Quote:
Originally posted by odysseys:
So,maybe with all the mixing techniques we can manage to alter the band's sound and also maybe WE can lead them to success,but that's not their sound,definately,and this may have negative result when they're going to perform live.
The bands should be the masters of their sound and we should be their enhancers.
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<font size="2" face="Verdana, Arial">Why are there recordings? If you want the live rawness of a band, well, no recording will totally capture that, the only way will be seeing them live.......
What I don't understand is why 'recording together in a room', 'we did it in 1 or 2 takes' etc. is so important with a lot of folks while nobody judges a painting by how long it took the artist to finish it or if he did it in sections or not (the same obviously goes for film)
I think PTUser NYC had some excellent points.... speaking of bass: don't forget that with close miking, there's proximity effect happening, that's a big reason why you often need to 'thin out' tracks....listen to say an acoustic guitar being played in a room, your ear isn't (normally) positioned close to the body of the instrument like a mic (normally) will be positioned. That's why there's usually way more low and midrange than you'll need.
I think this often also applies to live playing, a guitar player will dial in an 'awesome' sound only to end up being drowned out in low end mud.....
And getting back to Mr. Wallace: there's no better example of what PTUser NYC said as his work on Jeff Buckley's 'Grace'. Most importantly it's incredibly deep and powerful music...Wallace's production is tight, clear and powerful while still being 'organic', I learned a lot (still do) just by listening to this amazing record and it's an especially good example of PTUser NYC's 'small being big' theory......
Andi