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Post by jmoose on Aug 1, 2023 16:06:09 GMT -6
Yeah, one band does not a channel make. No doubt. Unless that one band is Queens of the Stone Age... which hey, Josh gimme a buzz! Lets do this! But I think we all saw what happened with Eric Valentine when he put queens on his channel. Got taken down within days. So. Case in point. |
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Post by robo on Aug 1, 2023 18:05:11 GMT -6
Yeah I really enjoyed that video. I'd love to see more videos like this with 1) Producers that don't suck 2) Bands that aren't lame 3) People that aren't trying to sell me something, or at least not so overtly For sure. Especially #3 but I think there's a reason for that.. hold on here... Honestly when I found that video a few years ago it was refreshing but also validating. Mostly because when I do try & watch some utoob videos on production I kinda feel like a freak because very little of what I see resembles the way I typically work. But watching that? It could almost be my own session... From the band tracking live (with dubs)... drums through guitar pedals... not a lot of plugs on the session (I'd bet the farm I have the smallest plug collection on the forum)... printing FX... DAW as tape/sub mixer to an actual desk with physical outboard... the whole trip. So to me its like Vance says... old school record making by design. Which is becoming something of a lost art but I digress... only slightly. Anyway I had this stupid idea early into the panda-year to start a utoob channel, something that friends have been saying I should do forever but I never had a great idea and didn't want to be another Beato goofball pushing gear & doing BS reviews... Then the concept hit me and died nearly as quickly. Was going to be half live at KEXP/From the basement vibe... Get a band in, play, get the whole performance so there's something regular people can enjoy...and the other half would be session documentation & breakdown. Go through all the signal chain stuff front to back no secrets for audio nerds... which quite truthfully wouldn't be all that different from that hour with Mr Powell. Simple! And I made up a list of about 10 bands that I either already knew or wanted to work with... and after talking to about six of them & some other people realized it'd never fly. The million dollar hurdle, quite literally is clearances. Securing rights. Especially with the label bands it was a roadblock. Which to bring it back around... is potentially something that the "puremix" & others of the world like radio stations that might have deeper pockets & more connections (aka attorneys on retainer) have an easier time navigating? Really dunno. Just knew that I wasn't about to drop coin on hiring an attorney to do paperwork... Who knows. Maybe one day I'll investigate again and it'll grow some legs. Really can't do anything without artists & labels being totally onboard. There is a series out of Philly (I think?) called Shaking Through that is sort of like that. I believe they get around legalities by having bands do an original song for the recording/filming. They don’t get terribly technical with recording details, but enough to keep it interesting. Big Thief and some other noteworthy bands have done sessions. Worth checking out. weathervanemusic.org/shakingthrough/episode-indexI would love to see something like this that focused on the technical side a bit more. |
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Post by Ward on Aug 1, 2023 18:11:23 GMT -6
Sorry about that, but in my defense . . . everything I've pushed as an 'evangelist' has been AWESOME gear! LOL Haha... I'm more talking about the Luna videos and stuff like that. It's actually interesting seeing some high level engineers track a song, but you have to filter out a LOT of Luna propaganda. Now, Audio-Scape? Sometimes I just gaze lovingly at my Optocomp but I feel sad that it doesn't have any Audio-Scape siblings to play with. Promote away! As and I wished each other well.  Amazing products. Evolving company. I'm so glad to see my 'baby' the 78 come to fruition. Someone let me know how it turned out, please. |
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Post by Bob Olhsson on Aug 8, 2023 19:32:37 GMT -6
I heard Glynn Johns say the whole point with his original setup was simply to duplicate what a band was used to experiencing on stage in a club at that time. This was before recording rock bands was common and before stage monitoring became common.
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Post by drumsound on Aug 8, 2023 20:25:35 GMT -6
I heard Glynn Johns say the whole point with his original setup was simply to duplicate what a band was used to experiencing on stage in a club at that time. This was before recording rock bands was common and before stage monitoring became common. That does make sense. |
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Post by Quint on Aug 8, 2023 20:31:10 GMT -6
For sure. Especially #3 but I think there's a reason for that.. hold on here... Honestly when I found that video a few years ago it was refreshing but also validating. Mostly because when I do try & watch some utoob videos on production I kinda feel like a freak because very little of what I see resembles the way I typically work. But watching that? It could almost be my own session... From the band tracking live (with dubs)... drums through guitar pedals... not a lot of plugs on the session (I'd bet the farm I have the smallest plug collection on the forum)... printing FX... DAW as tape/sub mixer to an actual desk with physical outboard... the whole trip. So to me its like Vance says... old school record making by design. Which is becoming something of a lost art but I digress... only slightly. Anyway I had this stupid idea early into the panda-year to start a utoob channel, something that friends have been saying I should do forever but I never had a great idea and didn't want to be another Beato goofball pushing gear & doing BS reviews... Then the concept hit me and died nearly as quickly. Was going to be half live at KEXP/From the basement vibe... Get a band in, play, get the whole performance so there's something regular people can enjoy...and the other half would be session documentation & breakdown. Go through all the signal chain stuff front to back no secrets for audio nerds... which quite truthfully wouldn't be all that different from that hour with Mr Powell. Simple! And I made up a list of about 10 bands that I either already knew or wanted to work with... and after talking to about six of them & some other people realized it'd never fly. The million dollar hurdle, quite literally is clearances. Securing rights. Especially with the label bands it was a roadblock. Which to bring it back around... is potentially something that the "puremix" & others of the world like radio stations that might have deeper pockets & more connections (aka attorneys on retainer) have an easier time navigating? Really dunno. Just knew that I wasn't about to drop coin on hiring an attorney to do paperwork... Who knows. Maybe one day I'll investigate again and it'll grow some legs. Really can't do anything without artists & labels being totally onboard. There is a series out of Philly (I think?) called Shaking Through that is sort of like that. I believe they get around legalities by having bands do an original song for the recording/filming. They don’t get terribly technical with recording details, but enough to keep it interesting. Big Thief and some other noteworthy bands have done sessions. Worth checking out. weathervanemusic.org/shakingthrough/episode-indexI would love to see something like this that focused on the technical side a bit more. Yeah, I remember when that started. It seems like that was probably 15 years ago at this point. I really enjoyed watching those, though it doesn't seem like they've done anything for a while, or maybe I just haven't been paying attention. I do seem to remember them getting fairly technical about gear/technique, but maybe that was only in the beginning and they didn't keep doing that. I'm gonna have to go and watch some of those videos now. |
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Post by gravesnumber9 on Aug 15, 2023 9:12:02 GMT -6
I heard Glynn Johns say the whole point with his original setup was simply to duplicate what a band was used to experiencing on stage in a club at that time. This was before recording rock bands was common and before stage monitoring became common. Still might be some validity to that for bands that have a refined live show but limited studio experience. I actually come across those types a lot. Killer show but they've never really recorded a "proper" record so they don't know how to translate that energy/vibe to the studio. |
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Post by Bob Olhsson on Aug 15, 2023 11:34:29 GMT -6
The "secret" is recording live with everybody listening to each other using no headphones or stage monitors to screw up the dynamics!
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Post by Ward on Aug 15, 2023 12:01:52 GMT -6
The "secret" is recording live with everybody listening to each other using no headphones or stage monitors to screw up the dynamics! How I wish that weren't a "secret". |
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Post by gravesnumber9 on Aug 15, 2023 22:11:09 GMT -6
The "secret" is recording live with everybody listening to each other using no headphones or stage monitors to screw up the dynamics! This is how I'm setting up my band's new room. But I am hiding some spot studio monitors in key spots just in case. Not only do I prefer recording this way, but I find for our style we play cooler stuff if we're playing at lower volume. We'll see how it goes. I myself am often the one driving up the volume so maybe if I lead by example? |
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