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WinterMute

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Everything posted by WinterMute

  1. WinterMute
    A couple of weeks ago Alan sent me some options for how the book matching for the front and back should look, I chose to go with these front and back: Today he sent me these fresh out of the press: Awesome figuring that's so well fitted to the shape of the guitar. I'm proper excited now...
  2. WinterMute
    Don't know what your setup is or how you work, but the best bang for the buck for sonic improvement is to get into Universal Audio's hardware supported plug-ins, they sound so much better than almost anything on the market IMO, and are MUCH cheaper than hardware. WA are good kit though if you want to stay in the real world.
  3. WinterMute
    Their units are generally very good value for money, are well built and sound great, they don't always nail the signature sound, but it's always pretty close. Their LA2A clone is brilliant, but it's not an LA2A by some way, I can't see the SSL clone being such different, it'll do the job but it won't be a match for the real thing.
  4. WinterMute
    Not so much a mistake, but the lyrics to the break after the solo in Welcome to the Jungle weren't complete and Axl Rose ad libbed the ""where do we go now" lines, they liked it and it made the record. Hope it's not an urban myth. It's still a cracking tune and his performance on that album as a whole is first class.
  5. WinterMute
    I think the Bongo 6 is the best looking Bongo, something about the extra body size I think, I like my stealth 5er, but this is a beast. GLWTS
  6. WinterMute
    This is where it's at generally, the choice lies in how far you want to recreate your live sound in the studio or vice versa. Some bands go to extraordinary lengths to reproduce their studio sound live, Rush did for many years, same arrangements etc, others don't, Counting Crows songs are sometimes almost unrecognisable live, Alan Holdsworth used to play a couple of bars of a song to remind people what is was then go off on flights of improvisation. You want to jam it live in the studio like the Chillies or Foos do? Fine, but you'd better be well rehearsed. You want build it piece by piece, bar by bar like Steely Dan or Trevor Horn? No problem, but you'd better have the character and identity of your songs well developed. Recorded music is music, it's just recorded.
  7. WinterMute
    They are entirely correct that recorded music is a poorer version of the original performances, as it relies on mics, speakers and psychoacoustics to recreate the original in an inferior manner, however, I can't actually fit a symphony orchestra or Rush in my living room or car, much less have them play for me on a packed tube train, so what are you gonna do? Purists gonna pure. Speaking as a veteran audio engineer, the worst possible start to a session is some musician saying "can you make it sound exactly like it does live" the answer to which is invariably "no". We can certainly approach that vibe, but even binaural recordings of performances are artificial recreations of a moment in time. The moment a microphone is involved the music becomes a different animal. We accept the conventions of recording as a necessary evil so that we can enjoy the music we want to listen to, when we want to listen to it. Even the mighty Deusche Gramafon record to Protools and edit bar by bar these days.
  8. WinterMute
    I like your thinking...
  9. WinterMute
    If you make a mistake, do it again, people will assume it's deliberate... Miles Davis said that I think.
  10. WinterMute
    Aye, listen to Tori Amos first couple of albums, particularly tracks like Pretty Good year and Cornflake Girl, the consideration of the nuance of every note is staggering, some singers just blast through their work, Bono for instance, others craft and graft to make it work.
  11. WinterMute
    Me neither, but he learned to sing in tune.
  12. WinterMute
    She definitely had talent, but the lack of autotune on her early recordings is covered by the layers of unison multi tracking to cover her tuning and timing variations. No doubt she learned to sing and became a great artist, as any others have, Seal couldn't sing when he started, look what Trevor Horn managed with Kiss from a Rose, Simon LeBon was abysmal at the beginning of his career and became a very passable singer.
  13. WinterMute
    Oooo, that's pretty. Too many strings for me, I had an early 5 string, but you do get a hell of a lot of bass even for the high price. GLWTS.
  14. WinterMute
    Percy Plant was well known for singing flat, didn't slow them down much. However, Waterman was bang on the money with his comments about Kylie Minogue, PWL really began the whole business of the face selling the music. Speaking as someone whose engineered my fair share of pop and boy/girl band titles, I can honestly say the the general rule is that the prettier the face, the more work I had to do to make them sound like they could sing. Obvious exceptions apply, but they are generally very rare.
  15. WinterMute
    Seems like an arbitrary place to draw a line on electronics and technology in music, no pitch correction, but yes to EQ, compression, distortion, amp modelling, reverb, delay, stereo mixing of mono signals, amplification, samplers, synthesisers, sequencers, DJ decks...? Remember the stick Dylan got for picking up an electric guitar? Its a tool like any other, you chose which tools to employ.
  16. WinterMute
    I fix my fretless playing with Melodyn, I don't see a problem with it, I love playing fretless but I don't practise it enough to be perfect. I also change the parts around once the tracks are complete to make a better overall song, sometimes changing a note here or there makes al the difference.
  17. WinterMute
    Chances are, if you're hearing it, it's there for an effect, most pitch correction, as opposed to auto-tuning, is entirely inaudible if used properly. Auto tuning ruins recordings and live performances for me as it's so obvious. I use Melodyn extensively in the studio, tuning errant vocals, sorting my dodgy intonation on the fretless aligning BV's to lead vocals, creating harmony parts as guides for singers, re-arranging performances, it's an incredible and slightly scary bit of technology.
  18. WinterMute
    Alan's now got round to starting the Krell, cutting paduak for the body and neck accents. Very early days and it seems almost impossible that this stack of wood cuts will become a bass someday... Can't wait.
  19. WinterMute
    I've one of these, and it's the best SR5 you can buy, whatever they did with the construction, the pup and the pre works a charm. My favourite 5 string. GLWTS.
  20. WinterMute
    Rooms are acoustically treated, mics are top notch, preamps and dynamics are (usually) analogue and classy, most of the audio is in the analogue domain I suspect, plus the engineers are very experienced at voice recording. The output from the production will be in line with whatever multi band processing the broadcast chain has, rather than fighting with it, so level and loudness content will be tailored to the broadcast output.
  21. WinterMute
    Love the SR5s, ditto the scratch plate, bought a 20th Anniversary, job done. Lovely basses, congrats,
  22. WinterMute
    I'd have said 2, one fretted, one fretless, but then these things accrete don't they? I have 3 currently, and a 4th in construction, I have a 20th Anniversary MM SR5, which is a perfect bass, I have a Stealth Bongo 5 which was a 50th birthday present and I have a 5 string fretless built around a great MM SR5 Neck. Alan at ACG is building me a new fretless 5 string, but I can't see much point in shifting a Frankenstein bass on, so I'll probably stick with 4. Don't have enough wall space in the studio for any more frankly, unless I get a bigger studio... My guitarist says the formula for guitars is (number of existing guitars)+1
  23. WinterMute
    Agreed on Windows, never used it, never will, but I know a lot of very serious engineers and producers who use Windows machines to run audio production with great success. My take has always been that Mac OS tends to take less time to manage than windows, but it's not bomb proof, nothing is. My point was chose your weapon and get busy.
  24. WinterMute
    The Apple vs PC debate has been over since pretty much all processor models will run multitrack audio without problems, RAM is the issue, 16Gb is barely enough these days, 32 or 64 is much better and prevents all the DAW variants from accessing the HD so much, also get a separate HD for the audio, so that your OS drive is for nothing but apps and OS, make the audio drive an SSD if you can afford it. If you don't want pay to play Apple/Avid games, then don't, it's completely irrelevant now. Discussion of relative feature sets and workflows in DAWs is much more interesting, as is ultimately, what we all do with them.
  25. WinterMute
    The magic triangle, equilateral and tweeters level with your ears...! If you're in the right spot, you won't be able to see the sides or top of the cabinets at all, just the fronts. Then all you need to do is move the triangle around in the room to find the best acoustics... Then buy some treatment, or maybe build a new room... Perhaps move house...
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