Jez,
This is exactly what I thought you were saying.... and experience has taugh=
t me those lessons as well. My first professional recording experience was =
in the RnB studio of Babyface in Atlanta Ga.. As a bass player, I didn't wa=
nt to straight from bass to line in, because wanted to capture the warm ton=
e of my Ampeg B15 portaflex.. The engineers and their ego wouldn't have it =
until I threw a fit in the control room insisting...so we compromised. Tha=
t was all about neutrality and control in their eyes, but for me that metho=
d wasn't alive. So! ..I get that of what you speaketh ^__^
Cheers,
Mark
On May 30, 2012, at 11:25 PM, "Jez" <> wrote:
> hmmm:
>
> there was no bait - i'm not trying to argue one point over another - i'm =
saying there are more points, more approaches & no one is more valid than t=
he other.
>
> 1) I don't have any problems with 'studios' or 'tuned spaces' but I took =
issue
> with them being seen as the 'ideal'
>
> 2) lots of people mix on headphones, in their own homes in rooms that are=
n't
> 'tuned' or haven't been turned into studios or 'release' their recordings=
to others without any processing or editing & achieve powerful & communica=
tive
> results.
>
> 3) no studio is built to some 'ideal' design that is a result of all the
> acoustic research - they are all built to individual ideas of that ideal =
& every
> bit of kit in them adds some colour to the process
>
> 4) the view that only sound edited / mixed in studios can work or has, in=
some
> way, more to offer is simply wrong - thats not my opinion, its a fact bor=
n out
> by the vast, vast majority of music & creative sound history.
>
> 5) in 35 years of all kinds of involvement in various aspects of sound & =
music
> i've yet to visit a single 'tuned' studio (in a home or a specific buildi=
ng)
> that isn't cluttered up in various areas by boxes of gear, chairs, people=
s cd
> collections etc etc - all of which interfere with any 'tuning' that was d=
one in
> the first place.
>
> 6) weighing up all the music & sound that comes out of pro-studios i'd pl=
ace my
> bet on that more than 50% of it has very little creative or artistic valu=
e & a
> large amount of it could be seen as damaging the way we listen or our ear=
s are
> trained to not listen (via the use of compression for example).
>
> 7) comments have been put forward about the science of sound when it come=
s to neutral spaces / paths for mixing & my point is that there are other a=
spects of the science which were being ignored - such as the evidence that =
we naturally 'tune' ourselves to the rooms in which we live & therefore ste=
pping into a specific space designed for sound affects the emotive aspects =
of the listening process.
>
> with this updated version of my reply I think, with respect, i'll bow out=
of this conversation now. It's in danger of drifting into areas of elitism=
or misunderstanding that I don't think are going to be helpful.
>
> each to their own.
>
> I hope that clarifies a bit.
>
> --- In Mark <> wrote:
> >
> > Hi Jez,
> >
> > I am gonna take your bait, but ask you to succinctly lay out your argum=
ent. Since you have called out the Jedi masters on this list to qualify the=
ir short Zen like koans compared to your essays which I have yet to underst=
and. Your point as I have understood it so far, is that you don't wish for =
a studio to be thought of as neutral, but you really haven't given many oth=
er alternatives except to mention that their are an undefinable number of t=
hem. Please excuse my ignorance of what you might be trying to say in all t=
hat, and you may have given alternatives, but have I missed them?
> >
> > Peace Out,
> >
> > Mark
> >
>
>
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