so i have the stems to queens bohemian rapsody
umm, i might actually buy that album.Blade wrote:That's funny, because I try and make ELO records that sound like Queen.dwlb wrote:I love Queen, but I am not in the business of making records that sound like Queen records.
I mean, Good Golly Miss Molly, that would be like Jeff Lynne making every record he produces sound like an ELO reco...oh wait.
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
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- zen recordist
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maybe he wants to hear what it sounds like when Brian May plays through a Peavey Shredmaster, tho?
in that case, i suggest getting Brian May to come around and play for you.
that will probably be very expensive.
in that case, i suggest getting Brian May to come around and play for you.
that will probably be very expensive.
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
I think it should be assumed to some degree that people are aware of the uniqueness of everyone's voice/playing technique, etc, and that being placed in a thread about recording techniques it is appropriate to ask how things were done in terms of technical production without the lazy posts about it being "the performance" and not the equipment. You can analyze great performances like these and learn enormous amounts that help in future recordings, and as much as "Bonham's drums" or 'Freddie's voice" were unique and grand in character and function, they were also captured in really unique and grand ways as well. I get annoyed by people asking how to have a shortcut to something as well, but there are some fundamental parts of the process that seem appropriate to discuss in this format that are completely looked past, focusing on what things arent instead of diving into the joy of the process, which is art in itself.
I am somewhat of an amateur of a recordist, but i have worked as an artist with many phenomenal producers and engineers along the way, and as i try to learn on my own what i worked on from the other side of the glass, i am often left in awe reflecting on the sounds that they have created with my voice and my guitar. I love reading, and then trying anything i can get my hands on, and have already learned tons in this way.
This post may be moot to some degree, but for selfish reasons i love it when we can indulge in our collective ideas on what "might have been done" on some of the great recordings/ They have been great teachings so far
Best
Ian
I am somewhat of an amateur of a recordist, but i have worked as an artist with many phenomenal producers and engineers along the way, and as i try to learn on my own what i worked on from the other side of the glass, i am often left in awe reflecting on the sounds that they have created with my voice and my guitar. I love reading, and then trying anything i can get my hands on, and have already learned tons in this way.
This post may be moot to some degree, but for selfish reasons i love it when we can indulge in our collective ideas on what "might have been done" on some of the great recordings/ They have been great teachings so far
Best
Ian
+1imo wrote:I think it should be assumed to some degree that people are aware of the uniqueness of everyone's voice/playing technique, etc, and that being placed in a thread about recording techniques it is appropriate to ask how things were done in terms of technical production without the lazy posts about it being "the performance" and not the equipment. You can analyze great performances like these and learn enormous amounts that help in future recordings, and as much as "Bonham's drums" or 'Freddie's voice" were unique and grand in character and function, they were also captured in really unique and grand ways as well. I get annoyed by people asking how to have a shortcut to something as well, but there are some fundamental parts of the process that seem appropriate to discuss in this format that are completely looked past, focusing on what things arent instead of diving into the joy of the process, which is art in itself.
I am somewhat of an amateur of a recordist, but i have worked as an artist with many phenomenal producers and engineers along the way, and as i try to learn on my own what i worked on from the other side of the glass, i am often left in awe reflecting on the sounds that they have created with my voice and my guitar. I love reading, and then trying anything i can get my hands on, and have already learned tons in this way.
This post may be moot to some degree, but for selfish reasons i love it when we can indulge in our collective ideas on what "might have been done" on some of the great recordings/ They have been great teachings so far
Best
Ian
wedge wrote:+1imo wrote:I think it should be assumed to some degree that people are aware of the uniqueness of everyone's voice/playing technique, etc, and that being placed in a thread about recording techniques it is appropriate to ask how things were done in terms of technical production without the lazy posts about it being "the performance" and not the equipment. You can analyze great performances like these and learn enormous amounts that help in future recordings, and as much as "Bonham's drums" or 'Freddie's voice" were unique and grand in character and function, they were also captured in really unique and grand ways as well. I get annoyed by people asking how to have a shortcut to something as well, but there are some fundamental parts of the process that seem appropriate to discuss in this format that are completely looked past, focusing on what things arent instead of diving into the joy of the process, which is art in itself.
I am somewhat of an amateur of a recordist, but i have worked as an artist with many phenomenal producers and engineers along the way, and as i try to learn on my own what i worked on from the other side of the glass, i am often left in awe reflecting on the sounds that they have created with my voice and my guitar. I love reading, and then trying anything i can get my hands on, and have already learned tons in this way.
This post may be moot to some degree, but for selfish reasons i love it when we can indulge in our collective ideas on what "might have been done" on some of the great recordings/ They have been great teachings so far
Best
Ian
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
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- alignin' 24-trk
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- Location: Rockville, MD
You can have great vocalists like Freddie and great instrumentalists like Bonham, but it all starts with a great song. Those type of artists can take a great song and make it greater than great, which means it is commercial. Sorry if I have offended those who are turned off by commercial. And I remember something that has kept with me throughout the years that I read in an old Songwriters' Market edition. One of the publishers said production doesn't matter for demos, that he can hear a great song if its only played on a yo-yo and a rubber band - contrary to what most other publishers said; that they needed a well produced and recorded demo so that they could tell if a song is good. Maybe some folks have a better ear than others or haven't taken it in the ear so often. Food for thought..........., or lack therof.
Song-Writer
suddenly, an Illithid appears and forces you to tear out your own spine.0-it-hz wrote:I have "total immunity to phase anomalies"
and a +10 bonus to alignment.
the Illithid then feasts on your brain and you are dead.
forever.
rest of the party is fine.
*straightens DM guide and sips Mountain Dew*
?What need is there to weep over parts of life? The whole of it calls for tears.? -- Seneca
kuene wrote:there are stems floating around out there for killer queen, brighton rock, maybe more. ive never heard of bohemian though...
...there are complete 44.1/16bit transfers of the 24 track masters of killer queen & brighton rock, along with 2 or more other songs. never seen or heard of bohemian rapsody though....
EDIT: i dont have them and i wouldnt be able to tell you where to get them.
Last edited by Dave Nutz on Tue Jul 15, 2008 1:49 pm, edited 1 time in total.
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everything up to 11.0-it-hz wrote:What are the right settings on my peavey shred master to sound like brian may?
then unplug it and walk away.
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