По поводу 10 тыщ дней
Barresi used minimal processing when recording. “I tried to get by with as little as possible,” he says. “There was no EQ on guitar. There was really no EQ on the bass either. I EQ'd a little bit on the vocal. But if there was an effect on the vocal, then it would be drastic EQ'ing. I used a slight bit of EQ on drums, but I mainly got the drum sound by changing mics out: Like if I needed a little top end, I'd find a brighter mic. If I needed more bottom, I'd try a bigger diaphragm mic.”
Barresi recorded all tracks onto the Studer A827 tape machines at both O'Henry and Grandmaster. He used 2-inch Ampex GP9 tape at 30 ips. When he was happy with the tracks, he would transfer them into Pro Tools. “I call it the ‘holding pen’ 'cause all the tracks are in there,” he says. “Everything went to tape and then it got dumped into Pro Tools to preserve it.”
When it came time to mix, Barresi chose Bay 7 (featured in “L.A. Grapevine,” p. 124) and its SSL G+ console in Valley Village, Calif. Barresi mixed the songs on his own for a while, and then he would also work with each individual musician until everyone was happy with the mixes. They listened to mixes on a variety of monitors at Bay 7, including KRKs, NHTs, Yamaha NS-10s and Realistic speakers.
Чтобы такой фокус провернуть - надо очень много времени потратить на положения мирофонов и т.д.
Честно говоря далеко не каждая группа способна потратить столько студийного времени (и как следствия денег) в "холостую" (что на самом деле конечно же не так)...
Я мечтаю так работать - но боюсь, что у меня пока нет такого объема оборудования и опыта как у joe...
Я лишь стремлюсь к этому...
... и добавил:golbol1, это ты про какой вариант ?!
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