We did Paul’s vocals for this track here at CutSnake, and I was also involved in the cover design.
Drums, bass, and pedal steel.Travel report #2: Sun Ra Arkestra
Sun Ra Arkestra, Philadelphia, June 25 2011.
Audio recording: Love in Outer Space (mp3).
Analogue and digital (slight return)
Tape is a more natural way to record than digital technology. Yes, if you think that suspending a zillion little magnetic rust particles in plastic and then telling them how to line up as they get dragged past an electromagnet, which has to be fed by a high-level supersonic signal just so the audio doesnt sound like a buzzsaw, is totally natural.
http://www.emusician.com/tutorials/five_digital_audio_myths_busted/
But does anybody really use the “natural” argument?
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Travel report #1: TBC Brass Band
The TBC (To Be Continued) Brass Band at the Blue Nile in Frenchmen St, New Orleans, July 10 2011.
Audio recording: Why You Worried ‘Bout Me? (mp3).
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Where ya been?
Yes, a long time between posts.
Some of that time I’ve been travelling in the USA: New York, Philadelphia, Washington, Atlanta, New Orleans, Miami.
I saw bands, and recorded some of them on my newly acquired Tascam DR-08.
Stay tuned for some highlights: the Funk Brothers, Tito Puente Jr, the Sun Ra Arkestra, and the TBC Brass Band. Sure, just as soon as I get busy on the DAW editing the rough live recordings into deliciously polished nuggets of audio niceness.
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Wild West: Scratch Another Day (Selected Recordings 1980-1981)
It’s taken a while for this album to become available.
Mastered at CutSnake in December 2009.
Lots of history…
Analogue and digital
The attraction of tape and vinyl puzzles me. I’ve recorded to tape, and we had 4- and 8-track machines in the studio during the eighties. They were expensive and awkward to use.
Vinyl leaves me completely cold.
Tom Ellard disses vinyl (and other things): Audio Mouth Breathers
Owsley Stanley (RIP) talks about the near-impossibility of accurate playback from vinyl.
Mac vs. PC
At Gearslutz:
I wouldn’t even consider doing a joint audio project with somebody who was using windows, because they simply don’t get it, and wouldn’t be on the same wave length as I. And if I stepped into a recording studio and saw PC’s running windows only in the control room and no Macs, I’d turn right around and walk out the door, as that wouldn’t qualify as a professional studio, according to my standards.