It was starting to creep in in the late 70’s. When the first SSL was inflicted it really took hold.

When I first learned what bits I know about disk cutting, we had fairchild compressors attached to our lathes.
(One built into a mono Fairchild lathe and another stereo one)

But funnily enough, much as I love them on some things, I rarely like them on the stereo bus

Gronk wrote: ↑September 9th, 2018, 9:20 pm David Briggs gave the 47 clone the thumbs up ...

they don't show a "47 clone" on their website

Mostly Sound Emporium. A bit at Front Stage. And mixed at Blackbird. 2 rough mixes made it to the record. One from the first day at Front Stage and one from Sound Emporium on the day we added backing vocals. You ever tracked any albums at Blackbird? From what I've heard they have a pretty nice coll...

How was monitoring done in the booth? Cans? Small monitors? "live with the band" would seem to imply direct monitoring of the performance sans cans....? Like it waqs done in the old days? I believe that you had also said something about a couple of songs having live scratch vocals off the...

Well if you don’t want to do it with MS then you don’t need a plug in. Just pan the sides in a bit.

I think some of the BX stereo plugins have a width knob that can go to lus or minus.
At plugin-alliance.com

I’m sure you’re right, Bob. If it had been up to me, given the choices, I would have done it in Blackbird D I’d much rather have been able to use the console rather than having to bring in a mountain of outboard preamps. But the only thing that I recorded through either the SSL or the V was a direct...

Oh and I forgot to mention Emmyloud Harris!
I think she must have also been on the 67 as she and Cyndi sang at the same time.

We also had Brenda Lee in but unfortunately that didn’t work out. But that was a trip.

Oh and I forgot to mention Emmyloud Harris!
I think she must have also been on the 67 as she and Cyndi sang at the same time.

We also had Brenda Lee in but unfortunately that didn’t work out. But that was a trip.

Mostly Sound Emporium. A bit at Front Stage.
And mixed at Blackbird.

2 rough mixes made it to the record. One from the first day at Front Stage and one from Sound Emporium on the day we added backing vocals.

Sure but like what? Her vocals were done mostly live with the band playing. Cyndi was in a large booth with a u47. I think I used a 1073 but it definitely went to a Fairchild 660 and then an API 525. Neither being hit very hard. Little bit of delay and or plate reverb in the mix. Either with EMT pla...

I’m on tour but I just bought it to have.
It’s certainly going to be worth $29

What’s he selling that he’s doing this now?

it sounds like crap.

a classic example of "look what we can DO..." without regard to what it SOUNDS like

that whole thing is an abomination

Great. I hope they’re asking him what preamp goes with microphones.

I don’t think there IS a reverb trail at the end of I Want You.
I remember it as a hard cut to silence.

I think "I Want You (She's So Heavy)" by the Beatles was supposed to be a fadeout? Either way, I love how it just stops in the middle of that repeating progression. I love the tension that creates. Then the intro to 'Here comes the sun' blows the fucking universe to pieces. Pure genius. t...

the other big mistake

Happy big mistake day!

If you can’t beat it USE it. But I think a lot of what tends to be different about roughs is you’ve usually done a lot LESS to it. They tend to be more of just a balance without you trying to ‘fix’ or “improve” all the individual sounds and so are more of a representation of how you heard it while r...

keks wrote: ↑June 14th, 2018, 5:19 pm

Fifty-something

so my guess is resoundingly correct

I'm going GUESS younger than me.

and I'm fairly confident our new 22 yr old Drummer doesn't think I treat her like an idiot.

I would have taken the approach: "I'm sorry but I've decided I'm not comfortable playing with amateurs"

I don’t think it’s at all unreasonable to ask which SPECIFIC version of a song you should be listening to and to ask “is that EXACTLY what you want me to learn?” Still, you need to be prepared to smile and say “sure, whatever you want, but I need a minute, because that’s different from what I learne...

those things seek to internally rebalance a track... they're not compressors per se.

I suppose my thinking is along the lines of: if you don't want it to sound compressed, don't compress it.

yllis s'ti kniht I

there was a brief vogue for mastering backwards to try to preserve transients.

But on the whole? Super gimmicky.

I hear he's working on that whole Koala Chlamydia thing...