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Exile Studios CD


Ollie

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Did you give them a refund then :love:

I would not feel atall comfortable recording anywhere if there is even the slightest possibility that the studio owner might be fucking about with my material in his off time.

why would he give us a refund?

We were happy with the result considering the amount we spent, which i might add was a hell of a lot less than most places would have charged.

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Wait till you can afford the Waves SSL plugins...you'll want to redo everything with it!! They're fantastic and really give everything a punchy sound.

But shit....then when you have the cash for the Waves API plugs you'll be remixing everything again :D They're fantastic and really give everything a warm sound.

What about reverbs? RVerb sounded great...but then IK released CSR, with one of the best emulated plate sounds...vocals can now get that crispiness you were lacking...

The plugs are just going to keep getting better as time goes on, and the software is getting more powerful, as well as the PC's, there needs to come a time when you shelf a mix and say its finished! ;):band: At least until the band want a fucking 5.1 mix....

They are pretty damn good plugs I must say. I still prefer my current signal chain though as it's not based on computers. Still can't bring myself to trust them for tracking properly and unless you bankrupt yourself for a protools HD system or such, computers don't do so well recording 24+ tracks at once.

For editing and mixing though, much faster and easier and as you say the plug ins are getting better all the time. Not up to the standard of an Eventide or even the best Lexicons but getting there.

I came up working with tape so anything that takes me away from razor blades and glue is fine by me. I still reach for my trusty Studer J37 for mastering though. The tape for it is getting a bit pricey these days though, but if you want warmth and punch it's the dog's.

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Good CD Mark. Would any of the bands or yourself mind if I played some tracks on the radio shows I produce for Elgin Radio?

Hey there, of course not. Bash on.

I was brought up on tape too, I still have my Fostex E16, but its much faster working on a workstation. Cant beat tape for fatness and warmth though.

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As for stayover, I think Bob was a fairly prolific writer, and the band were well rehearsed. I recently remixed one of the tracks becasue I know a lot more now than I did when I recorded it, and I was never happy with any of the mixes of those recordings. They're great songs, and deserved a better mix.

Cheers for that on all counts. Much appreciated.

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Hey there, of course not. Bash on.

I was brought up on tape too, I still have my Fostex E16, but its much faster working on a workstation. Cant beat tape for fatness and warmth though.

I have an old reel to reel tape machine, but I have a feeling it would be a pointless exercise to use it as an insert effect when there are some pretty effective digital tape emulation plugins around.

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I have an old reel to reel tape machine, but I have a feeling it would be a pointless exercise to use it as an insert effect when there are some pretty effective digital tape emulation plugins around.

Tried a lot of them and some are pretty damn good. Non, however, have ever beaten my 2 inch tape studer.

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  • 3 weeks later...

But yes, who pays for the recordings, owns them.

Sorry to dig up an old thread but I've just found out this isn't strictly true. Under UK copyright laws the recordings belong to "the person who undertook the arrangements necessary" for making the recording.

It's very ambiguous but I assume it means it belongs to the actual person (or the company they are working for) who makes the phone calls booking the studio time.

One scenario where the difference might be important is if a studio offers an artist free/cheap recording time, because they like them or they think they are commercially viable. Since the studio made the arrangement the mechanical copyright could well belong to them, even if the artist has shelled out some cash.

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Sorry to dig up an old thread but I've just found out this isn't strictly true. Under UK copyright laws the recordings belong to "the person who undertook the arrangements necessary" for making the recording.

It's very ambiguous but I assume it means it belongs to the actual person (or the company they are working for) who makes the phone calls booking the studio time.

One scenario where the difference might be important is if a studio offers an artist free/cheap recording time, because they like them or they think they are commercially viable. Since the studio made the arrangement the mechanical copyright could well belong to them, even if the artist has shelled out some cash.

In my recent experience this appears to be indeed the case.

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Just got round to reading this, great thread.

I never recorded with Mark but he always seemed sound when we were jamming down at Exile. On one ocassion we'd paid for two hours but he told us he was going out and that we could stay for as long as we wanted, just to padlock the door afterwards. Would anywhere else trust you to do that?

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