the zoning board said OK, so...

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2,916
Originally posted by Denyle_Guitars
I think I read somewhere that the US was lifting restrictions and freeing $ to promote the construction of new nuclear power plants. That would make the first new plants 10 years away.

If I had that budget, I'd recreate Ladyland, circa 1970.
I don't think so. They had one of the hottest, most unreliable consoles in history there. Took them years to finally unload it back to Focusrite. Focusrite used to offer it for sale to me (and presumably anyone else within earshot) about three times a year.

I know a guitar player that used to maintain that console. Sometimes people ask him whether he met a lot of famous people there. He says "I met a lot of famous people's feet." Because he was always under that console fixing stuff that just failed.
 

TAVD

Guitar Player
Platinum Supporting Member
Messages
3,731
Yeah, I've heard that it was unreliable. I thought it was a Datamix console though. I'd re-create it for nostaglia more than anything.

Aside from the console, there was supposed to be a bunch of Pultec gear and maybe even some Roger Mayer creations. Which reminds me, I saw a Helios console for sale recently loaded with some Roger Mayer comps.
 
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2,916
Originally posted by Denyle_Guitars
Which reminds me, I saw a Helios console for sale recently loaded with some Roger Mayer comps.
If I'm not mistaken that's another one of those best if used in the dead of winter consoles.
 

matte

Senior Member
Messages
10,418
Originally posted by riverastoasters
I also have a small label (concentrating on quality as opposed to commerciality) but that is a separate endeavor and usually we produce those projects where the band and producer are most comfortable.
Do you plan on promoting these projects once they are in product form? If the answer is yes, then what sort of budget are you allocating to that end? Are you hiring an independent record promoter to do the dirty work?





Originally posted by riverastoasters
I have serious chops in signal processing (digital and otherwise)..
How have your "serious chops in signal processing" manifested themselves in a tangible manner?
 
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2,916
Originally posted by Matte
Do you plan on promoting these projects once they are in product form? If the answer is yes, then what sort of budget are you allocating to that end? Are you hiring an independent record promoter to do the dirty work?





How have your "serious chops in signal processing" manifested themselves in a tangible manner?
The projects for our label (www.baryonrecords.com) are all indepedently promoted. For example Michael Powers is promoted by "Crows Feet Productions" (http://www.crowsfeet.biz/) and Anders Parker is promoted by "Call Girl PR" (http://www.callgirlpr.com/). We pick the publicists individually for each artist since we are not a genre-restricted label. We do tour support. We have lots of production chops and live recording too. Each budget is based on a lot of different factors - it's not "one size fits all".

My signal processing chops are mostly unavailable to the public, but I have some publications in the signal processing literature. If you want I can pm you a list of citations.
 

matte

Senior Member
Messages
10,418
Originally posted by riverastoasters
The projects for our label (www.baryonrecords.com) are all indepedently promoted. For example Michael Powers is promoted by "Crows Feet Productions" (http://www.crowsfeet.biz/) and Anders Parker is promoted by "Call Girl PR" (http://www.callgirlpr.com/). We pick the publicists individually for each artist since we are not a genre-restricted label. We do tour support. We have lots of production chops and live recording too. Each budget is based on a lot of different factors - it's not "one size fits all".
Thanks for taking the time to thoughfully answer my questions. Cool too to see the Situationalist approach to promotion. Creative and intelligent. John Dewey would approve.






Originally posted by riverastoasters
My signal processing chops are mostly unavailable to the public, but I have some publications in the signal processing literature. If you want I can pm you a list of citations.
Please email me @ mhenderson@hvc.rr.com
 

MichaelK

Member
Messages
6,476
Originally posted by splatt
on the all analog side:
geoffrey daking console?
Great sounding stuff. Daking's gear is as good as it gets, IMHO. Have not heard the console.
 
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2,916
Originally posted by MichaelK
Great sounding stuff. Daking's gear is as good as it gets, IMHO. Have not heard the console.
We tested the prototype because our partner in the record company is a producer who goes way back with Daking gear. We were thinking of commissioning Daking for his first large format console. But when the phantom power didn't work on the sidecar prototype and smoke started coming out of one of the channels we realized it wasn't ready for prime time.

As it turns out, Geoff got the console thing sorted out before we got the studio approved! So we could have stuck with that original idea.

We have a bunch of Daking pres and comps so even if we don't get a Daking console we have some Daking sound. Same with API.
 
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2,916
Originally posted by splatt
they sound great, generate an incredible amount of heat, and --- ime --- crash a lot.
on the all analog side:
geoffrey daking console?

on the mixed side:
the new, little ssl?

dt / spltrcl
We had a go with Daking before it was fully debugged. But we love the Daking sound.

Just this past week I saw a story that my old school (NYU) just got one for their school of arts. So Geoff must have those consoles fully debugged now. I have a meeting tomorrow with my buddy to discuss console ideas, and I'm going to ask him about revisiting Daking. We both love that sound in the modules. But we need to see a console really happening before we get one.

As to SSL? Nobody I know likes the SSL sound except for one studio designer (who just happens to be the one doing our room) and one jazz producer (who we almost did a jazz project with). It's part of the fact that I've been in pretty limited circulation of the music world, but it just happens that all the people I've had much to do with practically have "Neve" tattooed on their foreheads. What can I say? If I got an SSL it could alienate the music people I know and trust.

Myself? I like lots of different sounds. If it comes down to what I would have to live with forever after (and that is sort of what this investment comes down to) then I think I myself prefer Neve. Might be just because I have so much more exposure to Neves. Things like Daking are really interesting, but I think at the end of the day I love them mostly for guitars and drums and maybe not for voice.
 

MichaelK

Member
Messages
6,476
Originally posted by riverastoasters
Things like Daking are really interesting, but I think at the end of the day I love them mostly for guitars and drums and maybe not for voice.
Are you basing your choice of console on vocals?

This is fun, window shopping with your money. :)
 
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2,916
Originally posted by MichaelK
Are you basing your choice of console on vocals?

This is fun, window shopping with your money. :)
Yah. Ultimately the way guitar and drums sounds through Neve is really nice too, just different than Daking.

But Daking seems a little harsh on vocals. I suppose for some voices this is what you want, but then we have the Daking modules. The Neve (and what I've heard of some API) sounds to me seem more suited to more kinds of voices.
 
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2,916
Originally posted by splatt
well, that's an interesting (but, oddly limiting) view, imo and ime:
to each his own, i guess, but.....
..... it sounds as if "your own" is rooted in what you perceive as the consensus of others; consider that maybe a broader view of this "consensus" (not!) could prove even more helpful..... anyways.it's just a thought, though you might consider it as a thought from a producer/musician who is constantly working, eh?
dt / spltrcl
Well my partner in the record company has produced and mixed about 150 albums so I think we have one of those votes already, (and he is one of the more anti-SSL people I know) but others are welcome!

The SSL story boils down to other than one guy, all the people who I have personally met who like SSL say they like it because of the automation and workflow. All the other times people reccomend analog consoles it comes down to sound.

I am going to make some concession to workflow and automation - there will be a good level of automation. But since I'm probably only going to do this once, I want the sound to be the primary determinant.

It's a challenge for me since I've mostly heard old Neve 80x8 forever. Of the three rooms where I've done much time, they were all Neve 80x8 rooms. The few hours I have been in rooms with other stuff (including the five hour test drive of the Neve 88R) are minimal compared to all the 80x8 time. One of the things I like about the 88R is that it's sort of the closest you can get to old Neve sound without the baggage of the old Neve console.
 

Red Ant

Member
Messages
1,358
Originally posted by riverastoasters
One of the things I like about the 88R is that it's sort of the closest you can get to old Neve sound without the baggage of the old Neve console.
By baggage do you mean maintenance and upkeep? I can't really think of any other "baggage" that comes with them. In my admittedly limited maintenance experience the 80x8s are really easy to work on, swapping modules is a snap, etc...

Also, are you planning to record to HD or tape? I understand the desire for an 88R if its going to be tape, but if you're recording to HD what do you need all that automation for? These days my ultimate setup is a good PTHD rig with an 80x8 as the front end - no muss, no fuss, great sound :) Mixing-wise i do all my automation in the box and essentially just use the Neve for the eqs and the lovely Neve compressors, assuming the console has a few ;)
 

MichaelK

Member
Messages
6,476
Originally posted by riverastoasters
Yah. Ultimately the way guitar and drums sounds through Neve is really nice too, just different than Daking.
Well, unless you plan on tracking many channels of vocals at the same time, why not choose the console based on all-purpose music recording and have a few outboard pres/compressors/channel strips specifically for vox? That seems to be what most people do.

FWIW (which may not be much, as my years on this side of the glass are few, compared to many here) I haven't tracked anything through Daking or API that I DIDN'T like... drums, horns, strings, bass, guitars, percussion.. And I agree with dt that SSL is terrific for mixing. But that's just me.
 
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2,916
Originally posted by Red Ant
By baggage do you mean maintenance and upkeep? I can't really think of any other "baggage" that comes with them. In my admittedly limited maintenance experience the 80x8s are really easy to work on, swapping modules is a snap, etc...

Also, are you planning to record to HD or tape? I understand the desire for an 88R if its going to be tape, but if you're recording to HD what do you need all that automation for? These days my ultimate setup is a good PTHD rig with an 80x8 as the front end - no muss, no fuss, great sound :) Mixing-wise i do all my automation in the box and essentially just use the Neve for the eqs and the lovely Neve compressors, assuming the console has a few ;)
Record to digital.

The automation would mostly be for mixdown. I am not a fan of ProTools, so far, or of any of the other computer based systems. That will probably change over the next decade, but I don't expect that digital will take over tracking for even longer.

Looks like someone just bought AMS-Neve so I wonder what will be up with that?
 

Bassomatic

Member
Messages
12,336
Originally posted by riverastoasters
I am not a fan of ProTools, so far, or of any of the other computer based systems.
Have you had much experience with any of the latest batch?

Not a lot there to "not be a fan of" at this point in time, imo (easy [and delay-comp'd] interface with outboard gear, rendering interfacing with our favorite old/new boxes a breeze, etc. etc. etc.).
 
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2,916
Originally posted by Bassomatic
Have you had much experience with any of the latest batch?

Not a lot there to "not be a fan of" at this point in time, imo (easy [and delay-comp'd] interface with outboard gear, rendering interfacing with our favorite old/new boxes a breeze, etc. etc. etc.).
You have a point to a certain extent. But my recent experience with Logic 7 sort of is of the "way still not a fan of" variety. Protools HD is a little better - maybe with a control surface as big as a console with one fader for each channel and a 50 inch plasma monitor I might like it better. I'm not a GUI oriented guy in computers anyway (been computing since 1969) so it's not like I'm going to start loving that.

The main reason I've seen people bring ProTools projects in and out of studios is because the project becomes portable that way. We're talking about my home studio here, so it's not like I would take the project home on Protools to work on it. I would just have the thing there.
 






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