Ask a music scene micro celebrity - Page 57

ripshark · #**561** 07-23-2007, 12:28 AM

What is the best stuff you've worked on that's practically never been heard?

My company is seeking some of these lost and/or under appreciated gems in order to secure their digital distribution rights. We are also seeking small indie labels that might simply be looking to have their cd catalog's converted into new digital formats so that can be sold via iTunes, etc.

I realize that this might sound somewhat sacrilegious in light of the recent analog/digital thread, but finding some of this stuff a much deserved audience in any format is better than none, in my opinion.

Anything come to mind?

rainonacongadrum · #**562** 07-23-2007, 01:24 AM

Great thread. What do you think of Brian Deck and other Chicago area producers?

What all should a band have down and prepared before they enter the studio?

hime · #**563** 07-23-2007, 01:33 PM

[ QUOTE ]
Dude, I hear them all the time. Just did a record for a band from Denton, Texas called Record Hop, and they were terrific. Rock bands are everywhere, and there are always a few good ones.

[/ QUOTE ]

I'm from Denton and I can say Scott and Ashley are very nice people. I've only heard their band once or twice.

blairosh · #**564** 07-23-2007, 02:07 PM

I was talking to the band Yourcodenameis:milo recently about their "All Roads To Fault" album that you produced and they told me that you were "very confused" by their sound! Do you stand by that comment or did you enjoy working with them? Have you managed to listen to either of their subsequent two albums, and if so, what do you make of them? Personally, I think they're one hell of an underrated band that continue to push boundaries.

Also, out of the two Mono albums, which one's your favourite - "Walking Cloud" or "You Are There"? On a side note, the song "Lost Snow" is perfect.

angeldustone · #**565** 07-23-2007, 04:00 PM

Steve,

Is there any sonic advantage at all in mixing down/mastering a digital recording to tape as the last stage in the process? Here in NYC many high end mastering shops reccomend this to "warm up" the recording. Is this 100% [censored]?

tapler · #**566** 07-24-2007, 09:06 AM

Are you a film score enthusiast at all? Any favorite film scores or composers? Have you recorded films scores and how is the process different than making a record?

Thanks, from a carpetbagging forum intruder...

hulahoophugs · #**567** 07-24-2007, 09:29 AM

In Owls' self titled album you recorded, Tim's vocals seemed to be panning left and right in the song "everyone is my friend." Are you actually just panning back and forth on the vocals or are there stereo room mics set up and i'm hearing his vocals bouncing off the walls? it's a very cool effect and i noticed it's only on that track ( i may be wrong though)

hulahoophugs · #**568** 07-24-2007, 09:31 AM

sorry about all of the questions, but also, how was working with Owls?

JMG24 · #**569** 07-25-2007, 01:11 PM

Hi Steve, a few questions:

What do you think of a la carte downloading as opposed to buying the full album? For fans and artists alike, is it a good or bad thing?

cassettesmith · #**570** 07-25-2007, 02:33 PM

Any thoughts on the last Scott Walker record, The Drift.

I know that you've said your longest recording session has rarely gone longer than a month and that they generally go for two weeks max. How do you think you would stomach working on record for seven years?

(Assuming that this was, of course, not a major label attempting to score big on a record; to make it easier, assume that it was Walker and 4AD, or if more to your liking, the Jesus Lizard and Touch & Go.)