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PT Ruined The New Queens Of The Stone Age Control Surfaces
Old 31st August 2002
  #31
One with big hooves
 
Jay Kahrs's Avatar
This is interesting... From where I sit at a $40-60 an hour studio things are a bit different. I get a few people bringing PT rigs or other DAW's in for tracking. Some people track on 2" tape that I rent them then transfer to the DAW and do overdubs and mix at home. Other times everything is already tracked and we split out of the DAW and they mix on the console. I also know quite a few people with DP rigs or a 001 that have gotten a real console and outboard to mix on. Usually something bigger then a Wackie, like a Trident 65, Soundcraft 600, Soundworkshop or an older MCI. I think once people mix in the DAW for a while they'll outgrow the "coolness & trick factor" of it and move onto real physical equipment.

I think the ability to use real outboard when mixing in or from a DAW is a great thing. I've tried mixing in a DAW and on digital consoles. It's not for me. Did it sound ok? Yeah, maybe... I couldn't get past the interface.

Anyway, the new Sparta album reeks of PT/DAW sound to me too. That's something that would've been better on tape IMHO.
Old 31st August 2002
  #32
jon
Capitol Studios Paris
 
jon's Avatar
 

Chris L., recorderman, e-cue and Jay,

I think you guys make some excellent points.

P.S. Chris, I wasn't referring to you personally as a 'digi dude', so I am glad you did not take offense. And boy, I'd like to have some of the gear you do.

P.P.S. Dave R. may mix in PT sometimes, but emails from him would strongly suggest that his preferred tracking and mix desk is the 9000J.

Some history:

I was a 'digi-dude' for awhile, post my mid-level analog days (DDA desk, JH24 2") and pre my high-level analog days.

I bought into the PT vision and dedicated myself to mixing in it from October 1998 to early 2000. I read the DUC daily. I had all the plug-ins. I had great outboard and converters. I struggled like crazy to get my PT mixes up to a plateau that never reached the JJP/Wallace/Cherney level.

In contrast, those sounds I was after came out of the speakers on the few occasions when I worked on a SSL 4000E and once on an Amek 9098i.

Since I began working every day on the 9000J in this new location this year, and really digging into it, the level I seek (which is essentially that of JJP/Wallace/etc) is finally within audible reach. It's great.

It is pretty clear (to me) that any engineer will get a better sonic result mixing on a great analog desk ... after a period of transition time. It took me a couple of months to get as comfy on the J as I was mixing in PT MixPlus.

Chris, you sure do not have to agree with me...but try before deciding. I should, too...would enjoy trying out mixing in PT HD...maybe we should swap studio time for a few days...

I've received some flack for my posts on this subject. My views aren't welcomed by some digi users. It was also suggested to me today that I am overly-promoting my studio on this forum. To who, I don't know! (I guess to all you studio owners?)

If saying what I think is a problem, maybe I should step down.

Best to you all.
Old 1st September 2002
  #33
Lives for gear
 
C.Lambrechts's Avatar
 

I have no problem with anything said in this thread .... forums are to discuss things .... in discussions things heat up a little some times .... it is needed to keep it alive .... Gearslutz is and should stay a colourless environment where everybody has freedom of speech and opinion, and especially where everybody feels like they can say what they have to say.

We do NOT have to agree with each other. An occassional oil on the fire by using gentle namecalling should be possible if it is to emphasize our feelings and thoughts on subjects ..... nothing more ... nothing less ..... healthy discussion.

People into these kinda boards are in general open minded .... and visit them to gain knowledge and share their own knowledge .... so others can benefit from them.


At the end of the day .... the importance is that we all feel like we learned something and that we were able to help each other.

We started out GREAT so far .... let's keep it going like it is going ....


I love this place .........


btw .... anybody think I should change my avatar ????
Old 1st September 2002
  #34
jon
Capitol Studios Paris
 
jon's Avatar
 

(great post, Chris.)

Hey, is that a photo of you in your avatar?
Old 1st September 2002
  #35
jon
Capitol Studios Paris
 
jon's Avatar
 

Watched the Metallic video again last night, the one about the making of the Black album with Bob Rock.

I love the scene when they're mixing the record at A&M.

Bob says, "Lars, James, you can't even hear the guitars anymore in the mix...but you know what, I don't give a f*** anymore...I'm sick and tired of arguing with you guys."

James: "No you're not."

Bob: "Yes I am."

James: "No you're not." (they all laugh.)
Old 1st September 2002
  #36
Lives for gear
 
C.Lambrechts's Avatar
 

Quote:
Originally posted by jon
Hey, is that a photo of you in your avatar?
yes ..... but keep it quiet please .... and yes ... I know ... I starting to get bald above my eyebrows
Old 1st September 2002
  #37
Lives for gear
 
Ol' Betsey's Avatar
OK NOW I'M PISSED OFF!

Jon? With the amount of self-promotion that some people do on this forum I wonder where they get the time between all the yoga classes (so they can kiss themselves on their own self-glorious asses) to mix any records! And you, my friend, are not one of those people. I repeat NOT one of those people.

Do not take any notice of what this person said, ok? Sounds like jealousy to me mate. And if anybody wants to fight about? I'm mutha f**kin' there boy! And if you want to fight your own battles, cool. I'll just back you up in case any a those whiney bastards feel like jumpin' in!

You just keep talkin' the talk...

But regarding the Pro Tools thang? What a kettle fish... Sheesh.

You know what? I had a long ass rant all type-d out in response to this Analog vs Pro Tools thing (and as most of you now know that when I ran't, I rant!) but I can't be f***ed!

"Well, when SO AND SO does this, I KNOW that he wishes he could have THIS! And if he didn't have THIS, it would NEVER sound like THIS!" Bollocks. These guys are good. Really good.

It all basically boils down to makin' something ROCK with the tools you got. Sure, you can have preferences and a wish list a mile long and SSL and Neve and blah blah blah but no matter what your using, if you can't make it ROCK you ain't got ****. Am I right?

I do take exception to something that recorderman said:

"i'm sure humberto would do all right in that land as well I guess (mixin' in pt). I do not get to do it enough...but generally i like to rock (call it my immaturity factor)"

First of all, I know Andy Wallace (king!) Clearmountain and TL-A but who is Humberto?

BUT!!! You ain't insinuating that people that mix in Pro Tools don't like to ROCK, are you? Recorderman, you best be not questioning a man's masculinity when he's got a mouse in his hand! And I've seen those tablet-things turn pretty f***kin' lethal too!

Anyways boys, let's get back to making records and let the public decide if they'd rather have something mixed through a Neve or the PT Buss, ok? Oh that wasn't point? Well it should be cuz if the kids don't like it, it ain't gettin' mixed on a 9K again!

Peace Love and Understanding fuuck

R.

P.S. Phew... I wish I could type quicker. Maybe I should just write less? (And don't you dare answer that!)
Old 1st September 2002
  #38
There is only one
 
alphajerk's Avatar
 

i wouldnt say you are overly promoting YOUR studio, but your comments tend to be biased towards your TYPE of studio [and damn well should be... as we all should, or we shouldnt be buying the **** we buy]

i used to think that Wallaces mixes were really good. until i got the ADAMs... ever since hearing a good number of them [and i own a LOT of Wallace mixes], i dont find him as a good example of pure sonic delivery at all times. i think they are professional mixes... but neither wallace/jjp/or even clearmountain are the BEST [but thats purely a subjective thing anyway, im sure many will disagree]... i kinda shoot for friddman, godrich, and laswell.

what it boils down to is the obsession over the absurd. the listening public doesnt GIVE A ****. in fact, i heard people talking that this new QOTSA album is their BEST EVER.

sonics plays very little in the grande scheme of things. sure its nice for things to sound all bliss... but its really the song that matters most. some of my favorite **** or undoubtedly some of the worst sonic sound ****.
Old 1st September 2002
  #39
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by Ol' Betsey
I do take exception to something that recorderman said:

"i'm sure humberto would do all right in that land as well I guess (mixin' in pt). I do not get to do it enough...but generally i like to rock (call it my immaturity factor)"

First of all, I know Andy Wallace (king!) Clearmountain and TL-A but who is Humberto?
Humberto Gatica. He's mixed lots of slick pop stuff. Not my thing but the list of credits is a mile long.

http://www.allmusic.com/cg/amg.dll?p...=R79207#APPEAR

As for the public deciding what sounds better I think it's a lost cause. How many people on the street can listen to a record and pick out the sound of PT vs. tape vs. Adats vs. DP? I have a few clients who can and mostly because I educated them and told them what to listen for. They mostly prefer analog tape (good for me!) but I'm working on mostly rock and blues based stuff not slick pop stuff or R&B. Some people do prefer digital which is fine. Either way is valid as long as it sounds good.

As a society I think we prefer the sound of tape because we've been hearing it since the 40's and 50's. It's like hearing a crazy ass pointy guitar through a Pod or hearing a Les Paul through a Marshall. There's something comforting and familiar about that. Anyone care to aruge that point?
Old 1st September 2002
  #40
Gear Maniac
 
vsl666's Avatar
 

BLIMEY

i enjoy this forum
no one has been condesending or mean
and i have noticed no self promotion tho
if i did i wouldnt care coz if you cant BIG UP yourself
then who can?

i like all the differnt folk and its all just a bit of fun right ?
+ i learn loads of this forum so its good

that being said
this is silly its not rocket sience
you cant mix on pro toolfuuck
you may have done mixes
clients may have loved them
you may have sold 1000000 albums
but your mixes sukked

QUOTE

BUT!!! You ain't insinuating that people that mix in Pro Tools don't like to ROCK, are you? Recorderman, you best be not questioning a man's masculinity when he's got a mouse in his hand! And I've seen those tablet-things turn pretty f***kin' lethal too!

......................


yes i am questioning a mans masculinity when he has a mouse in his hand

the band may rock and we as eng's may not be required
to rock our end...but if we are and we can then
you gotta have a deskla bottle of jd 4000 camel's
and some BIG speakers BIG solid faders BIG buttons to TWIST
and TURN some cool lighting
you can survey your domain in an instant
and every move you make will be different and BETTER

and just maybe you might get to ROCK yourself
which is fun and a vocation,,THE OTHER STUFF well thats work and it pays the bills.

if anyone is having a great time mixing with PT and its what they left school dreaming of doing then good luck to them


now alpha,,

QUOTE

what it boils down to is the obsession over the absurd. the listening public doesnt GIVE A ****. in fact, i heard people talking that this new QOTSA album is their BEST EVER.

sonics plays very little in the grande scheme of things. sure its nice for things to sound all bliss... but its really the song that matters most. some of my favorite **** or undoubtedly some of the worst sonic sound ****.

.............

I agree with everything you are saying but its a .. errr .. distracted ? way to look at it ...

the general public dont give a **** and nor should they
but they do really and en mass on sum deep unconcious level
it makes a BIG difference
you have to dot all the eyes and dot all the teas
and as this is the bit we are in charge of ..then we can at least
try huh ?
big desks arnt just to make things shiney
and the line between GREAT and NOT GREAT is fine....
for songs and production ..
and alot of the time in the more intresting modern music the two things are inseperable

can you name a REALLY classic album that sounds awful ?

classic records sell more

so it must be firm financial sense to lock me in a studio with
a huge bag of weed a huge desk and a sexy ROCK ICON
for as long as we damn well please and not to pester us
or dick us around and wait until we are good and ready
take the master say THANK YOU and send us to the maldives for recouperation so you can keep us alive so we can do it again


things could be so simple
grggt

heh
Old 1st September 2002
  #41
There is only one
 
alphajerk's Avatar
 

Re: BLIMEY

Quote:
Originally posted by vsl666
the general public dont give a **** and nor should they
but they do really and en mass on sum deep unconcious level
it makes a BIG difference
yep, they choose mp3's. that ssl "advantage" [that sounds like an oxymoron] isnt going to amount to **** when they hear the mp3 of it.
Old 1st September 2002
  #42
jon
Capitol Studios Paris
 
jon's Avatar
 

Re: BLIMEY

so it must be firm financial sense to lock me in a studio with a huge bag of weed a huge desk and a sexy ROCK ICON for as long as we damn well please and not to pester us or dick us around and wait until we are good and ready take the master say THANK YOU and send us to the maldives for recouperation so you can keep us alive so we can do it again


things could be so simple
grggt

heh [/B][/QUOTE]

Sounds good to me!
Old 1st September 2002
  #43
jon
Capitol Studios Paris
 
jon's Avatar
 

I think you guys are right on a lot of things.

About MP3s...in most styles of radio-oriented music I think it's relatively easy to listen to an MP3 and tell whether the mix was done in a DAW versus at a good studio i.e. big analog desk, good monitors, good engineer.

It's the mixes done at high-level project studios with good engineers that are harder to call. Still, the name mixer on the latest board often stands out on a project. I recall listening to the India Arie album a year ago as part of mixing a similar project for UMG, and was struck by how Mike Shipley's 9k mix jumped out of the speakers compared to the rest of the album, though the rest was pretty well done.

I personally listen to a lot of records that were mixed by Andy Wallace, CLA and TLA...it's basically the kind of music and mixing I'm into...and I'd have a hard time imagining anyone getting that kind of mix with plugins in a computer...tracked to PT, sure (though I would prefer it hitting tape somewhere along the way before the mix)...but not mixed in it.

Nowadays, there should be a new word for 'mixer'...one that describes what many of the good ones have to do everyday, nowadays...which is "gloss up the lowly origins of cheap DAW tracks and make them sound like a record by putting them to 2" pre-mix or 1/2" post-mix, running them through an SSL and mixing them properly in a room that translates." Hey, it's work making those cheap recordings sound good, uh, decent.

OK, I'm braced for the onslaught of dissenting Digi emails now...
Old 1st September 2002
  #44
One with big hooves
 
Jay Kahrs's Avatar
Re: BLIMEY

Quote:
Originally posted by vsl666
can you name a REALLY classic album that sounds awful ?

classic records sell more
Led Zep 1 doesn't sound all that amazing. Neither does Meet the Beatles. Great songs and performances though. Oh, my all time favorite. People always think I'm strange for this one... I don't like the drum sounds on Jeff Buckly's Grace but I love the album. Ok, flame away!
Old 1st September 2002
  #45
Lives for gear
 
e-cue's Avatar
 

lol...

I'm glad you took the leap & not me Jay.
Old 1st September 2002
  #46
There is only one
 
alphajerk's Avatar
 

funny though the most sonically beautiful and big mix was done in DP for mixerman/PSW's mixfest. gotta wonder.

does henchman come around here? he did a mix on a mackie d8b that totally gave an SSL mix a run for its money.

oddly on black crowes lions album i prefer the don was mixes over the CLA mixes. same goes with butthole surfers with paul leary's mixes beating out CLA's mixes.... at least in my sonic opinion. CLA turns out some of the most boring cookie cutter crap.

and one of my favorite albums of all time [clutch's jam room] was done fully on ADATs/PT/O2R setup. it sounds ****ing amazing. big and crystal clear.
Old 1st September 2002
  #47
Gear Maniac
 
vsl666's Avatar
 

no no no e cue dont mind me ..
i'm not saying a word ..... if these gearsluts
think that the sound of an album is of no
matter in this fast moving world and that
IF they wished to make a classic album the way it
was recorded wasnt really that important
then who am i to disagree ?yuktyy yuktyy





ps dont say db8 grudge
Old 1st September 2002
  #48
Lives for gear
 
Wiggy Neve Slut's Avatar
 

RE: Andy Wallace's drum tones for 'Grace'

Agreed they are not 'AWESOME'.. thye dont even sound that consistent, because Andy did not trigger the drums like he usually would. Nevermind was trigger fest from what i have read and heard from those in the know. The drummer and tones on grace were from what andy tracked. if u listen to the 'lasy goodbye' u can hear the drummer speed and slow a frag duringt he song and he does not hit the kik as hard in certain verses etc..... its a human. Hence the drum tones are not like the ones that we use usually associate Andy wallace with or immediately recognize him for..

But i dont give a **** cos it's still an AMAZING record.

RE: Big 5 mixers.... JJP is my fave. he puts life, tone and feeling into records. My faves of his are Balck Crowes 'Amorica' and his mixes on Weezers 'Pinkerton'.... how ever the Jelly Fish's 'Spilt milk' was an overcompression fest... but it still sounded gr8! And YES he does have way too much gear!!!!

CLA & TLA are like the mixers version of Stock Aitken and Waterman!lol... they are great @ doing quick and good mixes even if they are a bit too homogenous... i have been in on their sessions and ****!!!!!!!! they mix really quickly... i would die to be able to mix like them and acheive suck good results in that short time frame.

As for other faves..... Nigel Godrich's effort on Beck's Mutations were nothing short of outstanding IMHO.... so much depth to the tones etc and the songs were gr8... which kina helps.. and i guess ocean way rooms helped and were a big part of the sounds. I know he just finnished a new beck record there and wants to take radiohead there for the next album!.... so he must dig it!

One thing in common with all these people and records are large format analogue consoles....I am slowly becoming a digital convert as much as i love me tape etc... But its still 'not there' yet... but as jules is prophesiing b4 long it will be... SO neves will be cheap!! heres me hoping!

HD192 is a large step forward from the 2D spaciality of MIX+ and thru a big desk really does start to give 2" a run for its $.

my 2cents worth....

Gee i love this forum more than any other.. cos its cool people with differing opinions being able to converse on a level plane with out all the bull**** flame wars!

PEACE
Wiggy
Old 1st September 2002
  #49
Gear Maniac
 

I've heard rumor that Buckley's Grace album was tracked and mixed in under two weeks by Wallace?

Anyone hear anything similar? To me that album has flaws, yet it has so much vibe and character that you just can't nitpick. It's very easy to take a finished work of art and then try to find things _you_ would improve upon, yet could _you_ get things to the state of which you complain about, that's the million dollar question...

either way - I did Wallace alot, although he triggers drums and clients of mine that like those mixes have a hard time acceptiing the fact that the kick is a sample, the look on their faces is similar to when you feel a really hard fake boob.
Old 1st September 2002
  #50
jon
Capitol Studios Paris
 
jon's Avatar
 

I'll agree that the lack of flame-throwing and respect for each other's idea here is great.

Wallace went on record a few years back...saying that despite popular rumor, he didn't trigger drums on Nevermind...but he used a snare verb sample he has for the long verb on the big snare hits. I believe him. What do you guys think?

AJ, I didn't hear the PSW Mixfest...but on the ones I did hear, I didn't hear a future DAW-man equivalent of JJP or Wallace on them.

People are emailing me, asking what the difference I hear is between mixing on the 9k vs in PT MixPlus.

Now, this is just my opinion, not the truth from God...but the analog mix sounds considerably more real, true, open, defined, better, more like it should, and more like a record to me. Within PT (with good clock and converters), the mixes sound less true, less real, boxier, closed, less wide, less deep, the summing of the frequencies and elements is less musical and organic to my ear, the bass is less defined, and the highs are harsher. Above all, less real and true. It's like you can hear all the math going on.

Everything I have heard or experienced about Digidesign over the past 4 years leads me to believe that the digital summing, plug-in and mixing paradigm in their TDM and RTAS systems is essentially flawed beyond a certain point.

It is not clear to me why the PT HD mix bus should sound better than the MixPlus one, as my understanding is that the improvements to it are marginal in terms of dealing with larger track counts. Anybody want to enlighten me, please do.
Old 1st September 2002
  #51
Gear Head
 
nick's Avatar
 

Re: BLIMEY

Quote:
Originally posted by vsl666
can you name a REALLY classic album that sounds awful ?
"The Stone Roses". That sounds pretty awful to my ears. Not that I agree that good engineering doesn't make a difference.

The 'sound' of a record has a big effect on how the music is received by the listener, on a subconscious level. In the case of truly great music, perhaps the sound matters less. But for everything else, the presentation of the song, whether or not it's actually noticed (consciously), is absolutely essential, in my opinon.
Old 1st September 2002
  #52
There is only one
 
alphajerk's Avatar
 

well i have a hard time with you using wallace and jjp as your prime examples. i find both of them to put out dull closed in and boxy mixes [especially hearing them on the ADAMs]. dont get me wrong... i probably own more Wallace mixes than anyone else, and i fully enjoy the albums. BUT i dont hold him up there [or jjp, or CLA] as a MASTER mixer.

like i said earlier. clutch's Jam Room is one of the most open and detailed mixes i have heard to date. nice, clear, crisp and open. mixed on an O2R.... mastered by howie weinberg [probably one of my most favorite mastering engineers]

as for analog guys, i think laswell is hard to beat. nigel godrich is another.


plus, while i havent heard the 9k incarnation of the SSL boards... ssl isnt the greatest sonically sounding boards made. i know you made the decision to get it based on business over sonics... so i find it kind of odd how you are putting sonics up on the pedistal while an API, Neve, or 9098 are going to beat out the SSL any day of the week.
Old 1st September 2002
  #53
There is only one
 
alphajerk's Avatar
 

Re: BLIMEY

Quote:
Originally posted by vsl666
can you name a REALLY classic album that sounds awful ?
well not AWFUL... but most of the jimi stuff isnt the best sounding stuff in the world. the beatles i dont find the sonic grails or recording. balck sabbath i dont think sound very good either. humble pie, same thing.

i do got one for you, MC5 sounds horrendous.

iggy pop, raw power is disgusting sonically.

velvet underground stuff... the earliest "lo-fi" bent?

i could probably go on for a while.

p.s. i love all these albums i mentioned. and its VERY rare that sonics actually get IN the way of me listening. the closest track that does is Funkadelics Maggot Brain track that is so possessed with hiss, you would think you were in a snake pit.
Old 1st September 2002
  #54
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by Wiggy Neve Slut
RE: Andy Wallace's drum tones for 'Grace'

Agreed they are not 'AWESOME'.. thye dont even sound that consistent, because Andy did not trigger the drums like he usually would. Nevermind was trigger fest from what i have read and heard from those in the know. The drummer and tones on grace were from what andy tracked. if u listen to the 'lasy goodbye' u can hear the drummer speed and slow a frag duringt he song and he does not hit the kik as hard in certain verses etc..... its a human. Hence the drum tones are not like the ones that we use usually associate Andy wallace with or immediately recognize him for..

But i dont give a **** cos it's still an AMAZING record.

RE: Big 5 mixers.... JJP is my fave. he puts life, tone and feeling into records. My faves of his are Balck Crowes 'Amorica' and his mixes on Weezers 'Pinkerton'.... how ever the Jelly Fish's 'Spilt milk' was an overcompression fest... but it still sounded gr8! And YES he does have way too much gear!!!!
Yeah, the playing is human which is great. But, I still think the drums sound like crap. I don't think there's an "Andy Wallace" drum sound as such because he's more of a mixer then a tracking engineer. Sorry, I've gotten better sounds without using triggers and samples. If I do use a sample it's always to augment what was recorded and I never entirely replace a sound, though there have been times when my tiggered kick is 80% of what you hear in the mix. Who in here has NEVER triggered a kick or snare sample when mixing? Come on... let's get real.

Gotta agree with you on JJP with Amorica. What a great sounding album. I'll also agree with Alpha about Lions, I like the Don Was mixes better too.
Old 1st September 2002
  #55
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally posted by alphajerk
like i said earlier. clutch's Jam Room is one of the most open and detailed mixes i have heard to date. nice, clear, crisp and open. mixed on an O2R.... mastered by howie weinberg [probably one of my most favorite mastering engineers]
Interesting... I haven't heard much of the Clutch album so I won't comment on it but I've heard Howie be right on and also really off. Like +8 at 12k and distorted as **** off. He puts a stamp on what he does, and while that's not a bad thing it's not something I look for in a mastering engineer.
Old 1st September 2002
  #56
There is only one
 
alphajerk's Avatar
 

oddly, he did buckleys grace album.

just looking at his discog at allmusic... he as done a ****LOAD of albums i loved the sound of. give me that stamp and ill be happy. if i dont want a stamp from a mastering engineer, i dont want a mastering engineer.

i mean he did materials hallucination engine... that is one of the most beautifully pristine recordings ever made.

nah. he has done way too many great sounding albums. i think he is the tops over bob whats his name.
Old 1st September 2002
  #57
Gear Maniac
 
recorderman's Avatar
 

Quote:
Originally posted by Ol' Betsey

I do take exception to something that recorderman said:

"i'm sure humberto would do all right in that land as well I guess (mixin' in pt). I do not get to do it enough...but generally i like to rock (call it my immaturity factor)"

First of all, I know Andy Wallace (king!) Clearmountain and TL-A but who is Humberto?

BUT!!! You ain't insinuating that people that mix in Pro Tools don't like to ROCK, are you? Recorderman, you best be not questioning a man's masculinity when he's got a mouse in his hand! And I've seen those tablet-things turn pretty f***kin' lethal too!

Hey Ol' Betsey..you 'ol muther F#$%*ER!!
I was being sarcastic. Humberto means Humberto Gatica. He's s a ballad mixer..aka Celine Dion.."we are the world",ect. Not my cup of tea. I'm a ROCK 'N' ****in' Roller (hence my feeling immature). My love and passion, and expertise via my mentoring, is in the Geoff Emerick/Glyn & Andy Johns(AbbeyRoad + Olympic) meets the Canadian Garrth Richardson/Bob Rock to the JJPand the LA gang, schools of Rock Recording, throw in some Michael Wagener and RTB,even my friend Joe barresi (sorry Joe I always forget how amny r's and s's)in there...those are some of the people I've learned from or aspired to. I love BIG in your face tones...although that isn't all there is in life and I do enjoy all styles...I LIKE TO ROCK (are you getting my picture yet).
I am in agreement with Jon regarding Pro Tools. I went through the almost identical curve. I WISH it was the holey grail I thought i would be. It would if the economics of the industry were as they were 40years ago...can you imagine if CBS was still king and there laboratories were making DAW recordwers to the specs nad all that professional audio gear was back then. Anyway...I just love to record & mix good music..preferably live musicians in rooms with mics...it's jsut more fum and I feel like i'm contributing more....pretty much why I personally do not llike sessions with lots' of programmed stuff. You know, the kind where they write arrasnge and mix it in the same twenty hour session that starts at 7pm (5 hourd later than booked)....runs at full level on the mains...ect.

Old 1st September 2002
  #58
There is only one
 
alphajerk's Avatar
 

i think you ARE joe barresi. or are you matt hyde?

i wonder what joe thinks of the new Fu Manchu.
Old 1st September 2002
  #59
Gear Maniac
 
recorderman's Avatar
 

Quote:
Originally posted by alphajerk
i think you ARE joe barresi. or are you matt hyde?

i wonder what joe thinks of the new Fu Manchu.
good friends both. Haven't seen/spoken to Joe since namm(no that doesn't mean I'm mister hyde either...although sometimes I feel like heckl n' jeckle)
Old 1st September 2002
  #60
Lives for gear
 
Ol' Betsey's Avatar
Hey recorderman?

I'm so f***kin' ROCK that when I attempted to to type in Humberto G.... (see I'm too afraid to even spell his name again!) into allmusic.com, my CD player was propelled "Exorcist-style" across the room and smashed into pieces against the wall, all my CD's starting spinning around me in a miniature cyclone and when I tried to escape the mayhem by running into the bathroom, I found K C O R written in toothpaste on the mirror!

I knew ROCK was a religion, but man, that ****s gettin' heavy!!!!


Devotion to the big "R" aside... (and this isn't directed to any one in particular) But I think one of the things that winds up PT users is the idea that the analog guys try and make the Digi-guys feel that they somehow can't get KILLER tones. As if it's a members only club. Analog = Rock and Digital (can only ever) = rock. Notice lower case letters.

While opinions are always going to exist (and be fought over) the fact is that Digital can, and in the right hands DOES, ROCK. And as the technology progresses it's just going to get better and better. Sure, it's a way off. And it's NEVER going to totally replicate analog but did any of us ever really expect it to?

Example: The new 1176's aren't exactly the same as the vintage 1176's but we still accept them though, don't we? What about the 1272's?

I know that these are analog examples but the point is that we adjust our expectations and accept the compromises if that's what we have to do.

Would I rather track AND mix analog? Yes. Can I always do this? No. So what do I do? I do whatever I can with whatever I've got in order to achieve the magical "R". It's all about the "R"!

Anyway, gotta go and get some work done but I love these threads. Keep em' comin'

R.
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