#recording production

[stone-cold-groove]

Promo ad for Pacific Recording Studios - 1968.

[earl-grey-audio-blog]

Visit Original Link

Here it is, everyone! The Final Project™

a cover of The Dear Hunter’s “The Flame (Is Gone)” from their fifth studio album, Hymns With the Devil In Confessional.

--ERL

[earl-grey-audio-blog]

Week 16: May 7, 2017

Hey all!

If you haven’t checked out my previous post please feel free!

This is the final post for the semester. It flew by--as do all semesters. I very much enjoyed this class, the creative process, and working with new people. It was tough at times, I admit. And then there were times when the cosmos aligned and everything fell into place perfectly. Both sides of the same coin.

For this final project, into which went dozens of hours of my time, I feel that I’ll get about a B, since there were certain criteria which I know I did not fully meet. However, I must say that I think the criteria of 55 active tracks and a total of 60 tracks is entirely arbitrary. The cover I created is, I daresay, some of my best work to date and I could not find a way to push it past 51 without muddying the mix. And this was after I mixed everything to where I wanted it. 

51 was where I left the total, and I’ll likely get docked for that. My hope is that the professor can see past that and hear the song for what it is: a reflection of my growth throughout the semesters of this curriculum. 

Who knows? What I do know is this: I’m extremely proud of what I produced in this class. It was a rocky road, but I made it through and have something to show for it. And that makes me happy. 

Thank you for your time, readers.

Hope you all have an amazing summer!

Rock on.

--ERL 

[richardvarey]

Another look at Soundkeeper listening

Construction, Attunement, and the Listener’s Role With news that a new recording project is nearing completion, again recorded in the warm acoustic of a room built in 1820 at The Silo in Northville, CT., I was inspired to take another look at his approach to creating an album. Barry Diament’s Soundkeeper Recordings project represents something of a puzzle in contemporary audiophile culture.…

View On WordPress

[richardvarey]

Beyond Formats: Rethinking the Listener in a Rendering World

I spotted this categorisation of listeners on Steven Wilson’s new Headphone Dust website. Casual ListenerHeadphones & Stereo“I listen on headphones, earbuds, or a regular stereo setup” Immersive ListenerSurround Sound & Atmos“I have a 5.1 surround system or Dolby Atmos soundbar” EnthusiastReference Quality“I want the absolute best lossless Atmos experience” He thinks I’m a casual listener…

[richardvarey]

What Psychoacoustics Actually Tells Us About Home Audio

Here’s another look for empirical support for the rendering framework from outside the audiophile echo chamber. The question is whether research on spatial hearing, room acoustics, psychoacoustics, and sound reproduction actually backs up the idea that what we’re doing is reconstructing sonic events rather than just “getting closer to the master tape” or whatever. Spatial hearing research seems…

[richardvarey]

The Music Was Never There to Begin With

The orthodox view of audio reproduction rests on a simple story: a musical performance happens, gets captured in a recording, and is released again through playback. Better equipment preserves more of what was originally there. Worse equipment loses or distorts it. The goal is fidelity—getting as close as possible to the original event. Every part of this story is wrong. Not wrong in small…

[richardvarey]

Rendering, Not Capturing: What Production Actually Does

“Artist intent” isn’t about preserving some original acoustic reality that existed prior to rendering. It’s about designing sonic events for anticipated listening conditions, using production choices as the means to construct those events. So when a producer makes decisions about: Microphone placement Dynamic processing Spatial treatment Tonal balance Mastering loudness They’re not trying…