|
Post by earleg on Sept 28, 2019 16:08:31 GMT -5
|
|
|
Post by Deleted on Sept 28, 2019 17:08:46 GMT -5
Neat layout. Nowadays a little home studio with the right computers and software can do almost what that huge expensive studio can do. There is a lot of production going on inside homes, cellars, garages, and any other place they can fit a small amount of gear.
There are lots of things that can now be done with software and computers that could not be done back in the day when the Beatles and Sir George Martin recorded at Abbey Roads Studios.
|
|
|
Post by jbone on Sept 28, 2019 21:52:42 GMT -5
We very much prefer the idea of Raw Real and Right Now. Record at home or wherever with a minimum of gear. Mix/master just enough. We want the buyer of a CD, or listener, to hear on a recording pretty much what we do live. Warts and all!
|
|
|
Post by earleg on Sept 29, 2019 15:14:38 GMT -5
It is a way big room. I would actually feel uncomfortable working in it. The size was probably kept that way since they recorded and no doubt still do Choir, Orchestra and Symphony. They could get a big room natural reverb not that it is that big a deal anymore. The main thing especially decades back is they always had the very top notch recording equipment.
|
|
|
Post by Deleted on Sept 29, 2019 16:31:26 GMT -5
I did my best recordings in a 10'x 12' climate controlled shed, built on to the side of my house (and I cut into the AC duct-work and routed some of the heating/cooling to that shed for climate control). In that shed there is a washer/dryer, and mounds of horded stuff with enough room to fit about 2 to three folks when I recorded family on some of my tunes. But mostly I just sat in there by myself, creating backing tracks, and writing lyrics and chord progressions on my DAW's (Digital Audio Work station computers) I also did live guitar work miked up and through amp modelers, and of course vocals. I live in a very quiet retirement community, so I had no need of sound problems coming into the shed from the outside.
|
|
|
Post by whitefang on Sept 30, 2019 9:53:12 GMT -5
It is a way big room. I would actually feel uncomfortable working in it. The size was probably kept that way since they recorded and no doubt still do Choir, Orchestra and Symphony. They could get a big room natural reverb not that it is that big a deal anymore. The main thing especially decades back is they always had the very top notch recording equipment. I really don't think much(if any) symphony recording is done in a recording studio. All I do know in this instance is that the DSO recorded their LPs either in the old Orchestra Hall( back in the Paul Paray days) which stood empty for 20+ years after Paray's departure. In 1959 the orchestra moved it's residence and made recordings at the now defunct and recently razed Ford Auditorium and by the mid '70's moved recording operations to the long vacant United Artist theater downtown. which had better acoustics as the Ford was intended as a multi purpose venue. Rock concerts would also be held there, as in '68 me and some buds saw The Mothers Of Invention there, And a few years later we saw The Eagles open for The Mahavishnu Orchestra there. I imagine many symphony orchestras record in the venue in which they also perform. Now, I'm guessing the Abbey Road studio was that huge to probably make room for some strings and perhaps a choir and perhaps a different option for a variety of acoustics. I remember reading that Simon and Garfunkel would rehearse in a huge tiled wall public restroom because they liked the "natural" sounding reverb effect that studios couldn't replicate at the time( but probably can now). Well, I'm done rambling.... Sorry------ Whitefang
|
|
|
Post by Deleted on Sept 30, 2019 15:40:40 GMT -5
I remember reading that Simon and Garfunkel would rehearse in a huge tiled wall public restroom because they liked the "natural" sounding reverb effect that studios couldn't replicate at the time( but probably can now). Well, I'm done rambling.... Sorry------ Whitefang When we sang a-Capella back in the 60's we would always search out a public restroom if we could find one nearby. One time we (The Soundmasters) did a gig at The Steel Pier In Atlantic New Jersey, and they had this huge tiled restroom where we went to warm up.This black group called the Hesitations came in while we were hittin a note (as we used to call it), and they were floored, they did a few tunes, and we were floored, and then we did a few more tunes and immediately we became mutual admirers, and became temporary friends, and after a few meetings in their town, and one in ours (which was 40 miles north of Atlantic City) we never met again after that session in our town. That restroom at the Steel Pier was sure a natural reverb place to hit a note (which is the point of this rambling reply).
|
|
|
Post by whitefang on Oct 1, 2019 10:00:11 GMT -5
When I read that item about S&G I immediately thought back to my grade school's 1st floor "lavatory"( always dug that fancy word for "shi**er") which had that same acoustic quality. The CBS radio studio in New York had restrooms with similar qualities and Orson Welles would often have his sound effects crew run mics with long cords into them for that sound. Especially for much of his famed 1938 "War Of The Worlds" broadcast. Whitefang
|
|
|
Post by Deleted on Oct 1, 2019 15:29:59 GMT -5
Yep the acoustics in restrooms was a big thing to some folks especially during the a-Capella group days around the east coast.
|
|
|
Post by whitefang on Oct 3, 2019 9:46:14 GMT -5
I'll have to settle for the "virtual" tour, as the only "kind of" recording studio I've ever been in was one some guy put together in the basement of his house( actually, it was still his parent's house). That was back in '69, long before any of the stuff you guys are home recording with now was ever available. Hell, that stuff wasn't yet a "twinkle in the eye" of guys making home studios. He at the time was putting together some demos for a popular local band. His masters didn't sound half bad. And you gotta remember..... We're talking magnetic analog tape here. And the only thing "digital" was the little cylindrical tape counter on his reel to reel recorder.(working on the same principal as the odometer on older models of cars). Whitefang
|
|
|
Post by Deleted on Oct 3, 2019 14:55:35 GMT -5
I started with an analog studio about the mid 80's, a Macintosh Plus ran the whole thing with SMPTE time code, Otari MX70 16 track 30 ips tape speed, Otari MX 70 half track (stereo tape deck), a Tac Scorpion 24x16 console. I had about 30 synthesizers, samplers, input and mix-down effects units, and on and on. I recorded several tings with that set up, then I decided to go on the road, so I sold it all in 1989(probably for only a half of what I paid for the stuff). Then in 1999 I got my first digital recording stuff when I moved here to Arizona. I could do a lot more with my $3000 digital set up than I could do with the hundred fifty grand of analog gear that I mentioned above.
|
|