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Originally Posted by u b k  But a crapass mic that sounds like crap, on a vocal in a song like Exit Music, wouldn't fly. Not for a second.
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I have always thought that the vocal sound on that song (Exit Music for a Film) is particularly harsh and unpleasant. I wouldn't be surprised if that's one of the "Rode" takes. or maybe just aggressive treatment as you mentioned
I didn't know distressors had been around that long! cool. also it's good to know what they might be able to do, even if they weren't in Radiohead's rack at the time. I've never had the pleasure of messing with one
It was also really great reading the paraphrased article on nigelgodrich.com, where he says stuff like, "I'm just a music fan", "I don't fuss too much with engineering, just put a 57 on an amp and if the amp sounds good, you're fine", etc... I love it when people admit just to being able to capture moments and moods and workflow as the key skill in production. Kevin Shirley (who produced the Led Zeppelin DVD and live album "How the West Was Won") said a lot of similar stuff in his interviews.
I guess I think there's a difference between I. "beautiful soundscape" engineering, (gearslutz, anyone?) and, II. helping someone make a great record
sorry if I have mixed up the terms engineering, production, and mixing...I guess in my mind they're all pretty related
Nigel also says he likes to do a mix in half a day, thought that was cool, too. oh, and he seems to mix mainly on tiny monitors, the NS-10s and the AES-1 or whatever, hardly ever using the "bigs"