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Before the music emerges from your speakers....

I thought it might be instructive (perhaps interesting) to have an insight into one engineer's thoughts and methodology into assembling what we listen to.

This young lady details some of her thoughts before, during, and after she 'tracks' a session (or 'X' number of) with her 'rig' on site, followed by 'the real work' creating the master.

There's a lot of 'trade tricks' going on 'twixt the artist(s) and your ears.  It's good to be not only aware of this (which may already be the case for most), but to acknowledge that it's all going into the 'comp'.

It may be played analog...but it's all going direct to digital.

https://reverb.com/news/shani-gandhi-on-recording-bluegrass-and-metal?utm_source=MarketingCloud&utm_medium=Email&utm_campaign=20200112+Sunday+Content

Note her comments on the use of compression; done with a 'light touch' it seems a standard practice to 'sweeten'/'dial down' certain elements of a recording.

This is also one reason I have no qualms about using 'pro gear' within my equipment.  What's good for the goose...;)
128x128asvjerry
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asvjerry OP
4,727 posts
 
*G* Well, I didn't create her title; it goes with the trade after all...

And 'mousing' is pretty much SOTA these days, since the software is doing the 'heavy lifting; (such as that is...).

Yes, I do read BTW.  *S*  I opened this forum to see the range of responses to the methodology and the software applied to music 'processing'.  This includes the various and varied equipment used to do so.  The (presumably) nice young lady just happens to be the one interviewed.

I'm not going to a personal stand on this; no interest in supporting/defending the article's content.  It is what it is, and likely is what is pretty much SOP....
delkal
110 posts
 
Note her comments on the use of compression; done with a 'light touch' it seems a standard practice to 'sweeten'/'dial down' certain elements of a recording.


Compression can work both ways.  A small amount of compression can be beneficial in that it can bring out low volume details that would otherwise be lost in the noise floor. Even when listening with a good system. Unfortunately it is now commonly abused to the point of making modern  releases unlistenable.

glupson
7,842 posts
 
"When we had finished a song, we'd take a drive and listen to it on the car stereo to give us that extra objectivity. When you are working so intensely you can lose that objectivity. And when you're in a studio you're listening to the absolute best reproduction of the sound. But most people won't hear it in that environment. So we'd go for a drive – the car test."
https://www.independent.co.uk/arts-entertainment/music/features/leonard-cohen-out-of-the-monastery-a...
asvjerry's avatar
asvjerry OP
4,727 posts
 
@glupson...and now, the 'ear buds' are likely part of the testing. 

Welcome to the New World.  The 'natives' may not have 'rituals' you like...;)

@delkal...*S*  It's like soup....Too much salt (or any other seasoning) screws it up..unless it's what may be called for, under the circumstance or an intentional 'tweak'.

We're not 'there' to make the call...we just get to love/hate the result. ;)
asvjerry's avatar
asvjerry OP
4,727 posts
 
@sonicjoy..."In a Perfect World"....Absolutely; that would be the answer for 'our market'....

As you point out, not very likely....unless one knows 'someone' close to the 'process' and they gift you with a copy.  Which would likely be a digital file...and would disown you if it left your possession...

@onhwy61 ...That's what got my attention as well....the selection of the instrument(s) to apply to a given 'source'.  The comment about mic placement about an instrument's amp was revealing....a subtle 'trick' that I wasn't aware of, but it makes sense.....

"Live" doesn't mean some 'applied skill', meant to enhance, or compensate, hasn't been introduced.  I've always been fascinated by knowing what's 'upstream' of what I enjoy. *S*

BTW, you're welcome. ;)  
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