Jim Diamond and The White Stripes
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david viner
Actually, I recorded 10 of the songs on the David Viner record here at Ghetto. Two of the songs on the record were recorded by Liam at Toe Rag.
I really wouldn't post mp3s on my website saying I had recorded or mixed them if I hadn't.
Cheers.........
Jim
http://www.dimmak.com/releases/dm051.php
I really wouldn't post mp3s on my website saying I had recorded or mixed them if I hadn't.
Cheers.........
Jim
http://www.dimmak.com/releases/dm051.php
I know I'm a few months late on this, but chalk it up to being too busy flying around with my *other job* and didn't even get to see this issue until March.
I'd like to preface this by saying I was really stoked to see that I was included in the same issue with some really respectable and interesting (they're few and far between) producers/engineers that month, most notably Jim Diamond. I've always said if I were to make another rock record -- playing not producing -- I'd want it to be with him as every record I've heard from Ghetto Recorders has just had the perfect feel, being raw in the best possible way without being on the crappier side of intentionally lo-fi.
That said, I'd like to say that I've had a few instances where I'd wished I'd had a contract, having recorded a band for the absolute fairest, cheapest rate, even very obviously co-wrote a song on the record. In those cases where it's been, "we'll talk about it later," or I didn't get credit -- as in not even "recorded by," I've walked out of there, where previously we were working together having had a relationship outside of the studio, basically not talking to them ever again or on extremely rare occasions. Sure it's business, but I'm a punk, I'm not doing this because I want to cue up to record the next My Chemical Romance record. This is what I do within my community.
It sucks, and I can totally understand in some cases these things really do have to go to arbitration. And we're not even talking about if there was some sort of legally binding agreement.
That's just to say that the studio can be a place of immensely personal interaction and often times after-the-fact that can easily be disregarded when people's egos get involved, management, or whatever, and large sums of money are involved when something actually becomes a *hit*.
I think we're all just here to subvert the corporate studio/label system and prove you can make better, more intersting records with reasonable gear and talented people, and not bankrupt anyone in the process. It sucks when the people with whom you came up, get ahead and somehow try to kick that in the ass, on both sides of the glass.
-Jonathan Kreinik, NYC/DC/Paris
I'd like to preface this by saying I was really stoked to see that I was included in the same issue with some really respectable and interesting (they're few and far between) producers/engineers that month, most notably Jim Diamond. I've always said if I were to make another rock record -- playing not producing -- I'd want it to be with him as every record I've heard from Ghetto Recorders has just had the perfect feel, being raw in the best possible way without being on the crappier side of intentionally lo-fi.
That said, I'd like to say that I've had a few instances where I'd wished I'd had a contract, having recorded a band for the absolute fairest, cheapest rate, even very obviously co-wrote a song on the record. In those cases where it's been, "we'll talk about it later," or I didn't get credit -- as in not even "recorded by," I've walked out of there, where previously we were working together having had a relationship outside of the studio, basically not talking to them ever again or on extremely rare occasions. Sure it's business, but I'm a punk, I'm not doing this because I want to cue up to record the next My Chemical Romance record. This is what I do within my community.
It sucks, and I can totally understand in some cases these things really do have to go to arbitration. And we're not even talking about if there was some sort of legally binding agreement.
That's just to say that the studio can be a place of immensely personal interaction and often times after-the-fact that can easily be disregarded when people's egos get involved, management, or whatever, and large sums of money are involved when something actually becomes a *hit*.
I think we're all just here to subvert the corporate studio/label system and prove you can make better, more intersting records with reasonable gear and talented people, and not bankrupt anyone in the process. It sucks when the people with whom you came up, get ahead and somehow try to kick that in the ass, on both sides of the glass.
-Jonathan Kreinik, NYC/DC/Paris
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chris harris
- speech impediment
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yep. no contract. that settles it.
I feel like the $35/hr he was paid, and all of the subsequent business that he's picked up from working on such high profile records is compensation enough.
I guess if you feel like you're going to play a really, REALLY big part in helping the band find a direction, it's best to get some stuff in writing.
I feel like the $35/hr he was paid, and all of the subsequent business that he's picked up from working on such high profile records is compensation enough.
I guess if you feel like you're going to play a really, REALLY big part in helping the band find a direction, it's best to get some stuff in writing.
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JGriffin
- zen recordist
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wow, we've got a lot of Spartans here.Bjornson wrote:Another former Michigan Stater chiming in. Ex Caretakers drummer Dave Bjornson. Chin up Jimbo, keep up the great work.
"Jeweller, you've failed. Jeweller."
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
I'm a Spartan as well. Met Jim about a year ago at Cliff Bells when my jazz trio was playing. Super nice guy. His studio is cool as hell.
www.organissimo.org
organissimo - Dedicated (new CD)
"This shitty room is making your next hit record, bitch!"
organissimo - Dedicated (new CD)
"This shitty room is making your next hit record, bitch!"
POWERTRANE!!! What Jim and the boys did on that record (cd) restored my faith in rock&roll and the people who play it! I really love listening to the straight up kick ass production of that record...warts and all! I liked that record so much that I sought out the studio where it was produced on-line and bought one of his t-shirts! Then I just by chance was looking at the back issues on Tape-Op's site and noticed 'Ghetto Recorders' was in an old issue so I sprung the 8.00 or so to purchase that.
I can't wait to read it.
I say rock on 'Ghetto Recorders' and good job 'Tape Op's!
rripror, 'Pig's Eye Sound Studio' Twin Cities MN.
I can't wait to read it.
I say rock on 'Ghetto Recorders' and good job 'Tape Op's!
rripror, 'Pig's Eye Sound Studio' Twin Cities MN.
" it was the year of the wolf, and all the world smelled good "
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