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Reverse Engineering Daniel Lanois 500 Series Dynamics
Old 12th April 2008
  #31
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Back on topic or else!tutt
Old 12th April 2008
  #32
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Quote:
Originally Posted by nickynicknick View Post
You are trying to make your job sound like some mythical ferry dust potion that only the enlightened can know. Guess what? your job is to improve the product you are handed .....from great mix right on down to crap mix. Skill and communication of your client is any easy way out of your responsibility my friend...are you saying that you can't improve on something because the client gave you an average mix and he mumbled when explaining that he thought it should sound better when you were done with it....you are being ridiculous...again...simply...YOUR JOB IS TO IMPROVE ON THE SOUND OF A MIX...now what part of that am I not communicating properly?
The part where "improve" is always somewhat obvious and YET somewhat subjective. You are becoming hostile ... so as I said ... you've not found the right ME. Maybe we need Artists Anonymous? "Hi I'm Nick, and I was abused at mastering."

Dude it's not ferry dust, it's two talented parties furthering a vision ... happens all the time.
Old 12th April 2008
  #33
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Quote:
Originally Posted by lucey View Post
The part where "improve" is always somewhat obvious and YET somewhat subjective. You are becoming hostile ... so as I said ... you've not found the right ME. Maybe we need Artists Anonymous? "Hi I'm Nick, and I was abused at mastering."

Dude it's not ferry dust, it's two talented parties furthering a vision ... happens all the time.
Do your job Brian. It's very simple. Take what you are given and make it that much better. This is my "gift" to you.
Old 12th April 2008
  #34
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Quote:
Originally Posted by Silvertone View Post
I can assure you that Malcolm (Burn) didn't try to "cop" any of Lanois concepts as he was with Dan for 15 years as his Engineer!!! He pioneered some of the concepts and Dan will tell you that himself. Also he produced Yellow Moon (Dan had to leave). Malcolm is more than capable of coming up with his own "extraterrestrial landscapes" as he calls them. btw Malcolm has done 2 Emmylou albums since him and Dan split from tag teaming projects.
.
That's kind of my point. It's not about the engineering. It's about the process that Lanois goes through, or sets up, or allows.

-R
Old 12th April 2008
  #35
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Quote:
Originally Posted by RKrizman View Post
That's kind of my point. It's not about the engineering. It's about the process that Lanois goes through, or sets up, or allows.

-R
"Genius in small pieces"
Printing effects
Mix as you go
2 man mixing
Vocal dominance, digital ambiance and room dominance, hard panning
Each song has a signature sound and/or memorable element (that's tasteful)
Old 12th April 2008
  #36
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i agree that a ME's task is to improve the sound of a recording.
Only, what is improvement?

For some (actually, too many) the ultimate improvement is to have the recording as loud as possible on their CD.
For others it's accomplished by using sweet EQs and warm compression and bringing out the sonic details and so on.

Then there are the ones who want both - there's only a handful of MEs who can do that job. They're the really expensive ones.
Those who try to buy or achieve that quality for less money are the ones who will complain, because it's not possible.

The ultimate improvement in mastering is to make as little audible as possible of the compromise that mastering for 16/44.1 is.
If you listen to the 1/2" mix tape and a CD copy side by side, you know what I mean.
There is no improvement for a good mix on 1/2" tape, but it's no use, you gotta sell that stuff on some format.

tom

analoghaus :: studio label verlag - home
Old 12th April 2008
  #37
i worked with mark howard on a mix session a few years ago.
as far as mixing to dat is concerned... his perspective was that it was easy for him to mix to dat and that the difference in quality between mixing to dat or to any other format was nothing to be concerned about considering it was going to end up on CD at 44.1/16 anyway!
i think there is a MASSIVE secret to be learned from the answers lanois gave
in his q&a... they're not all that obvious but they're in there...
it basically comes down to lanois perspective... those guys are more concerned about songs than gear... ultimately it doesn't matter what the gear is or isn't it's about getting the job done... right?
sure some gear sounds "better" (whatever that means) but if you spend all your time worrying about that you're going to miss the whole "making great records" bit!
the day i can make a **** band playing a **** song sound great through amazing gear is a cold day in hell... the day i make an amazing band that sound great in a room sound bad mixed onto dat is the day i should quit!
Old 12th April 2008
  #38
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Don't ruin the thread guys. Back on topic.
Old 12th April 2008
  #39
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Quote:
Originally Posted by drejmer View Post
as far as mixing to dat is concerned... his perspective was that it was easy for him to mix to dat and that the difference in quality between mixing to dat or to any other format was nothing to be concerned about considering it was going to end up on CD at 44.1/16 anyway!
i think there is a MASSIVE secret to be learned from the answers lanois gave
in his q&a...
If we add this to the recent Sound on Sound article about Chris Lord Alge still mixing off a 16 bit Sony 3348 multitrack, maybe 16 bit digital is going to be the new hip vintage. I better hold off on selling that old Tascam DAT machine in my storage room.

You have to admit that it is pretty interesting that Lanois and CLA are still using 16bit technology by choice, two extremely successful guys with completely opposite sounds. But as much as I love the work they both do, I think I am going to stick with 24bit.
Old 12th April 2008
  #40
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Quote:
Originally Posted by rcm View Post
You have to admit that it is pretty interesting that Lanois and CLA are still using 16bit technology by choice, two extremely successful guys with completely opposite sounds. But as much as I love the work they both do, I think I am going to stick with 24bit.
Absolutely interesting ... proving again, it's not the gear.

(You might try the little Korg Chris, it's really nice stock and 99% perfect capture with a cheap mod)
Old 13th December 2010
  #41
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Quote:
Originally Posted by RKrizman View Post
If you learned anything from the Daniel Lanois forum it should be that his thing is all about process, not so much gear or specific techniques. You need to find the "Daniel Lanois" in your own process. Listen to the Emmy Lou Harris album that came after the one that Lanois produced.
Hey Rick!! Ken here (from the rec.audio.pro days).

I completely agree. Lanois may be a genius with delays, production, mixing, etc., but even more than this, his real genius lies in creatively pushing artists to new heights, making them feel super comfortable, anticipating what they will want and having it ready for them when they arrive, having everything set up and ready to go at all times, and creating an environment conducive to the best art possible. THIS is the area in which Lanois excels.
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