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Money no object...I'd produce it myself and give the label a recording which would hopefully only require minor tweaking for the format it's destined for and minimal work for their mastering engineer.

I should add, that in this day and age, the creative process that is "production" is no longer confined to big expensive studios, and frankly I'm quite surprised at how long it is taking this fact to sink in to the minds of the "average band".

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in the early 90s.. ( an era i know all too well ) Sony gathered a list of bands for the soundtrack to Singles (A Film with Matt Damon & Bridget Fonda). Each band was given $20,000 to record one track.

All bands went off and recorded some brilliant tracks that are not on any other albums.

Mudhoney recorded at their mates place for $750.... It was reputed to be lower at one point and then pocketed the rest. The track was called "Overblown!"

Not Birdman ~ But he`ll know this too.

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Hmmm, I think from a comercial point of view, Mutt Lange, Mutt has the most impeccable sound andis a great perfectionist and I'm not sure he's done an album in the last 15 years that has sold under a million.

Other people I'd like to work with, Chris Kimsey, Dave Meagan and for the poppier stuff, Trevor Horn.

Cheers

Stuart

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Guest stuartmaxwell

bob weston has done some cracking stuff

he doesnt get as much credit as his shellac pal albini

take a listen to meet me at the harbour by idlewild

its pristene

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in the early 90s.. ( an era i know all too well ) Sony gathered a list of bands for the soundtrack to Singles (A Film with Matt Damon & Bridget Fonda). Each band was given $20' date='000 to record one track.

All bands went off and recorded some brilliant tracks that are not on any other albums.

Mudhoney recorded at their mates place for $750.... It was reputed to be lower at one point and then pocketed the rest. The track was called "Overblown!"

Not Birdman ~ But he`ll know this too.[/quote']

Singles is one of the best soundtracks out there. The film, while a little bit cheesy still holds a special place in my heart, just for all the Seattle scene cameos.

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Guest DustyDeviada

Not sure I'd want to work with him myself (and I'm not sure how well this will go down on here) but I've always had time for Jeff Lynne as a producer. His work with The Travelling Wilburys, Tom Petty, Roy Orbison, George Harrison, The Beatles and of course ELO always sounded pretty good to my ear.

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in the early 90s.. ( an era i know all too well ) Sony gathered a list of bands for the soundtrack to Singles (A Film with Matt Damon & Bridget Fonda). Each band was given $20' date='000 to record one track.

All bands went off and recorded some brilliant tracks that are not on any other albums.

Mudhoney recorded at their mates place for $750.... It was reputed to be lower at one point and then pocketed the rest. The track was called "Overblown!"

Not Birdman ~ But he`ll know this too.[/quote']

Pedant Alert. It wis Matt Dillon, nae Matt Damon...

And it is a crackin soundtrack.

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in the early 90s.. ( an era i know all too well ) Sony gathered a list of bands for the soundtrack to Singles (A Film with Matt Damon & Bridget Fonda). Each band was given $20' date='000 to record one track.

All bands went off and recorded some brilliant tracks that are not on any other albums.

Mudhoney recorded at their mates place for $750.... It was reputed to be lower at one point and then pocketed the rest. The track was called "Overblown!"

Not Birdman ~ But he`ll know this too.[/quote']

That's a pretty great film and good sound track. Good money sense pocketing the $19250!

Personally I wouldn't mind some Bob Rock action...just for the drum and bass sounds he managed to get on the black album. Also the chap from garbage who did Nevermind. I'm also quite fond of the production on the Eyes Adrift album though I don't know who produced that.

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i actually think steve albini is a bit over-rated (based on this selection of adoring posts)

its a live sound and its not a difficult sound to get if you are working with a band thats good at playing live in the first place, which he generally does

pretty one dimensional really, massive drum compression and gated room noise effects, almost zero bass and shitloads of scratchy guitars panned hard left and right with a fuzzbox on nearly all the vocals....all his albums sound the same which I suppose is the general idea ?

not saying its not good production, just that making a record sound albini ish isnt exactly genius

most albums he touches do turn out to be good

the big black stuff was probably the most out there stuff hes done simply cos of the gigantic drum machines in a pre NIN world

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