Do you know how lucky we are?
Had we been born a mere 50 years earlier, we wouldn’t have access to nearly the amount of opportunities we have today.
Specifically, the proliferation of the world wide interwebs allows normal, average Joe’s like you and me to connect and collaborate with musicians all over the world.
Don’t believe me? Over the last few years I’ve collaborated with people from places like Finland, England, Nigeria, France, and all over the US. All without leaving Nashville.
You may think that collaborating with other musicians isn’t something you’ll be able to do, or something you can do easily.
Let me see if I can dispel a few myths for ya. Read more »
Subscriber Tom Parker forwarded this to me. Thought you might find it interesting, too.
I’m not sure what website it’s from, but it’s a quote from a film sound designer named John Sisti.
Here it is:
“Is the over-engineering of music costing us our audience? Do we get in front of the artist rather than present them?
Why do so many young people listen to music that was recorded twenty or forty years before they were born?
With the tools available today, we have so much control over the sound that will be heard in the end product. Products like Melodyne, Autotune, and others we can ‘fix’ even the smallest details within a performance. With sound being able to trigger a response on a millisecond level are we destroying the very elements that connect our artists to their listeners?
Shouldn’t the priority be the expression within the performance rather than a rigid standard of perfection in the sound?”
One of the areas I struggle with as both a musician and an engineer is this very concept of capturing and preserving the performance itself. Read more »
Podcast (hsc-podcast): Play in new window
| Download (27.5MB)
In today’s episode, I talk about the importance of tracking your progress in the studio, even if the results aren’t exactly what you expect (kinda like weight loss).
Plus, I answer a bunch of great questions about stuff like:
- Things to consider when building a website for you and your studio
- Recording a bass with active pickups
- How to describe what compression actually does to the sound
- A simple first step for acoustically treating your room
- How to compress bass
- Ways to keep a project moving forward
Wanna submit a question for the podcast? Go here: www.askjoegilder.com
Saw “Teenage Mutant Ninja Turtles” last night.
Loved every minute of it.
Made me wish I still had my Ninja Turtles van I had as a kid. (Remember that thing? It shot out little plastic pizzas like a cannon. Epic.)
Anyway, aside from lots of things blowing up and tons of great one-liners (I haven’t heard “Cowabunga!” in a looooong time), the movie did a good job of teaching teamwork.
Each turtle is insanely skilled (and could beat me up any day of the week), but only when they worked together were they actually able to even stand a chance against Shredder.
Reminds me of Dueling Mixes. Read more »
I was tracking electric guitars recently.
I was running the guitars through my pedalboard, which has a Line 6 M9 stomp box modeler at the end of the chain.
For amps I switch back and forth between my Vox AC4 and the Avid Eleven Rack. To do the switching, I simple had a cable running to the Vox and another running to the Eleven Rack. I would simply “patch” in the amp I wanted for a particular track.
But then I noticed something.
The M9 actual has stereo outputs. I’ve always simply used one output, because I’ve always used one amp.
But now I had two amps running at the same time.
It was almost like the cables WANTED to both be plugged in at the same time. They were calling to me. “Plug us both iiiiiiinnnn…”
So, I did. Read more »
Okay, I’ll admit it.
I like video games.
There, I said.
I’m not one of those hardcore gamer guys, but I’m currently in a season of being a teeny tiny bit obsessive about playing Call of Duty Ghosts on my PS3.
I got back into it about a month ago, and I…was…HORRIBLE.
If you’re not familiar with the game, it’s essentially a first-person shooter, where you can join online teams and play against another online team.
Anyway, I was absolutely dreadful.
Like, wanna-throw-the-remote-across-the-room bad.
And yet I kept coming back. I would play over and over again, with the same horrible outcome. But I couldn’t figure out how to do any better. Read more »