J.J. wrote on Mon, 21 March 2005 22:45 |
OK, so I obviously don't care who I piss off, but I just can't be phony. It's not like Jack doesn't know me or know who I am. But hey, if somebody is a dick and overrated, I'm the first to say so. If you're a nice guy however, and overrated, I'll usually let it slide. But this is just begging for it, IMHO: |
J.J. wrote on Tue, 22 March 2005 11:50 |
billboard with JJP's doppleganger on it. |
wwittman wrote on Tue, 22 March 2005 12:42 |
So, Bohemian Rhapsody... if there weren't the traacks to keep the hundreds of vocals separate so they could rebalanced (by the "hit mixer" {g}) then I guess it must suck. Cannot possibly be mixed properly. No wonder it was never a hit. Oh, wait... |
J.J. wrote on Tue, 22 March 2005 14:42 |
As far as glass houses go, I willingly put my head on the chopping block around here. I post opinions and or examples of my work and leave myself open to all kinds of criticism and corrections. How can I know what I think might be incorrect if I don't tell you what I think? |
wwittman wrote on Wed, 23 March 2005 19:28 |
Ahh, this sort of makes a point for me... NO disrespect intended, but do you really want his "resume and control room" or his "talent"? if it's the former, then he's successfully sold you the mystique. If the reason something sounds so good is a collection of equipment, I think that says something. It feeds into the idea that you can BUY great sound and don't need technique or experience or taste. A good paradigm for a magazine. But not one I buy into. A few other points: I can like a hair band's music and still hate the hair and spandex. If the record company suggests that you take your cover photo with you in bed with a clown, a REAL artiste says "no". Same rules apply to magazine covers. Otherwise, if the floppy shoes fit... I think I'm going to call my next record Sonic Bukkake. No clowns will appear on the cover. |
DennisC wrote on Wed, 23 March 2005 07:55 |
Who cares how he poses.........just listen to "Spilt Milk" and then comment. |
cgc wrote on Wed, 23 March 2005 21:23 |
That record sounds like very well produced Queen and ELO knock-offs. It's mixing doesn't elevate it above that to me. What else has Edward Mixerhands done? |
Quote: |
That record sounds like very well produced Queen and ELO knock-offs. It's mixing doesn't elevate it above that to me. |
cgc wrote on Wed, 23 March 2005 21:23 | ||
That record sounds like very well produced Queen and ELO knock-offs. It's mixing doesn't elevate it above that to me. What else has Edward Mixerhands done? |
J.J. wrote on Tue, 22 March 2005 08:30 |
Fletcher, as much as the Alge's mutate somebody's tracks, I have to say that their mixes have usually sounded better and clearer to me than JJP's. Their stuff may be overly bright and overly compressed, but one of my complaints with JJP is that his mixes tend to be too busy, too crowded and it seems like he only listened to each instrument on its own while EQing and compressing, and then threw all the faders up disregarding what steps on what. But that is just how I hear it. |
wwittman wrote on Thu, 24 March 2005 13:53 |
I wonder who thinks Sgt. Pepper would have been a better record if the A&R dept had insisted they send it out to an outside mixer who "mixes hits" and "has more perspective"? |
J.J. wrote on Thu, 24 March 2005 14:29 |
Kehew was telling me about going through the 2" masters of a certain classic album recently, and if you threw up everything at 0db, you essentially had the mix you heard on the album, minus panning. I want to be that good. |
J.J. wrote on Thu, 24 March 2005 11:29 |
Kehew was telling me about going through the 2" masters of a certain classic album recently, and if you threw up everything at 0db, you essentially had the mix you heard on the album, minus panning. I want to be that good. |
Otitis Media wrote on Fri, 25 March 2005 07:13 |
To be fair to JJP ...He's out of my league skill-wise, I think. Dan |
compasspnt wrote on Fri, 25 March 2005 21:56 | ||
Perhaps, but then there's the human being-wise side of things... |
J.J. wrote on Sun, 27 March 2005 16:13 |
- BTW, since we all agree this picture is ridiculous, I stumbled upon the issue with Dave Navarro, shirtless lying on an SSL. There's an editor at EQ who clearly would rather be working at Honcho. I'll scan and post it later. Dave is a nice guy, but I'm sure would be the first to admit that he can be a rockstar, so I'll post it, as a friend, in hopes that he says, "What was I thinking? This is a magazine that guys read." |
strawberrius wrote on Sun, 27 March 2005 23:36 |
i love to mix and essentially do mix every project on ProTools b4 i send it to these guys. but..... i must say after working on a grueling album for 3 months, the last thing i want to do is mix it/open up that can of worms.... so i'm all in favor of other people mixing my records. in the end it usually makes for a happier artist, producer & label. -jrf |
JackJohnston wrote on Mon, 28 March 2005 15:46 |
...hate him because he's married to Carmen Electra... |
Fibes wrote on Mon, 28 March 2005 09:16 |
My point? Dave and JJP may have been put in the same "hit them when they're ready to go" ambush that allows even brilliant minds to be caught at their worst. Or they really are self important pretensious pompous asses, but i'm not gonna decide from way down here. |
J.J. wrote on Sun, 27 March 2005 18:58 |
I was thinking about this thread yesterday, as I went by to visit Jason Falkner at his studio. Jason, of course, was in the Grays, and had JJP mix portions of his two solo records for Neglektra. I had told him about the thread and about my story with how Jack's mix with just the 24 track, the 8038, some EQ and him playing the faders killed over the final album version. We agreed that having too many toys and too many options can be a bad thing. He had once told me that he didn't want to produce himself again, because he plays so many instruments brilliantly, and plays everything on his albums himself, he thought the songs got muddled in too many things going on, etc. The he played me a track he just did that was classic a Jason Falkner demo. I have always loved his demos, even the really lo-fi ones. It sounded so great, even though he doesn't have the most amazing rig, he knows how to get really cool sounds from what he has. He doesn't need to have every mic pre or compressor under the sun to get a sound that works for the track. I mean, even the tom sounds were really cool and he was just using SM57s. I told him that I think he should continue to produce himself, but use no more than 16 tracks this time. LOL. This, of course, goes back to what some of us are talking about. Use some discipline when you track and envision the final mix. Pink Floyd records and the way they made their records are a really great example of this. In these days of unlimited tracks and being able to automate EQs in PT, etc., it gets to easy to see, let's throw everything at the wall and see what sticks in mixing. God bless the poor mixing engineers who decide to eliminate things when we producers overindulge the artist or get bogged down in our own indecision. Nick Launay was telling me that they tracked the Semi Sonic record with all kinds of production, and Bob Clearmountain made it a guitar, bass and drums record. Nick thought that it actually worked really great like that. Anyway, I digress ... as usual. BTW, thank you for mentioning sacrificing signal to noise. I've often wondered about the wisdom recording everything with faders at 0db for that very reason. |
J.J. wrote on Tue, 29 March 2005 09:44 |
Jason just got new management and will be resuming his solo career. We've got some plans to do some mixes together (meaning JJP won't get near it), and I can't wait. I really love his music. |
J.J. wrote on Tue, 29 March 2005 15:44 |
Well, considering that we recorded most of TV Eyes here, and had a really great time doing it, I'm not so sure that I would call it crap. Especially since I still want somebody to release it so I can get paid, finally! LOL. I don't know if you've only seen the shows, but I'm the only person outside of the group with copies of the original mixes, before Brian sound replaced all the drums, and it's much more punk rock. I think that "She's a Study" is one of Jason's best songs. I actually mastered the Japanese CDs, if you can believe that. "His Train" is probably my favorite on that, if not one of my all time favs. Just so you know though, Jason just got new management and will be resuming his solo career. We've got some plans to do some mixes together (meaning JJP won't get near it), and I can't wait. I really love his music. |