Advice For Hopeful Analog Recording Geek

benisraelthompson · Post by **benisraelthompson** » Wed Jan 21, 2015 5:05 pm

Hi All,

I am a full-time musician in Atlanta, and have been a big fan of records since I was a kid. I love collecting them, reading liner notes, etc. but have recently decided to make the jump into the actual recording process. My dream, (probably like everyone else here) is to make great records, and hopefully to tape. Everything from Beatles to the Ramones to Robert Plant and Alison Krauss, I love music that's got feeling, and I want to learn how to capture a musical moment. I?ve been going through a mini course on Pro Tools (John Keane?s Online Pro Tools DVDs). I?m loving it and the way it builds on each lesson makes the program make so much sense. I?ve realized that knowing Pro Tools and knowing audio are two mutually exclusive endeavors. I look up videos on audio, read articles from Tape Op, Sound on Sound, Mix Magazine, etc. but it seems like I?m trying to put a big puzzle together, with little pieces. I?d love to read or watch something that builds on itself, and is thorough, discussing compression, EQ, reverb, how to do it, etc. Does anyone have any recommendations for any books, or study materials? My goal is to eventually be able to track to tape and work on primarily analog gear.

I'm Painting Again · Post by **I'm Painting Again** » Wed Jan 21, 2015 6:47 pm

get a small home recording setup and record yourself as much as possible..

volunteer at a studio..assist a talented producer and or engineer if you're able to..

learn as much as you can about other people specifically artists and how they are comfortable and confident enough to make a special moment under a magnifying glass..

honkyjonk · Post by **honkyjonk** » Thu Jan 22, 2015 12:29 am

Man, good luck. Long road. There's no one source to figure that stuff out of course. I love the same musicians you mentioned and I love tape and tubes and transformers.

But the real magic shit you already know. "I love music that's got feeling, and I want to learn how to capture a musical moment." The key word being "moment"

Beware overdubs, midi, sample replacement, click tracks, auto tune, beat correction and on and on.

I can agree to a certain extent that the 'whole' can gain (a TINY bit in the compromise of sacrificing the sanctity of having the ENTIRETY happen in one moment) by a minority of occasional esoteric overdubs, but musicians playing together in one moment in one room going for something collectively trumps any production, studio trickery, classic analog equipment or other such left brain schenanigans.

Just my opinion, but I keep trying to prove that opinion wrong, and it isn't happening.

Just keep your eyes on the prize. There's something that happens in that one moment all together that nothing else can fake. The good news is though, you can do that with a laptop or a 4 track. Yay!

Here's some spicy reading from David Briggs: https://kvams.wordpress.com/2009/08/11/ ... e-records/

benisraelthompson · Post by **benisraelthompson** » Thu Jan 22, 2015 4:51 am

Wow, thanks. That's encouraging. Thanks for that read too, that's an awesome section. I like Neil Young a lot. I'm reading Waging Heavy Peace now, but haven't had a chance to read Shakey yet. I would kill to have the sounds on Zuma.

Gregg Juke · Post by **Gregg Juke** » Thu Jan 22, 2015 7:13 am

Yeah, we're all putting together the Big Puzzle with our own little pieces, and I've been doing this stuff in some form or fashion for a long time. Stick with it. Write good songs, work with good musicians, put microphones up...

While I respect the "beware the overdubs" perspective, a beautifully crafted, layered masterpiece can also be an awesome listen. The key is Good Music, played by Good Musicians (tm).

Go make it happen...

GJ

benisraelthompson · Post by **benisraelthompson** » Thu Jan 22, 2015 7:25 am

Thanks!

I know some producers/engineers in Atlanta (I'm a full time drummer and have a little experience with some sessions in the area), but most of them are not tracking live, "capturing that moment," A lot of the music being recorded around seems highly compressed, loud, and I don't feel much emotion. I don't mean to come across as snobbish or harsh (especially if anyone knows in anyone in Atlanta!). I figured Tape Op forum members might have somewhat similar tastes, does anyone know any producers or engineers in Atlanta making the kind of records I'm trying to learn how to make?

Jim Williams · Post by **Jim Williams** » Fri Jan 23, 2015 8:08 am

To capture the moment, record live acts.

Scodiddly · Post by **Scodiddly** » Fri Jan 23, 2015 6:13 pm

Jim Williams wrote:To capture the moment, record live acts.

Great advice, and usually the easiest way to start when it comes to wrangling talent.

And don't worry too much about analog vs. digital. Plenty of crap music was recorded on analog tape too. A laptop rig might get you into situations with better music than you can drag home to the analog beast.

JWL · Post by **JWL** » Fri Jan 23, 2015 7:41 pm

Scodiddly wrote:And don't worry too much about analog vs. digital. Plenty of crap music was recorded on analog tape too. A laptop rig might get you into situations with better music than you can drag home to the analog beast.

This.

Marcelli · Post by **Marcelli** » Sat Feb 28, 2015 5:56 am

Many components of a good digital studio are the same for an analog studio (mics, monitors, room, etc.). First, a good band with decent tone makes any studio sound better! Second, be careful about gear that only has digital applications. If your mixer or preamps only have digital outputs, you're stuck buying more stuff. I prefer analog gear with AD/DA separate, but you might consider hybrid stuff (like an Onyx board). Third, pick up a used Tascam 238. It's a capable entry point into the analog workflow. I would hold off on a reel-to-reel until you have your other gear in place (meaning you own it and have maximized its potential). At some point you will want a better tape machine and outboard gear, but by then you will have nailed down the basics. Good technique, good bands, good gear, your own workflow...get this stuff nailed down before you add in the random headaches (did I say headaches? I meant "pure joy") and costs of a Reel-to-Reel deck.

lobstman · Post by **lobstman** » Sat Feb 28, 2015 8:01 am

A lot of people seem to think analog gear is some kind of silver bullet- it isn't. If you time travelled back to 1975 and replaced the tape deck on the "Zuma" sessions with a MacBook, it'd still be an awesome record. Time traveling a hack band with bad songs to Abbey Road in 1966 would still sound like crap.

The gear is just one piece of the puzzle. Records were made differently 40 years ago for a bunch of different reasons, but those old school techniques are part of the puzzle too. If you want a "'60s" sounding record but apply "2000s" era recording techniques, no amount of old gear will do the trick for you. So are the musicians- like Jim said, if you want to create music that sounds like a live band, record a live band. Accept no substitute.

Really, there's no reason you can't replicate the vibe (if not the EXACT sound) of "analog era" recordings on modern equipment. It's like saying you can't play Neil Young songs on a PRS.

dfuruta · Post by **dfuruta** » Sat Feb 28, 2015 5:26 pm

study music & study electronics, and don't believe things because of hype

Marcelli · Post by **Marcelli** » Sat Feb 28, 2015 9:43 pm

Scodiddly wrote:
Jim Williams wrote:To capture the moment, record live acts.
....A laptop rig might get you into situations with better music than you can drag home to the analog beast.

A Tascam 238 can make a nice mobile rig when 8 channels will do. We have a 6u SKB case with the 238, Audient ASP008, 1u line mixer, and 1u power strip. While it is true that a computer rig would serve you well (and in some situations, better), there's nothing to set you apart from everybody else with a laptop rig. That's part of what makes analog interesting. From what I gather, it sounds like you may be interested in bands that value analog methods. If so, you have to choose between sitting at home complaining that analog is "all hype" or you can be out recording bands in a medium they desire. And if they don't care about analog sound? Then swap out the 238 for your Laptop rig and go to town. Give the artists what they desire rather than staking out a rigid position on analog vs digital.

I'm Painting Again · Post by **I'm Painting Again** » Sun Mar 01, 2015 1:58 pm

How about just throw a big sequin tarp over the rig, make a circus tent and don't let anyone inside to see anything you use..that will add an air mystery whilst freeing you up to use whatever gear you want and all you need to do is deliver a good sound..scream manically and pull a knife on them if they try to enter the tent..that will set you apart from everyone in the best possible way..

Gregg Juke · Post by **Gregg Juke** » Sun Mar 01, 2015 3:16 pm

While Sheep n' Punk is making a funny-fun, I'd say that I must agree to some degree. An air of mystery certainly worked for Phil Spector (and look where it got him!!).

For the knife, I'd suggest the extra-large Winchester Bowie-- http://www.knife-depot.com/knife-272204.html ...

GJ

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