It's just true. Ivan..............

Give me great singers and great players and a great producer, I will produce a very good product. Put me in a great studio with the same core individuals, I bet you'd all be happy with the product.

[Devin Knutson]

dguidry wrote on Thu, 16 October 2008 12:40

Give me great singers and great players and a great producer, I will produce a very good product.

er...  wouldn't that make YOU the producer?

So...   you're blaming your results on your singers, your players...  and yourself?

You really do seem to be suffering under more than a few fundamental misconceptions...  and not just about the ethical practice of law.