Quote:
Originally Posted by thethrillfactor  Does it really matter?
It changes from song to song, production to production.
I am not a "future" guy. People who buy gear for things they will do in the "future".
I am also not a "preset person" either. You know engineers that use the same gear in the same way all the time, for the same sounds for every song or production.
I am more of a "moment" guy.
I live and work hard to maximize and capture the feeling that day, in that instance, for that song, or how i feel in that "moment".
The gear i've amassed over the years is this kind of mentality. You know gear that helps me get from point A to point B the easiest, funnest and in style in the "moment".
The people in this business that made the biggest impact on me were those kind of people. And these are the people that have made those classic timeless albums. Its not a popular way to work these days since the Mcdonalds way of working seems to dominate things. You know bring the project in and turn it out right away with a bland & faceless sonic stamp. |
I am interested in how you use multiple buss comps in tandem to achieve the effect you're going for. I've never used buss comps to shape freq response on program material, and I am rather curious about your methodology as it relates to this technique.