MR

New song done for the soundtrack of Grohl's Sound City documentary.

http://www.ellentv.com/videos/0-ee9nkzgw/

I watched the Docu the other night. Pretty interesting. Lacking in some parts, but a lot of great stuff. Stevie Nicks sounds amazing on her new song with them. McCartney does a great Jam.

I love that movie.. except for Grohl pissing on Protools...

maybe he "forgot" that it was a ProTools rig that was used to make Nevermind...

As I watched the movie I was thinking it was really telling the story of so many industries. All this technology changes everything.

I'm developing some software and I had a market research interview with a guy in the industry and he really appreciated what I might do for people, but was very honest about being afraid that I'm going to allow new-comers to skip the pains he had to endure to build what they have internally. I really felt for the guy. But at the same time, I can help people that maybe don't have the resources he was able to put together. So I left that meeting with such a conflicted feeling. This movie gave me that same feeling.

Memorex wrote:As I watched the movie I was thinking it was really telling the story of so many industries. All this technology changes everything.

I'm developing some software and I had a market research interview with a guy in the industry and he really appreciated what I might do for people, but was very honest about being afraid that I'm going to allow new-comers to skip the pains he had to endure to build what they have internally. I really felt for the guy. But at the same time, I can help people that maybe don't have the resources he was able to put together. So I left that meeting with such a conflicted feeling. This movie gave me that same feeling.

I think it highly ironic that musicians blame technology for the demise of the quality of music.. when its that very technology that they use and and continue to use that has made music so diverse now...

More importantly.. regardless of how many millions of bedroom artists there are now who can put their music out to the world via TuneCore, Itunes, SoundCloud, BandCamp, etc..vs. when the labels had a stranglehold on the distribution channels and could limit what consumers heard.. the old axiom STILL holds true.

"It all comes down to to writing a great song"

slucero wrote:

Memorex wrote:As I watched the movie I was thinking it was really telling the story of so many industries. All this technology changes everything.

I'm developing some software and I had a market research interview with a guy in the industry and he really appreciated what I might do for people, but was very honest about being afraid that I'm going to allow new-comers to skip the pains he had to endure to build what they have internally. I really felt for the guy. But at the same time, I can help people that maybe don't have the resources he was able to put together. So I left that meeting with such a conflicted feeling. This movie gave me that same feeling.

I think it highly ironic that musicians blame technology for the demise of the quality of music.. when its that very technology that they use and and continue to use that has made music so diverse now...

More importantly.. regardless of how many millions of bedroom artists there are now who can put their music out to the world via TuneCore, Itunes, SoundCloud, BandCamp, etc..vs. when the labels had a stranglehold on the distribution channels and could limit what consumers heard.. the old axiom STILL holds true.

"It all comes down to to writing a great song"

Or making cool videos. Foo Fighters are great at that.

Don wrote:

slucero wrote:

Memorex wrote:As I watched the movie I was thinking it was really telling the story of so many industries. All this technology changes everything.

I'm developing some software and I had a market research interview with a guy in the industry and he really appreciated what I might do for people, but was very honest about being afraid that I'm going to allow new-comers to skip the pains he had to endure to build what they have internally. I really felt for the guy. But at the same time, I can help people that maybe don't have the resources he was able to put together. So I left that meeting with such a conflicted feeling. This movie gave me that same feeling.

I think it highly ironic that musicians blame technology for the demise of the quality of music.. when its that very technology that they use and and continue to use that has made music so diverse now...

More importantly.. regardless of how many millions of bedroom artists there are now who can put their music out to the world via TuneCore, Itunes, SoundCloud, BandCamp, etc..vs. when the labels had a stranglehold on the distribution channels and could limit what consumers heard.. the old axiom STILL holds true.

"It all comes down to to writing a great song"

Or making cool videos. Foo Fighters are great at that.

yup Grohl is a very cool kat.. and their vids rule.

slucero wrote:I love that movie.. except for Grohl pissing on Protools...

maybe he "forgot" that it was a ProTools rig that was used to make Nevermind...

I don't think that's correct. When ProTools officially launched in 1991, it was only available in 4-track format. Nirvana recorded part of Nevermind in 1990, and the rest at Sound City in 1991. ProTools had not been fully integrated into commercial studios yet...let alone a studio like Sound City.

Commercial studios didn't really begin to change over until around 1997 when the 24 & 48 track versions came around.

Pelata wrote:

slucero wrote:I love that movie.. except for Grohl pissing on Protools...

maybe he "forgot" that it was a ProTools rig that was used to make Nevermind...

I don't think that's correct. When ProTools officially launched in 1991, it was only available in 4-track format. Nirvana recorded part of Nevermind in 1990, and the rest at Sound City in 1991. ProTools had not been fully integrated into commercial studios yet...let alone a studio like Sound City.

Commercial studios didn't really begin to change over until around 1997 when the 24 & 48 track versions came around.

Correct, Nevermind was recorded twice.. April 1990 at Smart Studios in Madison, WI, and then April 1991 with at Sound City. Old drummer in WI, Grohl at Sound City.

When PT came out lots of guys bought PT rigs and rented them out to studios.. it was pretty prevalent in L.A. at the time. It was too new for integration.. and was only thought of as an outboard editing tool.

Although there is no way to validate it.. its a pretty common belief that there was a rented rig for the Nevermind mixing sessions... and that Nevermind was edited in PT...


BTW.. I love Nevermind.. always have.. but I still think its a bit disingenuous for Grohl to slag on PT.. especially since a single reel of 2" 24 track tape is $200 plus these days.. have a $2000 budget? You can book 4-5 days of studio time including a PT HD rig to record, edit, and mix on. Wanna record to tape? You'll need about 3 reels.. that's $650 bucks.. Grohl can afford that.. most others can't...

..yet he still uses Pro Tools now..

This is interesting info about Nevermind and Grohl...

I thought the whole reason for the Sound City movie was about how Nevermind was recorded there and how he fell in love with the analog sound of the Neve console and eventually bought it then made the movie around it. And then I watched the FF doc that was released last year and the whole premise of that film was about how he moved an entire tape studio into his house (along with the Neve) to record that last Foos record...

I didn't know that PT was being used during that process.

Now I completely understand if a post guy at the label etc comes in and does post production digital editing - but was a PT rig being used during the actual tracking and production of those records?

Jeremey wrote:This is interesting info about Nevermind and Grohl...

I thought the whole reason for the Sound City movie was about how Nevermind was recorded there and how he fell in love with the analog sound of the Neve console and eventually bought it then made the movie around it. And then I watched the FF doc that was released last year and the whole premise of that film was about how he moved an entire tape studio into his house (along with the Neve) to record that last Foos record...

I didn't know that PT was being used during that process.

Now I completely understand if a post guy at the label etc comes in and does post production digital editing - but was a PT rig being used during the actual tracking and production of those records?

Are you sure you don't mean his home studio? http://www.nme.com/nme-video/dave-grohl ... 7688254001

they did record purely analog there..


Their 8000 sq ft studio where the Neve is.. 606 West is the studio name.. has a editing desk... Dave talks about the bands that have recorded there besides the FF.. it makes sense t hat this place has PT...





Regardless... Grohl is worth north of $200 Million.. he can afford to only record to tape

slucero wrote:

Jeremey wrote:This is interesting info about Nevermind and Grohl...

I thought the whole reason for the Sound City movie was about how Nevermind was recorded there and how he fell in love with the analog sound of the Neve console and eventually bought it then made the movie around it. And then I watched the FF doc that was released last year and the whole premise of that film was about how he moved an entire tape studio into his house (along with the Neve) to record that last Foos record...

I didn't know that PT was being used during that process.

Now I completely understand if a post guy at the label etc comes in and does post production digital editing - but was a PT rig being used during the actual tracking and production of those records?

Are you sure you don't mean his home studio? http://www.nme.com/nme-video/dave-grohl ... 7688254001

they did record purely analog there..


Their 8000 sq ft studio where the Neve is.. 606 West is the studio name.. has a editing desk... Dave talks about the bands that have recorded there besides the FF.. it makes sense t hat this place has PT...


Regardless... Grohl is worth north of $200 Million.. he can afford to only record to tape

Yup that's what I meant, when he moved all that equipment into his home studio for the latest FF record...I assumed that's where he had the Neve but it completely slipped my mind that he actually does own a major studio that lots of other bands and labels pay to record at, so yeah it would make sense for a place like that to have a PT rig. I was referring only to that latest FF record that they did the documentary around.

Although there is no way to validate it.. its a pretty common belief that there was a rented rig for the Nevermind mixing sessions... and that Nevermind was edited in PT...

I suppose it is highly possible that they could have dumped DAT tracks into the 4-track version of PT that was around in 1991 and mixed it in pieces...though it seems overly tedious to do it that way.

all of that trouble to record to tape for Wasting Light only for it to get brick wall compression in mastering. It sounds like ass on CD. I downloaded a 24/96 resolution rip from the vinyl release and it sounds a million times better. You can not master vinyl that hot because the needle would jump out of the groove. I can't figure out why he is so in to pure analog sound and then allows the mastering folks to destroy the very dynamics he was after. Most people wont hear the vinyl version and this a shame. The cd is pure ear fatigue after a couple of songs and I looked at the waveform myself. There is clipping on it. I suggest trying to get a vinyl rip if you can . Whole different experience. You can hear compressor breathing on the cd for crying out loud !

Liquid_Drummer wrote:all of that trouble to record to tape for Wasting Light only for it to get brick wall compression in mastering. It sounds like ass on CD. I downloaded a 24/96 resolution rip from the vinyl release and it sounds a million times better. You can not master vinyl that hot because the needle would jump out of the groove. I can't figure out why he is so in to pure analog sound and then allows the mastering folks to destroy the very dynamics he was after. Most people wont hear the vinyl version and this a shame. The cd is pure ear fatigue after a couple of songs and I looked at the waveform myself. There is clipping on it. I suggest trying to get a vinyl rip if you can . Whole different experience. You can hear compressor breathing on the cd for crying out loud !

Bingo..

I'm using Ozone 4 when I master... and even with my mixes averaging -5 to -3 before... its really, really, easy to simply peg em to 0 using the Loudness function in Ozone..

I can't wait for the day we get better audio standards than MP3 and we can finally get some dynamics back in mixes/masters