Chip McDonald Posted March 1, 2005 Share Posted March 1, 2005 ..So I'm thinking, "there's a bazillion questions I would like to ask Bruce Swedien, but what would be the most interesting/useful?"... Bruce: Could you outline a progression of engineering "epiphanies" you have had over the years? In other words, for myself: Awareness of multitrack recording; Discovery of thinking in terms of ADSR; Awareness of slotting eq/spectral balancing; Discovery of compression as a tool; Discovery of compression as an *effect*; Awareness of relative ambient placement; Discovery of the allure of overusing compression; Discovery of quality signal chain = less eq; Awareness of proper mic placement = less eq; Discovery of proper mic choice = less eq; Discovery of tape compression/coloration; Awareness of digital artifacts ..etc. For instance, it would be really cool to hear of what you thought the first time you used a compressor... Or maybe not, I'm a loon. Guitar Lessons in Augusta Georgia: www.chipmcdonald.com Eccentric blog: https://chipmcdonaldblog.blogspot.com/ / "big ass windbag" - Bruce Swedien Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 1, 2005 Share Posted March 1, 2005 Chip McDonald...... I am reminded of a time when Quincy and I were doing interviews together for Billboard Magazine. Q finished his part of the interview and it was my turn. The Billboard dude asked...."Mr. Swedien, in your estimation, during your long and illustrious career, what was the single most important technological advancement? Off in the corner of the control room, I heard Quincy whisper to me, in a loud stage whisper, "Bruce.... tell him - ELECTRICITY!!!" True story...... Bruce Swedien p.s. I'll get back to this...... Link to comment Share on other sites More sharing options...
Chuck Surack Posted March 1, 2005 Share Posted March 1, 2005 Originally posted by Bruce Swedien: Chip McDonald...... Off in the corner of the control room, I heard Quincy whisper to me, in a loud stage whisper, "Bruce.... tell him - ELECTRICITY!!!" True story...... Bruce Swedien p.s. I'll get back to this...... Bruce, that is too funny! Chuck Link to comment Share on other sites More sharing options...
John Sayers Posted March 1, 2005 Share Posted March 1, 2005 I would have said - the coffee machine cheers john Studio Design Forum Studios Under Construction Home Page Link to comment Share on other sites More sharing options...
Robman2 Posted March 1, 2005 Share Posted March 1, 2005 Yes it is...it's histerisis-sterical... Label on the reverb, inside 1973 Ampeg G-212: "Folded Line Reverberation Unit" Manufactured by beautiful girls in Milton WIS. under controlled atmosphere conditions. Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 2, 2005 Share Posted March 2, 2005 Chip McDonald sez----->Bruce: Could you outline a progression of engineering "epiphanies" you have had over the years? For instance, it would be really cool to hear of what you thought the first time you used a compressor... Brucie sez----->What a great question! When I really searched my soul to answer - I found that I never have had an Engineering "Epiphany"! Or at least, not exactly. I have however, had a few musical "Epiphanys", that changed my life. I guess that is what an Epiphany does, doesn't it? For instance - I distinctly remember the first time I heard "Reverberation" for "artistic effect" in a music recording. I was still in high school in Minneapolis. It was about 1952. The recording was the Harmonicats "Peg-O-My Heart". That changed my life. It was an Epiphany! I think that 1950 was the beginning of a very important decade for recorded music. With the release and incredible sucess of Les Paul and Mary Ford's "How High The Moon" in 1951, it seemed as though a big section of the record-buying public was no longer interested in cold reality in popular music. It seems to me that as the 1950's came to a close, we in music recording, found that reality in sonic image was not necessary, perhaps not even desirable. This innovation and improvement in technique actually began in the very early 1950's, although when I began my work at Universal in Chicago in 1957, this renaissance in mike technique and studio set-up was still very much in evidence. It was a wonderfully exciting time to be learning. Can I think about this intrigueing question and get back to you? Great thought! Bruce Swedien Link to comment Share on other sites More sharing options...
ECBRules Posted March 2, 2005 Share Posted March 2, 2005 I think a better question would be to ask about major paradigm shifts - times when you believed in something but then something came along and changed your belief to something that you formerly disbelieved. http://www.kennyruyter.com/old/cowmix.mp3 <- Cowbell fever REMIX oh damn!!! http://www.eastcoastbands.com aka: ECBRules . thisOLDdude . keny . Scooch Link to comment Share on other sites More sharing options...
D. Gauss Posted March 2, 2005 Share Posted March 2, 2005 <> as a kid, i thought bands actually played live on television til i saw the bay city rollers on the ill-fated howard cosell variety show. i saw a long guitar cord with one end plugged into one guitar player's guitar, and the other end of the same cord plugged into the other guitar player's guitar..... -d. gauss Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 2, 2005 Share Posted March 2, 2005 ECBRules sez----->I think a better question would be to ask about major paradigm shifts - times when you believed in something but then something came along and changed your belief to something that you formerly disbelieved. Brucie sez----->Nice!!! A perfect example is the digital recording medium. When digital first surfaced, I tried it and thought to myself - "What is this Dog-Doo? - Half the sound is missing!" Since I have discovered 24 bit 96k high-resolution digital, now, I find that I use it almost all the time. Digital can sound,"Not at all unpleasant to the ear!" I reserve the right to desperately miss my Studer A827 24 track 2 inch, anlogue machine!!! Interesting thought, though..... Brucie the Viking!!! Link to comment Share on other sites More sharing options...
ECBRules Posted March 2, 2005 Share Posted March 2, 2005 I just did a session at 24/96 heavy rock. I am simultaneously mixing one at 24/48. I am beginning to think the differences will be better heard in more dynamic genres of music. http://www.kennyruyter.com/old/cowmix.mp3 <- Cowbell fever REMIX oh damn!!! http://www.eastcoastbands.com aka: ECBRules . thisOLDdude . keny . Scooch Link to comment Share on other sites More sharing options...
Chip McDonald Posted March 5, 2005 Author Share Posted March 5, 2005 Originally posted by Bruce Swedien: Can I think about this intrigueing question and get back to you? Great thought! Bruce Swedien Of course... But let me quantify.... What I meant was, I'm curious as to knowing your *thought process*, as it occured whilst you became aware of different audio techniques/gear. By that meaning your perspective/thought process, the day you first used a compressor - how that changed the way you thought about the possibilities of recording what you heard, about how you thought about it relative to what you'd done previously... and how that grew into what you think now. Again, it's the notion that none of us can truly know what/how another thinks. Particularly in a case whereby one has the opportunity to ask a human who is uniquely both qualified and *proven* to have "the right perspective" - have a tiny insight into how one's thought process evolved, as opposed to "I like ribbon mics" - is very interesting. You know - the day you decided you knew that you prefered a particularly mic over another - *what exactly were you thinking about when that happened?*... /inquiring mind Guitar Lessons in Augusta Georgia: www.chipmcdonald.com Eccentric blog: https://chipmcdonaldblog.blogspot.com/ / "big ass windbag" - Bruce Swedien Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 5, 2005 Share Posted March 5, 2005 Chip McDonald sez----->But let me quantify.... What I meant was, I'm curious as to knowing your *thought process*, as it occured whilst you became aware of different audio techniques/gear. By that meaning your perspective/thought process, the day you first used a compressor - how that changed the way you thought about the possibilities of recording what you heard, about how you thought about it relative to what you'd done previously... and how that grew into what you think now.... Brucie sez----->I know this may sound a bit wierd but, I have always made a serious effort not to think too much about how a technological device effects the way I think or do my work. I hope this isn't too Korny..... BUT, for me - Its All About The Music... Someone said this to me the other day: "Great art is clear thinking about mixed feelings..." That thought keeps coming back to me. Perhaps it is because I have always felt that I am an artist at what I do. I am somethimes percieved as "Uncle Techie" .... Nothing could be further from the truth! My old pal John Klett (Purple Audio, Tech-Mecca, my extremely knowledgeable technical guru, a fine music engineer in his own right, fellow studio rat, etc. etc....) said something very interesting to me the other day: Dont ever go for some piece of equipment just because its got a better number, or because people say this is the thing to do.(I can't get his statement out of my head either) Think About This For A Minute... Perhaps this will answer your question in part anyway.... It is possible for the human ear to quickly analyze complex musical sources and sounds far more quickly and much more accurately than any known test equipment. How does this Phenomenon apply to choosing Recording Equipment? I know this dilemma can be explained in very technical language, but more important, it is a good example of the necessity for us to not place our confidence in either the objective or subjective schools of thought when it comes to judging music recording equipment. This fact has always been fascinating to me. I have talked to highly skilled technicians who will say that when you test music mixing consoles with very sophisticated test equipment, two different consoles will measure essentially the same, yet when you send the same musical sound source through these two mixing desks, our perception of the musical quality at the output of the two mixing consoles will be very different. In fact, I have found this same occurrence to be true when comparing all music recording equipment. I believe this dilemma is a good example of the necessity for us to not place our confidence in either the objective or subjective schools of thought when it comes to judging music recording equipment. In this case what I mean by objective thought, is the comparison of sound equipment as an impartial and unbiased process.The word objective is defined as being characterized by honesty, justice and freedom from improper influence. By subjective thought, what I mean is that our analysis of such sound comparison as an intellectual or cerebral process. And, of course I have departed totaly from your thoughts! Sorry..... Do recording techniques follow technology or does technology follow recording technique? In other words, does technique imply certain technology in the studio. Does technique command technology that would not be there if it wasnt for the technique? For instance: I think that the AMS Non-Linear, or gated reverb program was a definite response to a musical demand. i.e: The Phil Collins and David Bowie drum sound, using gated reverb on the drums in the early 1980s. I noticed that one, I'll tell you! Chip sez----->By that meaning your perspective/thought process, the day you first used a compressor..... Brucie sez----->I really don't think I have any special thought process about this sort of topic. I react!!!! Probably the first time I noticed a compressor/limiter was in a broadcast facility..... Hmmmmmm.... Bruce Swedien Link to comment Share on other sites More sharing options...
Angelo Clematide Posted March 5, 2005 Share Posted March 5, 2005 Bruce Swedien sez---->"Great art is clear thinking about mixed feelings..." Angelo sez---->one can also leave out "Great" and exchange "Art" with a lot of other substantive or noun -Peace, Love, and Potahhhhto Link to comment Share on other sites More sharing options...
dwoz Posted March 6, 2005 Share Posted March 6, 2005 For me, a recent memorable one was penned by a good friend of mine, a 'visionary' who owns a 4 room complex in Jersey... "...If EVERYTHING is loud, then NOTHING is loud". sounds simple and stupid, but it just about covers the whole ball 'o wax. dwoz Unfortunately, optimism and understanding are reciprocals. Link to comment Share on other sites More sharing options...
Chip McDonald Posted March 6, 2005 Author Share Posted March 6, 2005 Originally posted by Bruce Swedien: Someone said this to me the other day: "Great art is clear thinking about mixed feelings..." That thought keeps coming back to me. Perhaps it is Ok then... that's a truly great quote, I wish I knew exactly who came up with that... Regardless, then I must ask (puns aside) - how does one develope the ability to think clearly about mixed feelings....? (puns aside, mind you....) Guitar Lessons in Augusta Georgia: www.chipmcdonald.com Eccentric blog: https://chipmcdonaldblog.blogspot.com/ / "big ass windbag" - Bruce Swedien Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 6, 2005 Share Posted March 6, 2005 Chip McDonald sez----->Ok then... that's a truly great quote, I wish I knew exactly who came up with that... Regardless, then I must ask (puns aside) - how does one develope the ability to think clearly about mixed feelings....? Brucie sez----->"Well - Pun my word!!!" Seriously though... I consider it most important to listen to, and trust our instincts. Not many folks do. I think that the only way to make a meaningful musical statement in music recording is to actively include our instincts as a major part of the process. My approach to the piece of music I am involved in always begins with my trying to grasp the most basic values of the musical statement that we are working on. In other words, what is the motor that drives this music. To do this effectively, it invariably means that I must be in touch with my instincts from the first time I hear the music that we are recording. I think that doing so will turn mixed feelings into Great Art.... (Perhaps not great art, but at least - ART! That in itself is a big deal!) Bruce Swedien Link to comment Share on other sites More sharing options...
Lee Flier Posted March 6, 2005 Share Posted March 6, 2005 Originally posted by Bruce Swedien: Seriously though... I consider it most important to listen to, and trust our instincts. Not many folks do. I think that the only way to make a meaningful musical statement in music recording is to actively include our instincts as a major part of the process. Amen to that Bruce, and thank you so much for saying this! When it comes to music, my instincts are really the ONLY thing I listen to, and this really tends to piss people off who believe that everything can be quantified. The bottom line is I respond instinctively to a piece of music, a piece of gear, or whatever... either it moves me or doesn't, and at that instant it doesn't matter what the specs are, or whose name is on the plate, or how useful someone else thinks it is. I may try to figure out after the fact what made me like it or not, from a technical standpoint, but it's all in service to the gut reaction not the other way around. I think this probably applies to life in general... there are so many options at any given moment that instincts are all we really have to decide what is relevant and cut away what isn't. Link to comment Share on other sites More sharing options...
Tedster Posted March 6, 2005 Share Posted March 6, 2005 Originally posted by Bruce Swedien: I think that doing so will turn mixed feelings into Great Art.... (Perhaps not great art, but at least - ART! That in itself is a big deal!) http://www.knx1070.com/info/history/photos/linkletter.jpg "Cisco Kid, was a friend of mine" Link to comment Share on other sites More sharing options...
sign Posted March 6, 2005 Share Posted March 6, 2005 Bruce, reading through this thread I wonder what you think about the computer in general. I mean, without it we wouldn't be able to have this discussion. But what about the music? Will the computer be our friend, or will it become a foe in the end? Peace, Han The alchemy of the masters moving molecules of air, we capture by moving particles of iron, so that the poetry of the ancients will echo into the future. Link to comment Share on other sites More sharing options...
Bruce Swedien Posted March 6, 2005 Share Posted March 6, 2005 sign sez----->Bruce, reading through this thread I wonder what you think about the computer in general. I mean, without it we wouldn't be able to have this discussion. But what about the music? Will the computer be our friend, or will it become a foe in the end? Peace, Han Brucie sez----->The computer is definitely our friend. Even making music with the computer is all about shared experiences. Common meanings, values and experiences, to share with others, create a learning experience that is undeniable. I love my Mac! Bruce Swedien Link to comment Share on other sites More sharing options...
Angelo Clematide Posted March 6, 2005 Share Posted March 6, 2005 it's a tiny bit off topic... when i record a oboe , it happens from time to time that the recording distorts in a unknown way. There is no clipping or over in the recording itself. anyone has a clue? -Peace, Love, and Potahhhhto Link to comment Share on other sites More sharing options...
ECBRules Posted March 7, 2005 Share Posted March 7, 2005 Originally posted by Angelo Clematide: it's a tiny bit off topic... when i record a oboe , it happens from time to time that the recording distorts in a unknown way. There is no clipping or over in the recording itself. anyone has a clue? perhaps its spit in the oboe or a breathing thing. i hear that on sax and vocals a lot. http://www.kennyruyter.com/old/cowmix.mp3 <- Cowbell fever REMIX oh damn!!! http://www.eastcoastbands.com aka: ECBRules . thisOLDdude . keny . Scooch Link to comment Share on other sites More sharing options...
dwoz Posted March 7, 2005 Share Posted March 7, 2005 Originally posted by Angelo Clematide: it's a tiny bit off topic... when i record a oboe , it happens from time to time that the recording distorts in a unknown way. There is no clipping or over in the recording itself. anyone has a clue? Well, Oboes have a tendency to modulate the space-time continuum. Especially if the player is biting the reed. dwoz Unfortunately, optimism and understanding are reciprocals. Link to comment Share on other sites More sharing options...
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