A new discussion thread on the gearslutz.com bulletin board tells us that George is continuing to work well outside the box, by capturing a live studio performance as a performance. What’s most exciting to me is that it sounds very much like what I’ve been writing about co-production at The Miraverse…
Last week Lyle Estill was scheduled to give a reading at Quail Ridge Books and I was asked to introduce him. After his reading, which was excellent, and the questions, which were semi-interesting, he set himself to signing books for the 30+ people who came to hear him that evening. And, being in one of the best real, local bookstores, I set myself to browsing. I wandered over to the Music section, and was stunned to see that one of my favorite bass players, Victor Wooten, had written a book called The Music Lesson. I cracked it to a random page, read the passage that said
“Sharing is on e of the most important tools needed for personal growth,” he once told me, also stating that many people never come to understand that point. He said that many of us try to hoard our knowledge in order to stay ahead of everyone else. I understood that completely because I used to use the same method.
I had a trip to Oregon coming up, and I realized that with this book, I could be spending time with my man Victor. Do you want to know what it was like?
There are hundreds of posts on the various recording studio mailing lists and bulletin boards asking people to indulge in the fantasy of deciding how to spend large $$ on gear. And the most frequent response given is “FOR WHAT PURPOSE?” followed closely by “You have to match the gear to the room. If you’re not going to spec the room, the question of gear is meaningless!” Most of these threads intentionally omit any consideration of the room because the people posting all have roughly the same situation: a basement or bedroom studio with 8′ ceilings, tons of prosumer gear they’re ready to upgrade, and enough money to buy some serious pro-quality equipment, but not enough money to build the space needed to really utilize the gear. And so these threads rarely lead to anything.
Brian May re-visits Rockfield Studios and helps piece together the history behind Bohemian Rhapsody. What a great bit of history, and what a great motivation to do everything we can at Manifold Recording to capture everything that technology allows: HD (or better) video, high-rate 24-bit audio, the works. Enjoy!
Growing up in the 1970s, Linda Ronstadt was one of the first female vocalists that made me want to spend more time on the Rock and Roll side of the FM dial and less time listening to classical music on our local NPR affiliate, WMHT. But a few weeks ago, completely by chance, I heard her talking about her experiences in the Music industry as a special guest of the NPR news quiz show Wait Wait…Don’t Tell Me, and the course of the interview practically wrote a blog posting for the Miraverse concept. Here’s my transcription of the relevant stories:
As reported in ocregister, Death Cab for Cutie are trading volume for quality and integrity in the loudness wars. And not a moment too soon! The acoustic assault of over-compressed songs not only fatigue the mind, but harm the ears as well. I’m glad to see that more people are starting to realize that a three minute song should not be mixed like a 30 second TV commercial.
You can read the full report at the ocregister website.