|
Post by michaelwatts on May 14, 2020 17:16:27 GMT
Hello everyone!
I'm premiering this podcast interview with Nashville producer Rory Rositas on my YouTube channel tomorrow and thought you might find it interesting. Rory was responsible for the gorgeous sound on Tommy Emmanuel's latest album and has also worked with Bryan Sutton and John Jorgenson amongst others.
The questions were sent through by my instagram followers and there were some beauties there!
I hope you'll join us for the premier tomorrow at 18:00 - Rory will be coming in from Nashville on the live chat too!
All the best
Michael
|
|
|
Post by andyhowell on May 15, 2020 7:21:44 GMT
This is the kind of stuff I love. But always end up depressed because I realise I have to practice more!
|
|
|
Post by michaelwatts on May 15, 2020 15:31:06 GMT
This is the kind of stuff I love. But always end up depressed because I realise I have to practice more! Practice is an opportunity to take on our shortcomings face to face. that could be why it's such an unattractive option but hey, that's what it's there for!
|
|
|
Post by andyhowell on May 16, 2020 8:48:30 GMT
I get the best recorded sound out of that Nashville texhnique [mention]michaelwatts [/mention] - now is only I had a plug-in that would remove the sound of my sinus ....
|
|
|
Post by jackorion on May 16, 2020 10:09:49 GMT
enjoyed this, thanks!
One thing - those early Beatles records with the extreme panning... That was done for the 'fake' stereo mixes. The first couple of albums were recorded on two track so George Martin would record the basic track live onto one track, and then use the other track for backing vocals, tambourine, handclaps etc.
Cos these were always meant to be mono it didn't matter but, when the US market wanted 'stereo' versions, the only thing they could really do was pan one track one side and one the other - I don't think it was an 'artistic' decision (in fact the Beatles themselves were only ever present for the mono mixes of their albums, which were considered the 'final' mix and laboured over, and the stereo mixes were knocked out without their supervision at a later date - abbey road was the only album recorded with stereo in mind).
Sorry to nerd out but I'm a total beatles geek!
|
|
|
Post by andyhowell on May 17, 2020 8:52:42 GMT
That’s my understanding of how it worked!
|
|
|
Post by michaelwatts on May 21, 2020 11:53:44 GMT
enjoyed this, thanks! One thing - those early Beatles records with the extreme panning... That was done for the 'fake' stereo mixes. The first couple of albums were recorded on two track so George Martin would record the basic track live onto one track, and then use the other track for backing vocals, tambourine, handclaps etc. Cos these were always meant to be mono it didn't matter but, when the US market wanted 'stereo' versions, the only thing they could really do was pan one track one side and one the other - I don't think it was an 'artistic' decision (in fact the Beatles themselves were only ever present for the mono mixes of their albums, which were considered the 'final' mix and laboured over, and the stereo mixes were knocked out without their supervision at a later date - abbey road was the only album recorded with stereo in mind). Sorry to nerd out but I'm a total beatles geek! Absolutely right! This was foremost in my mind when I interviewed Al Di Meola about his latest record (his second collection of Beatles covers) Right here!
|
|