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My 2 cents on Pet Sounds (and like rodgre, I'm a Brian Wilson fanatic)... The main thing about that album, to me, is the sound of one guy madly driven to experiment. The sounds are all there, and the playing is top shelf (Hal Blaine, Carol Kaye, etc, etc), but what moves me most about Pet Sounds is...

aeijtzsche said: "Gear is definitely a small part of the equation in this case. A big part of the sound is based on the musicians playing together in the same room without headphones. It's hard to approximate that sound without actually doing it with 6-15 people playing together in a 30x15x12 room. ...

You definitely got the Pink Floyd keys down. Sounds very much like "Sheep".

I just discovered i like micing acoustic guitar by pointing a SDC downward towards the ground in front of/near the soundhole. Nice sound, cuts out some of the boominess, and adds better separation when recording vocals and acoustic at the same time.

That's my kind of "major" recording artist studio space. I really dig the comfy couch right in the middle of the room approach.

"For The Turnstiles" is one of the best songs the man has ever written and performed. Definetly on my list of favorite vocals ever, too. Man, I hope someone pipes in with any recording info, even for Tonights the Night... ...not that I have any equipment or room remotely in the range that Neil would...

Hey has anyone else been studying the pics on Dead Air Space??

http://www.radiohead.com/deadairspace/

....Interesting...

Good way to put it, Joel. After all my research, I've never heard anyone simplify it so well.

You've got some freakin' good stuff. I'm very impressed. Everything sounds good too. Your pedal steel sound is terrific.

That's an awesome video. Oddly inspiring. We could all learn a thing or two from Sid. Just get the job done and make the song.

Remember to save those ribbons.

I have one MSH-1(omni) and I really like it on acoustic guitar. My other mics are SM57, a SP B1, an Audix something (condenser), but the MSH gives me the acoustic tone I usually imagine in my head, a good tone of the body and strings, but not too overbearing that it overshadows everything else in th...

Me likes those CCR recordings. The drums had a nice dry pound to them and the guitars were very spacious but not overwelming. There was also a very good bass definition, too. Great great three-chord songs. CCR sounded like nobody else.

Have you guys seen the video of him and Johnny Cash performing "One Too Many mornings" in the studio. When you hear him do that croon, I imagine his face contorting, his head turning on end, and one eye shut, but the voice just comes out without any work. It's amazing!!

I always loved the harmonizing on "I Shall be Released" and "You Aint a Goin' Nowhere". Anybody know if he harmonized himself on these songs? If not, who was the other singer with the voice like sandpaper? Shnikes! I totally forgot he re-did I Shall be Released for the Greatest Hits II album. If yo...

It wasn't himself because he didn't overdub during that time (he was strictly against it!!). That was on the Basment Tapes with the Band, so it's Richard Manuel, Levon Helm, or Rick Danko. ps. the Greatest Hits II versin of You Aint Goin Nowhere is my absolute fav Dylan performance/song. It was perf...