Hi Bruce, you mentioned the advent of tape-machines and new possibility of nonlinear recording and editing.
When working with synced tapemachines you were able to make "work-tapes"...
and you propably also used some copies for editing...
...so how much editing did you (or Quincy? or assistants!? - lol, err specialists) do to those tapes to obtain this quality of recordings and performances?
(to clarify: I'm interested in the bounces and submixes AND the cut and splice work)
Was it a "punchfest" sometimes?
How many work-tapes did for example the sessions for thriller generate?
oh, and I dont want to reduce this question to MJ/Thriller
This event is so much fun! I imagine the whole community hangin on to your lips respectively fingertips ... I'm full of joy checking for new messages and finding new posts and propably another gem or barrel of met from the viking's treasure-chest.
__________________ Niko Sieveking
wot? no TR?
How do you fix a terrible snare sound?
The answer is, a hit single. (Thanks, Trina)
Last edited by pan; 12th September 2006 at 02:56 AM..
Reason: more definition in the question, less noise, well some...