Ryan Slowey wrote on Fri, 17 December 2010 12:32 |
Better call Tchad Blake and tell him he's doing it wrong. |
Ryan Slowey wrote on Fri, 17 December 2010 09:32 |
Better call Tchad Blake and tell him he's doing it wrong. |
tom eaton wrote on Sun, 19 December 2010 07:27 |
I've done a bunch of headphone free sessions (bass (upright and electric), drums and a singing guitarist all in the big room) and I have to say that the FUN the folks have playing that way DOES translate, even if the technical recording process removes some of the fairy dust. tom |
Ryan Massey wrote on Sat, 18 December 2010 23:48 |
The OTB mix is just going to be ruined by DSD anyways. Or IC's. Or whatever gear is being shit on this week. Damnit man, just make some good music already and stop worrying about the gear! |
Nizzle wrote on Sun, 19 December 2010 11:10 | ||
I was back in Boston(Sommerville) last week, finishing up a record and was able to put together 2 late night "headphone free" sessions. It was such a joy to setup in a room with fantastic musicians and be able to react/ listen to one another in a non-technically enhanced way. Most importantly, we played to the room as opposed to playing to an artificial dynamic, created by a skewed monitor mix. The fruits of those sessions are being released next week through the charity organization "Target Cancer"( http://righttracktunes.org/ ). Oh yeah - We recorded it on to an old Ptools mix rig with 888's. The music and magic survived, just fine -t |
tom eaton wrote on Sun, 19 December 2010 13:19 |
Tony, this IS a forum of engineers... we should be able to discuss both the general and the nuance of the process... what we want to hear as engineers can be different (and at times inconsequential) to what our clients need from us.... t |
tom eaton wrote on Sun, 19 December 2010 15:44 |
Me? Persnickety? Well, I never. No, my comment to Tony was colored by his recent analog/digital thread in the Acid Test forum. And I was hurt that he didn't send me flowers or anything for the studio name. Or chocolates. Or even a nice little card. I don't expect much. As you were... I'll leave the ranting to Nicholas, before everyone thinks I'm as crazy as he admits to be. t |
tom eaton wrote on Sun, 19 December 2010 15:19 |
Tony, Firstly, you never thanked me for naming your studio. http://recforums.prosoundweb.com/index.php/m/337963/2571/?sr ch=empire#msg_337963 Secondly, weren't you just complaining about the "state of the art" in converters in another thread? It's all part and parcel of the same thing... this IS a forum of engineers... we should be able to discuss both the general and the nuance of the process... what we want to hear as engineers can be different (and at times inconsequential) to what our clients need from us. Most of us are in this biz because sound turns us on to some degree...when something sounds "right" or "real" (not necessarily the same thing at all) there's a satisfaction in the presentation... I think we all understand that the presentation IS NOT the most important factor, but it is a part of the communicated art...and those of us who have decided to chase after this insane career tend to be inclined to seek something beyond "good enough." t |
tom eaton wrote on Sun, 19 December 2010 15:27 |
I have to sympathize with Nicholas to some degree. There is a tangible thing that is lost when you record... always has been, seems like it always will be so. If your intention as a recording engineer is to preserve as much of that initial magic as possible, it does become frustrating to feel that you have to work after the fact to make things resemble the magic that you heard before it went onto the recording medium. I feel it, too. |
Tomas Danko wrote on Tue, 21 December 2010 11:21 |
Since most of us deal with hyper reality anyway, not realism, I tend to ignore hearing what the instrument really sounds like in the real room. Instead, I listen to what the mic signal sounds like, and go from there in order to get the desired result. |
Jim Williams wrote on Tue, 21 December 2010 16:28 | ||
You can learn a lot by listening to the instrument in the room before you mic it up. Don't discount reality. |
breathe wrote on Thu, 16 December 2010 21:40 |
My mixing system (PTHD3 Accel with Apogee AD/DA16-x's and Rosetta 800 mixed analog) going through my current setup of JH-416A, with API, Drawmer, Distressor, and Manley channel compressors, with the Thermionic Culture Culture Vulture Mastering Anniversary Edition on bass and guitar duties, mixed through a Dramastic Obsidian bus compressor into a Crane Song HEDD192, I feel like I can melt face. Nicholas |
Nick Sevilla wrote on Thu, 23 December 2010 07:13 | ||
ae;iubvpiz ;tugeint7G3R ;IEUG ;;ehirutv ;eoziuhxetv.kjbdnxd;ritvnhz;hn;iuhyrtbvs;iu . . . aweiuygtbV :IUWgrviugz'/ljbwvet. I think I make more sense. |
Tomas Danko wrote on Thu, 23 December 2010 04:21 | ||||
Yeah, sure. But can you melt face? |
kats wrote on Mon, 20 December 2010 15:35 |
The dumb thing about all this philosophizing is that it really comes down to everything. |
MagnetoSound wrote on Mon, 03 January 2011 14:23 | ||
Enjoying this thread enormously! (Especially this bit)
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