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Post by spindrift on Jun 19, 2019 21:18:04 GMT -6
Glass Animals Zaba album is one of the coolest dynamic albums I think in the last 10 years. Such great depth too. But it has tracks where literally every chorus progresses louder. Super cool I'm quite fond of PJ Harvey Let England Shake, lots of mix dynamics and it appears unlimited with a good amount of headroom, but it sounds like there's lots of individual track compression. Definitely not 'uncompressed'. I too love that record.
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Post by jcoutu1 on Jun 19, 2019 22:28:20 GMT -6
How about Folsom Prison? That sounds pretty raw.
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Post by svart on Jun 20, 2019 7:13:18 GMT -6
I too eat my salad without dressing.
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Post by iamasound on Jun 20, 2019 16:53:11 GMT -6
That's exactly why I did a bit of Sherlock on the matter. My memory is failing me. If you think that you're the only one that...I just plum forgot what I was going to say!
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Post by theshea on Jun 21, 2019 4:37:51 GMT -6
i like compression ...
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Post by popmann on Jul 10, 2019 19:56:20 GMT -6
Vanessa has a new one with slightly more modern pop tunes....Radiohead's Creep without compression? Done.
They really do a wonderful job....I just imagine how good they would make that sound if they'd lose the arbitrary constraint. I would love to be a fly on the wall in those sessions. I'm glad they let Tim Pierce have an electric guitar this time out....
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Post by shoe on Jul 10, 2019 20:37:33 GMT -6
This is weird. I'm not sure how to describe it, but this sounds both like...too real and kind of fake to me at the same time. Maybe it just sounds, to me, like a coffee house set or something.
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Post by swafford on Jul 11, 2019 4:29:31 GMT -6
No compression at all - tracking/mix/master?
I made an album 12 years ago or so with Bob Ohlsson (mix and mastering, though he was also at the sessions and helping the engineer at The Castle and Java Jive) and Ed Pettersen (producer) and they told me there was no compression used in the mixing. Dunno about the tracking and mastering. Sounded great, nominated for Best Album locally, sunk like a brick in a swimming pool otherwise.
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Post by dreamsambas on Jul 11, 2019 6:11:05 GMT -6
No compression at all - tracking/mix/master? I made an album 12 years ago or so with Bob Ohlsson (mix and mastering, though he was also at the sessions and helping the engineer at The Castle and Java Jive) and Ed Pettersen (producer) and they told me there was no compression used in the mixing. Dunno about the tracking and mastering. Sounded great, nominated for Best Album locally, sunk like a brick in a swimming pool otherwise. Would love to hear that! Can you post a link?
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Post by swafford on Jul 11, 2019 7:52:08 GMT -6
No compression at all - tracking/mix/master? I made an album 12 years ago or so with Bob Ohlsson (mix and mastering, though he was also at the sessions and helping the engineer at The Castle and Java Jive) and Ed Pettersen (producer) and they told me there was no compression used in the mixing. Dunno about the tracking and mastering. Sounded great, nominated for Best Album locally, sunk like a brick in a swimming pool otherwise. Would love to hear that! Can you post a link? murdercreekassembly.bandcamp.com/album/summers-here
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Post by channelcat on Jul 11, 2019 14:37:38 GMT -6
Loads of classic 50's, 60's and 70's albums, no? Would love to know if/what gear was used on Crosby's debut solo 'If I Could Only Remember My Name'. From the research I’ve done on Wally Heider Recording - San Francisco, they had a couple 1176 Rev A Blue Stripes and LA-2As (and possibly a UA 175B, but Bob O. doesn’t recall there being one). Garcia was there at the same time, working on his first solo album, and that’s when the two of them got the idea for the PERRO Sessions. Stu
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Post by mcirish on Jul 11, 2019 16:07:10 GMT -6
The idea of recording and mixing without compression is very attractive, yet somehow the end result is somewhat less satisfying than I would hope. The earlier recordings I did had very little compression and always felt undone. For the most part, I prefer compression in the way it not only controls the dynamics but adds weight to the source. If I had to work without any compression, I would be doing an immense amount of automation to get a similar sound.
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Post by swurveman on Jul 11, 2019 16:17:00 GMT -6
On the other side of the compression spectrum, I've read that Jeff Lynne's Armchair Theatre is an example of a heavily compressed (1176 blackface) album. I read Michael Brauer say it took him years to really hear and understand compression. It's one of the things that separates the great engineers from everybody else imo.
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Post by Martin John Butler on Jul 11, 2019 16:42:00 GMT -6
Even if the recording was done with no compression, wouldn't the mastering engineer compress?
I definitely do not love really smashed music. i think some good music gets spoiled that way.
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Post by Ward on Jul 11, 2019 18:31:02 GMT -6
Back in my early 20s, new to the studio game, just recording demos and small-time things, when you hit the compressors hard and had a smashed drum sound, the kids my age and younger would react with delight and say things like "Holy wow, sounds like a real studio!"
They didn't know the difference, but they knew what a record was supposed to sound like.
Just saying . . .
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Post by tasteliketape on Jul 11, 2019 19:25:46 GMT -6
Don’t know if they mean just vocals or all the song Heart of Gold” was the second song we cut. Teddy, Ben, Tim and Kenny played on it. I used a [Neumann] U87 on Neil's voice; a [Neumann] KM86 on his guitar; drum overheads were KM86s, snare most likely a [Shure] SM56, hi-hat a 224E; bass was direct; we had a KM86 on Teddy's guitar and an 87 on steel. We were recording to 2-inch 16-track Scotch 206, 30 ips, no noise reduction. The console was a Quad Eight 20×8×16. No compressors were used. I hand-rode his voice, which meant I had to learn the song and anticipate his moves. The vocal effect on Neil's voice is 15 ips tape slapback, and it is on the multitrack. The whole article is here www.google.com/amp/s/www.mixonline.com/.amp/recording/classic-tracks-neil-youngs-heart-gold-372802
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Post by wiz on Jul 11, 2019 20:21:23 GMT -6
Don’t know if they mean just vocals or all the song Heart of Gold” was the second song we cut. Teddy, Ben, Tim and Kenny played on it. I used a [Neumann] U87 on Neil's voice; a [Neumann] KM86 on his guitar; drum overheads were KM86s, snare most likely a [Shure] SM56, hi-hat a 224E; bass was direct; we had a KM86 on Teddy's guitar and an 87 on steel. We were recording to 2-inch 16-track Scotch 206, 30 ips, no noise reduction. The console was a Quad Eight 20×8×16. No compressors were used. I hand-rode his voice, which meant I had to learn the song and anticipate his moves. The vocal effect on Neil's voice is 15 ips tape slapback, and it is on the multitrack. The whole article is here www.google.com/amp/s/www.mixonline.com/.amp/recording/classic-tracks-neil-youngs-heart-gold-372802I just died and went to recording heaven. You cut that record!!!! I just LOVE the sound of that record. (insert waynes world we're not worthy here) I love RGO cheers Wiz
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Post by Ward on Jul 11, 2019 21:04:47 GMT -6
Don’t know if they mean just vocals or all the song Heart of Gold” was the second song we cut. Teddy, Ben, Tim and Kenny played on it. I used a [Neumann] U87 on Neil's voice; a [Neumann] KM86 on his guitar; drum overheads were KM86s, snare most likely a [Shure] SM56, hi-hat a 224E; bass was direct; we had a KM86 on Teddy's guitar and an 87 on steel. We were recording to 2-inch 16-track Scotch 206, 30 ips, no noise reduction. The console was a Quad Eight 20×8×16. No compressors were used. I hand-rode his voice, which meant I had to learn the song and anticipate his moves. The vocal effect on Neil's voice is 15 ips tape slapback, and it is on the multitrack. The whole article is here www.google.com/amp/s/www.mixonline.com/.amp/recording/classic-tracks-neil-youngs-heart-gold-372802Thanks for sharing. Misunderstood who you were.
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Post by m03 on Jul 11, 2019 21:26:25 GMT -6
Don’t know if they mean just vocals or all the song Heart of Gold” was the second song we cut. Teddy, Ben, Tim and Kenny played on it. I used a [Neumann] U87 on Neil's voice; a [Neumann] KM86 on his guitar; drum overheads were KM86s, snare most likely a [Shure] SM56, hi-hat a 224E; bass was direct; we had a KM86 on Teddy's guitar and an 87 on steel. We were recording to 2-inch 16-track Scotch 206, 30 ips, no noise reduction. The console was a Quad Eight 20×8×16. No compressors were used. I hand-rode his voice, which meant I had to learn the song and anticipate his moves. The vocal effect on Neil's voice is 15 ips tape slapback, and it is on the multitrack. The whole article is here www.google.com/amp/s/www.mixonline.com/.amp/recording/classic-tracks-neil-youngs-heart-gold-372802Great article and really nice having you here, Elliot Mazer. that's a pretty damned heavy bit of cred right there! Wow. FYI, that's a quote direct from the article. The first sentence of tasteliketape's comment (and his opening comment in the thread) makes me believe that you're confusing him for someone else.
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Post by Ward on Jul 11, 2019 22:08:59 GMT -6
thanks m03. It seems both myself and Peter wiz misunderstood.
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Post by mcirish on Jul 12, 2019 8:19:16 GMT -6
Does anyone else ever wish that forums were not so anonymous? I suppose if I had anything to really brag about, I might want to stay under the radar. But, I often wish I knew exactly who I was conversing with. I guess that is why I like when forum users at least give a link in their profile so you know who they are. There's obviously so very successful and talented people on the forum. I don't wish to abuse their participation, but it might be fun to be able to ask a specific question once in a while. OK, back on topic...
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Post by Ward on Jul 12, 2019 8:26:53 GMT -6
Does anyone else ever wish that forums were not so anonymous? I suppose if I had anything to really brag about, I might want to stay under the radar. But, I often wish I knew exactly who I was conversing with. I guess that is why I like when forum users at least give a link in their profile so you know who they are. There's obviously so very successful and talented people on the forum. I don't wish to abuse their participation, but it might be fun to be able to ask a specific question once in a while. OK, back on topic... It's a difficult one to wrestle with. Those who I work with know what I do. I do a TON of ghost vocals on records, and guitar parts, and editing and mixing. I actually work anonymously. Most of the time. Occasionally, I'll say something about a song doing well, or show something I'm working on . . . but it's just easier and more humbling to be anonymous and do my part and not look for recognition. The work is all that matters. Just my two coppers.
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