Bob Olhsson wrote on Mon, 21 March 2005 10:26 |
So now we call gain riding "volume graphing!" Older engineers rode gain a lot during the live recording. It was not uncommon for me to cover a 10dB range with some of the Motown artists. |
Bill Mueller wrote on Mon, 21 March 2005 21:34 |
Terry, I've been wanting to ask you about this and now is a good time. I have a Shania Twain CD with a track of yours on it. I would love to hear what Mutt's like in the studio and how you go from your more "organic" sound to Mutt's synthetic country sound. BTW, I'm a car fan of Shania. By that I mean that I love her sound in the car, not so much in the control room. Best Regards, Bill |
Murray Cullen wrote on Fri, 25 March 2005 22:57 |
Nashville vocal-wise, you can't beat Mandy Barnett. http://www.mandymusic.com/ |
New Orleans Steve wrote on Sat, 26 March 2005 06:43 |
O.K. Is this Antaries brand plugs, OR are there other products that do similar things? What's everyone using? Steve |
Mark Gifford wrote on Fri, 25 March 2005 20:58 |
For some fabulous Nashville-style vocals, without the autotuning, check out "Miss Fortune" by Allison Moorer. It came with a sticker on it that said "No Autotuning Was Used On This CD." Amazing singer, songs, production, etc. Produced by R.S. Field, mixed by George Massenburg. She's got 4-5 records out, all of them great, but unfortunatley she doesn't seem to sell many... MG |
mr. moon wrote on Sun, 27 March 2005 13:33 | ||
I need to get some of those "No Autotuning..." stickers. AutoTune sucks! ...Don't get me started on that abomination. However, it is great to hear that there are other artists and producers out there who aren't using it! -mr moon |
rush909 wrote on Sun, 27 March 2005 15:45 |
with all due respect, saying auto-tune sucks is like saying electricity sucks... Like electricity it's got it’s time and place... there is nothing stopping you from turning off the lights and having a romantic candle lit dinner, but when you are looking for that misplaced pack of condoms, you sure are happy you can turn those lights back on ! r. |
rush909 wrote on Sun, 27 March 2005 16:45 | ||||
with all due respect, saying auto-tune sucks is like saying electricity sucks... Like electricity it's got it's time and place... there is nothing stopping you from turning off the lights and having a romantic candle lit dinner, but when you are looking for that misplaced pack of condoms, you sure are happy you can turn those lights back on ! r. |
wireline wrote on Mon, 28 March 2005 11:48 |
Then I think this goes back to the most basic of arguements: exactly what[/] is our job description? If we are there to capture the truest representation of a performance, then AT, reverb, even EQ should be strictly forbidden... But if our job is to make the very best product based on the raw materials, then its OK... I don't remember who, but I asked a question here some time back about how much treatment should we put on tracks and mixes, due to the catchall of "reality." The answer (again, I apologize to whoever replied with this" was that we are not in the business of reproducing reality, we are in the business of creating a "hyper-reality," or a new definiton of that reality. All that stuff aside, I don't use AT anymore, but can correct very short passages using Samplitude's time/pitch correction...the last few projects, if the singer needed more than that, I had them just sing it over. More information on just how much stock should be put into my opinion here: - I don't cost $250 an hour - I don't have any major (and very few minor) label things (hopefully this will be changing this year) that have bean counters breathing down my throat. - I don't particularly care for anything that has been commercial radio country anymore (I call it bubblegum country...) so my opinion really doesn't matter (I just wanted to say it all anyway) - Some of the BEST things ever to come out of Nashville (or anywhere else) had something called vocalist style...George Jones, Vern Gosdin, Moe Bandy all had it - they didn't hit every note right on target, but the getting there is what made the song...I think its called a part of the emotional aspect of the melody (John Lennon was THE master of that 'blue note') I think...) But there again, what the hell do I know? |
Tim Halligan wrote on Tue, 29 March 2005 04:55 |
I'm kinda hoping that Otto will go the way of the Exciter...remember when albums (yes, the big black 12" things that warped as soon as you looked at them sideways...) appeared with liner notes to the effect of "not mixed through the Exciter" If memory serves, The Eagles "The Long Run" was one of these... It is sadly fashionable at the moment, but all moments pass. I see your point Terry, but it seems that there is far too much use/abuse right now. A liitle dab'll do ya. Too much turd polishing...not enough talent searching IMHO. But what the hell do I know...I just do post. Cheers, Tim |
Quote: |
In Hip Hop/Rap, fortunately they have eliminated the need for singing |
Mike K wrote on Tue, 29 March 2005 12:51 |
However, as far as the Autotune bashing from the standpoint that real artists don't need it...I have a problem with that. It's been touched on before, but how is Autotune any different than Beat Detective? Or using a sampled string patch instead of scheduling a group of real players for a tracking date? Or heck...even double or triple tracking guitars when there's only one Marshall Mozart in the band. That's not a real representation of what the artist is all about, either. I think that there's a lot of honesty in everyone's answers here, but to pick on Autotune and ignore the general state of recording today (too many bands, mcuh more diluted talent pool) seems somewhat unfair. |
Sender wrote on Tue, 29 March 2005 11:56 |
We live in a world now that is more about selling CDs then producing 'art'... |
ivan40 wrote on Tue, 29 March 2005 22:52 |
If what we want and ALL we want is to put people in the seats, We should open Huge ,live porn theaters and sell crack. . |
Quote: |
Again, my original post asks, why do ALL of these sound "The Same". Different producers, Labels and studios and all the same |
wireline wrote on Wed, 30 March 2005 08:58 |
...Combine this notion with the previously mentioned AT discussions and AR reluctance to release anything that actually sounds a bit different,... |
Bob Olhsson wrote on Wed, 30 March 2005 11:23 | ||
Now advertising has always been a factor however what has changed is that today they want radio to sort their audiences rather than to attract a broad listenership. |
floodstage wrote on Wed, 30 March 2005 19:11 |
Just a side comment:...To me that song seems to be a textbook example of a Nashville vocal approach...Wonder how many takes that song took!? |
maxim wrote on Tue, 29 March 2005 21:30 |
i suspect that AT-bashing is a symptom of musician-phobia (check out any of the gag threads) while there are some dumbass musos around, it, probably, is rooted in the subconscious insecurity that a lot of engineers really wanted to be rock stars they are also pissed off that their essential contributions aren't being acknowledged by the public instead, the "useless divas" get all the chicks and glory you get a similar experience among the tech crews on films and in theatre notice that the more experienced and secure AE's don't indulge in AT-bashing, but use it strictly as a tool keep in mind, that tuning vocals has been around as long as u47's just my psychoanalytic $0.02 (@$150/hour) |
Bob Olhsson wrote on Wed, 30 March 2005 20:54 | ||
Everybody I know who has recorded with Dylan has said it was always live one take. |