If you have your tracks pressed to vinyl should you take off all the vinyl simulation effects plugins you used?
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- addled muppet weed
- 111324 posts since 26 Jan, 2003 from through the looking glass
portishead said "no".
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- KVRAF
- 8083 posts since 9 Jan, 2003 from Saint Louis MO
If people listen to your tracks on speakers instead of headphones, should you take off all the reverb?
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- KVRAF
- 8730 posts since 24 May, 2002 from Tutukaka, New Zealand
I'm reminded of the age old question "do bears shit in one hand when they clap in the woods?"
TBH I have no f**king clue.
If you're going to get it mastered independently then yes. If not, then you'll need most of the processing as you don't want the dynamics and bass etc to make the needle jump. That has to be sorted somewhere in the process...
TBH I have no f**king clue.
If you're going to get it mastered independently then yes. If not, then you'll need most of the processing as you don't want the dynamics and bass etc to make the needle jump. That has to be sorted somewhere in the process...
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- KVRAF
- 8563 posts since 2 Aug, 2005 from Guitar Land, USA
Longest thread title!
I think that no, you should follow your ears. To be fair you didn't really say how the audio ended up in your opinion.
I think that no, you should follow your ears. To be fair you didn't really say how the audio ended up in your opinion.
The only site for experimental amp sim freeware & MIDI FX: http://runbeerrun.blogspot.com
https://m.youtube.com/channel/UCprNcvVH6aPTehLv8J5xokA -Youtube jams
https://m.youtube.com/channel/UCprNcvVH6aPTehLv8J5xokA -Youtube jams
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- KVRAF
- 3417 posts since 26 Mar, 2002 from london
That actually is a dilemma in mixing, since what is optimal for headphones isn't optimal for reverberant environments.foosnark wrote: Sat Sep 03, 2022 10:48 pm If people listen to your tracks on speakers instead of headphones, should you take off all the reverb?
Every day takes figuring out all over again how to f#ckin’ live.
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- Boss Lovin' DR
- 14312 posts since 15 Mar, 2002 from the grimness of yorkshire
But their vinyl effects were.....from vinyl..
https://reverb.com/uk/news/making-porti ... op-classic
".....Perhaps the most extreme example of Portishead's taboo techniques is Geoff Barrow's inventive approach to sampling. First, he had session drummer and unofficial fourth Portishead member Clive Deamer play assorted grooves, which were recorded to half-inch, 16-track tape (already a somewhat limited format).
Next, Barrow would have the recordings pressed to vinyl, which he proceeded to enact unspeakable horrors upon. "We'd record a drum break and Geoff would get it on vinyl, then he'd chuck it on the floor and kick it around, so it was a bit crackly, get it on his deck and just scratch on the snare drum bit to make it go dull," Utley said in an interview with Guitar Player.
Once the poor, abused vinyl sounded like something you might find at an estate sale, the crackly, crunchy grooves would then be sampled, programmed into beats, and further processed during mixing. Other instrumental parts on the record received this treatment too, including the guitar on "Mysterons.""
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- KVRAF
- 8140 posts since 13 Jan, 2003 from Darkest Kent, UK
doesn't it depend on how you used the effects?
If it was to create a worn vinyl effect then surely you'd leave it in place? The clicks and warbles and hiss/hum are part of your sound design?
If it was to create a worn vinyl effect then surely you'd leave it in place? The clicks and warbles and hiss/hum are part of your sound design?
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- addled muppet weed
- 111324 posts since 26 Jan, 2003 from through the looking glass
explains why there's so long between albums.donkey tugger wrote: Sun Sep 04, 2022 12:43 pmBut their vinyl effects were.....from vinyl..
https://reverb.com/uk/news/making-porti ... op-classic
".....Perhaps the most extreme example of Portishead's taboo techniques is Geoff Barrow's inventive approach to sampling. First, he had session drummer and unofficial fourth Portishead member Clive Deamer play assorted grooves, which were recorded to half-inch, 16-track tape (already a somewhat limited format).
Next, Barrow would have the recordings pressed to vinyl, which he proceeded to enact unspeakable horrors upon. "We'd record a drum break and Geoff would get it on vinyl, then he'd chuck it on the floor and kick it around, so it was a bit crackly, get it on his deck and just scratch on the snare drum bit to make it go dull," Utley said in an interview with Guitar Player.
Once the poor, abused vinyl sounded like something you might find at an estate sale, the crackly, crunchy grooves would then be sampled, programmed into beats, and further processed during mixing. Other instrumental parts on the record received this treatment too, including the guitar on "Mysterons.""
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- KVRAF
- 2575 posts since 25 Apr, 2009 from gone
I’ve been employed to remove all the phone effects that have been so popular in the early 2000’s because everybody’s now listening to music on their smartphones now...
Irony can be so ironic sometimes...
Irony can be so ironic sometimes...