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Best sounding albums. What console was used. Consoles
Old 30th January 2018
  #181
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razorboy's Avatar
 

Quote:
Originally Posted by vincentvangogo View Post
And how tone is in your fingers and nowhere else.



..... and how $1000 worth of music lessons will get you a lot farther than $1000 worth of new gear.

Then we can support gearslutz by clicking on ads for online music theory lessons.
Old 31st January 2018
  #182
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ProgFree's Avatar
 

This thread went places. It started out by being a very interesting compilation of which console for each record, which interested me a lot. But then derailed to personal insult moaning and groaning in the good way of mankind 2018.

Could you make peace and stick to the topic gentlemen?

I think I started loving the Helios sound due to the Genesis records. If it would have been used another console surely they would still be the great records that they are, but one can hear the Helios sound there. What would be Van Halen II if tracked through a Neve instead of the UA 610? Something completely different I suppose. So yes the console tone can be there and shape the sound and define a record. I guess it resorts to how colorful is the console.

Last edited by ProgFree; 31st January 2018 at 10:14 PM.. Reason: Halen not Hallen
Old 31st January 2018
  #183
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ProgFree - I agree!

Quote:
Originally Posted by Beyersound View Post
Back In Black was definitely an old MCI.
Yup, MCI (I believe JH-500) at Compass Point Studios

Then Mixed on a Neve at Electric Ladyland (not 100% on the model)
Old 1st February 2018
  #184
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So though I was over the top, I just don't get it. I want to know, and thanks to all the actual contributors! It's interesting to me.
Old 1st February 2018
  #185
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Quote:
Originally Posted by KamandaSD View Post
ProgFree - I agree!



Yup, MCI (I believe JH-500) at Compass Point Studios

Then Mixed on a Neve at Electric Ladyland (not 100% on the model)
Trippy. I'm not an expert at any level, but how would one know (other than stated empirical fact)

I started being interested in this (ooops) because of both "back and fourth" and "soundcity" ... I admit, before that, I had no interest.
Old 1st February 2018
  #186
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It's simple that...digging up the people who were there. Also lots of albums list where it was recorded so you can figure out pretty easily what it was recorded on. But best if you hear it straight from the person who did it. BiB for instance is well documented by Tony Platt.
Old 4th February 2018
  #187
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enorbet2's Avatar
There appeared an article in "db" magazine in the early 70s wherein the author attempted to divide up his record collection by recording quality. He ended up with 3 categories and upon research discovered that the ones with the "biggest" 3D sound were done on tube consoles and/or mic preamps the next group was discrete SS and the last was early OpAmp based. In fact this study became part of the impetus to discover what was "wrong" with current OpAmp design. It took years but finally the extreme speed (frequency response and slew rate) of then current OpAmps helped create what was finally termed "Transient InterModulation Distortion" which consisted of very high multiples of odd-ordered harmonics creating a shattering glass sort of harsh distortion and that reacted badly with lower order signals and harmonics causing a blanket-over-speaker "covered" sound when "corrected" by mere EQ and compression.

This evolved into both better design OpAmps and circuitry design and component choices and what became the basis for high quality OpAmps (like the 5534s) based consoles still revered today. It is possible to hear some of this evolution rather easily, at least the earlier examples, by checking out Beatles recordings. All Beatles albums were recorded on valve gear with the single exception of Abbey Road. SS got a lot better over time and not a little of the responsibility for that was Rupert Neve. It's pretty hard to argue with the long list of hits from Sound City although some say the Drum Room was a large part of that. Most of the best, the MCI, API, SSL and even lesser known but highly regarded CADAC consoles all owe a debt of gratitude to Neve..... and Neve in turn, the development of more modern, higher quality OpAmps and outboard components replacing earlier workhorses like the TL0 series.
Old 5th February 2018
  #188
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Bob Ross's Avatar
 

Quote:
Originally Posted by roonsbane View Post
I think I can say loosely that I prefer the “forward” Trident sound more than the “forward” API sound.
...[snip]...
Genesis: Seconds Out mixed on Trident
When I think of the Trident sound -- especially albums mixed on the Trident at Trident -- I don't think "forward" so much as "airy". There's a sparkle to the cymbals that, at least prior to digital recording, didn't seem prevalent on many other albums. E.g., UK's eponymous debut, or Bruford's first two solo albums.

Then again, as per all the folks in this thread pointing out It's The Musicians Not The Gear, perhaps the "airy" thing about those albums (and Seconds Out) is that they all have Bill Bruford playing on them.
Old 8th February 2018
  #189
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Funny you mention Genesis recording in London at Trident Studios, it reminds me of great big recording spaces in London other prog rock bands recorded in at the time; King Crimson's first album recorded at Westminster and Yes' Fragile and especially Close to the Edge at Advision Studios. The key was the engineer's techniques making use of acoustics to create a reproducible sound stage in the final recording. Without the large airy space the sound that the musician's would produce could not help but reflect off each other. You need adequate space between the sounds of each bandmate to accomplish it, the pinpoint imaging. The acoustic structure of the room also has the ability to allow or impede the engineer's capability to do this as does the acoustics in our own listening room and placement/setup of speakers.
Old 14th April 2018
  #190
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Quote:
Originally Posted by bitman View Post
Boston 1 - Flickinger console.
Wasn't that Dave Hassinger mixing on the Flickinger with Behringer outboard ?
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