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The best recording of the 21st century

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Dr Pan K
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The best recording of the 21st century

Unread post #1 by Dr Pan K » Wed Nov 29, 2017 10:10 pm

Οχι ο καλύτερος δίσκος μουσικα, αυτο ειναι θέμα προσωπικού γούστου, αλλα η καλύτερη ηχογράφηση ανάμεσα στους εμπορικούς δίσκους του 21ου αιωνα. Κόστισε πανω απο 1 εκατ $, ποσό ανήκουστο για σύγχρονη παράγωγη. Τα ονόματα των μηχανικων που πήραν μερος καθώς και τα στουντιο ειναι θρυλικά, ο εξοπλισμός επίσης. Παραθέτω αποσπάσματα απο το εξαιρετικό αρθρο του Sound On Sound. Περιττό να πω οτι είναι must have δίσκος σε βινύλιο.

Αναφέρομαι φυσικά στο Random Access Memories των Thomas Bangalter & Guy-Manuel de Homem-Christo, aka Daft Punk.

Bangalter and de Homem-Christo continued to make grand proclamations, openly criticising today's electronic music scene and what they see as its "glorification of technology”, and stating that their reference points for RAM were all-time legendary albums like the Eagles' Hotel California, Fleetwood Mac's Rumours, and Pink Floyd's Dark Side Of The Moon.

Bangalter and de Homem-Christo clearly had a completely different direction in mind for their fourth album, which led them to hire Henson Studio B in Los Angeles, formerly known as the legendary A&M studios, and ask Franco to help them conduct some unusual experiments.

"We were doing lots of tests with analogue tape,” recalls Franco. ... One of our conclusions was that we liked the sound we got when we went straight to tape and then to Pro Tools.


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Mick Guzauski with his custom monitor speakers, which have the woofer mounted in a separate enclosure from the mid- and high-frequency drivers. Guzauski has worked on some of the albums that were reference points for Daft Punk, by artists such as Earth, Wind & Fire, Michael Jackson and Quincy Jones, as well as with the likes of Eric Clapton, Burt Bacharach, BB King, Mariah Carey, Michael Bolton and the Corrs.

For the drums, on the kick drum I had an AKG D112, a Sony C500, a Neumann U47 FET, and a sub speaker — this wasn't really to get a massive sound, but for control. Rather than drastically EQ'ing the kick drum in the mix, I wanted to have different perspectives on it. The D112 has a nice, solid, low bottom and a punchy mid-range. The C500 has a very defined top and a fairly tight low end, and picks up more of the beater. The 47 has more low end and less attack, and I used the sub for when I wanted some really low bottom end. So if I wanted more attack on the kick, I'd add more of the C500, rather than use EQ. The kick drum was the only drum on which I used so many mics. The snare had a Shure SM57 at the top and an [AKC] C451 underneath it, the toms were Sennheiser 421s and the overheads Schoeps CM5Us. As I mentioned, the room mics didn't really play a part, but I did have Neumann U67s set up, just in case. I used the Neve 88R remote mic pres on the toms and overheads. I recorded the bass guitar DI, via a Neve 1081 and a [Teletronix] LA2A. Chris's keyboards were also DI'ed, though the Fender Rhodes was miked with Neumann U87s, and for the piano I placed DPA mics over the hammers, and a U67 back where the strings cross. During the mix, the U67 was in the centre and the DPAs were panned left and right.


Τhe recording signals were split and then sent to both tape and Pro Tools. The analogue side of the recording was a Studer A827 running 24-track ATR tape at 15ips, with +3 alignment and Dolby SR, because we didn't want to have hiss. SR came in during the late '80s, and it suppresses the really high transients a little bit, but it also fattens the bottom end, which were the characteristics that we wanted. The digital went via Lynx Aurora A-D converters, which Guy-Man and Thomas liked, and I was fine with that because they sound great. We also used an Antelope digital clock. The analogue tape was striped with SMPTE, so it could run in sync with Pro Tools, and after the recordings we'd transferred the tape material back into the same session in Pro Tools, so we ended up with two identical versions of the same material in each session. The first 23 tracks would have been directly recorded into Pro Tools, and right underneath that were the exact same 23 tracks, but originating from the analogue tape. We could not keep the analogue material in analogue, because Thomas and Guy-Man needed to be able to extensively edit everything.


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Once the album had been mixed, the master tapes were sent to well-known mastering engineer Bob Ludwig.

https://www.soundonsound.com/people/rec ... -daft-punk



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