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Old 10th November 2018
  #25
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Quote:
Originally Posted by ruffrecords View Post
I was at Neve in the mid 70 when the now 'classic' Neve gear was made. I worked in Sales Engineering and talked to lots of prospective customers. Not one of them bought a Neve for the sound. They bought them because they were built like a tank, had all the facilities they needed and would last for donkeys years.

The 'Neve Sound' is a modern invention sought after by people who see it s a substitute for lack of talent.

Cheers

Ian
Well?.....I could not see it that way from where I was at that time at all !

Even the Neve marketing slogan was : "The Sound of Neve is Worldwide"

The 1970's music recording industry was led by a vast number of innovative and caring engineers, producers, designers and technicians on both sides of the Atlantic...all of whom cared about sound !

Neve was one of the console manufacturers that was closely connected to clients through mostly custom built and often modified standard, large frame recording consoles, in which it specialised...

Air, EMI, BBC, ITV, Thames TV, HassaTon, Motown Muscle Shoals, RCA, Sony, A&M, Aurora Studios, The Grateful Dead, Capital Records, Filmways, Sound City, Wally Heider, Bearsville, A&R, Electric Lady Studios, Boogie Hotel, Mediasound Studios, Power Station, Unique, Clinton Recording Studio, Hit Factory, RPM, Intergalactic Studios, Jim Sabella, Music City Music Hall, Woodland Sound Studios, Sounds of Hawaii...and countless other consoles that I worked with were ALL owned by clients that cared a lot about sound !

If you were not actually THERE then, you only have to read back copies of Studio Sound or Mix Magazine from this era to see how important audio quality, equipment specification, maintenance and studio technique was to those really involved in the actual recording industry

The only thing that I noticed at Neve was that there was a vast riff between the recording studio industry, from which I had come and the Neve management and employees, who were brilliant engineers and technicians, but for the most part, their main interest lied in electronic and mechanical engineering and they had very little if any actual recording studio experience

As for talent, there was bucket loads of awful, atrocious, diabolical 'talent' being aired in those days, at least as much if not more than today

But these days, perhaps equal talent lies in the persuasive bull**** and lies perpetrated by vast seas of desperately competing manufacturers, cloners and, rip-off merchants?

Steve Butterworth

PAST
Professional Audio System Technology