TapeOpLarry wrote:Fuck money. It's all about time. Tape Op gets sent a lot of home made CDs, and most suck.
what ever happened to the 'under the radar' column?
TapeOpLarry wrote:Fuck money. It's all about time. Tape Op gets sent a lot of home made CDs, and most suck.
vvv wrote:I believe the last NIN was recorded in a house (the Sharon Tate house,) also, although obviously heavily edited.
There's even a chance it was a borrowed Line 6, and was indeed amazing.touched1 wrote:And the sound that comes out of the borrowed amplifier that has been barely tweaked is unmistakebly Marc Ribot. It's great, it's effortless, it's how it should be. He was the sound. Not the amp, PA, or room.
that'll be $35.I'm printing those 2 posts and scotch-taping them to the wall right above my equipment.
Harmony Head wrote:In general i agree with most everything Soundguy said, and could tell he was pretty passionate about it, which is nice, (although you didn't have to rant at us.. as has been stated before, this board is one of the last places around that understands what you're saying brother..)soundguy wrote:Granted, a $200K console is wheeled in there,
I will say one thing though. Part of getting better at what we do as engineers and producers is knowing why a $200,000 desk is better than the pres in a 001. And while i'm grateful for the things i learned when i had to work harder to get things sounding how i liked when a Joe Meek VC3 was the only pre i had, i'm quite enjoying not having to work so hard now that i have MUCH better gear at my disposal.
So while i agree with the general thing of what you're saying... that it's not about the room, it's all about people's skills etc... your 'granted' is a big one. A $200k desk is no guarantee, but if you're in the position to be working with one, your job sure did get a little easier..
HH
And c'mon man, those records were made with nearly anything, as far as gear, the artists wanted.
say that BSSM wasn't MIXED AND MASTERED in the same parallel walled house
I do agree in general with this but know that neve,neumann,ssl etc are used to make these sounds...along with all the time in the world...this "house" to is in the Hollywood Hills right...like some damn Clark Gable mansion. It is NOT a 12x16 garage...
i call bull shit. you're still making excuses... it's like being a little nervous high school boy all over with "she won't go out with me because i don't have a nice car/body/lots of money/enormous junk..." she won't go out with you because you are too fucking busy coming up with reasons why she should reject you to even just ask! or like all those bands who sit around talking about what they're going to do "when they get signed" or when "they make it big" but won't even get their shit together to rehearse. 95% of a good record is the music and the performance. watch the majority of really good engineers work... it's not "oh i owe all my hit records to this magic box right here." their skill comes from knowing every last detail about what they do have. i have heard amazing sounds come out of SM57s and total shit come out of 5000 dollar tube mics... so stop making fucking excuses and learn your gear! record something! stick a mic on your dryer and throw your shoes in there or something, then try to make it sound good. stick a radio in the middle of your room and try to find a good room sound! and quit bitching about how "well of course i could make platinum records with XYZ console that costs $200,000 and ABC microphones that cost $5,000 each." if you can't make things sound good with the gear you have, you can't make things sound good with the gear you don't have.I also know I could certainly do better recordings in a Hollywood mansion, albeit one with untreated, parallel walls, but a little more flexible than in the li'l house I'm working with.
That can apparently be summed up with:lonesome_tone wrote:what ever happened to the 'under the radar' column?
TapeOpLarry wrote:Tape Op gets sent a lot of home made CDs, and most suck.
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