Saw this a while ago. I really like Vox's videos on music and production. There was one on the fade out technique recently:
Why more pop songs should end with a fade out
Why more pop songs should end with a fade out
Yeah, I don't think you understand how acoustics work or how important they are to drum recordings. Have you recorded drums before? I have. Like a lot. In different environments with widely varying acoustics, including a studio designed in the 70s that was almost unchanged since. Sounds like there is plenty of room sound in that clip. Doesn't sound like the drum sound I think of when I think of the 70s (which is a good thing, minus that kick drum resonance).
You mean ruined it.
I still haven't forgiven Phil Collins for that shit.
A decade of what could have been good music ruined by shit drum sounds.
Also when I think 70's drums I think Led Zeppelin, which was not 'artificially dry' by any means.
Last week Scott's wife and others released the Game Theory album Supercalifragile that he was working on when he died. From a quick listen on the Bandcamp site, it doesn't live up to Lolita Nation, but at least it's not a disaster like Soul Asylum's Delayed Reaction (that shit scarred me so much I can't bring myself to try their latest release.)Game Theroy is another Mitch Easter produced band, and a damned shame they never made it big. Loud Family, Scott Miller's follow up band, us also awesome.
Last week Scott's wife and others released the Game Theory album Supercalifragile that he was working on when he died. From a quick listen on the Bandcamp site, it doesn't live up to Lolita Nation, but at least it's not a disaster like Soul Asylum's Delayed Reaction (that shit scarred me so much I can't bring myself to try their latest release.)
You mean ruined it.
I still haven't forgiven Phil Collins for that shit.
A decade of what could have been good music ruined by shit drum sounds.
Also when I think 70's drums I think Led Zeppelin, which was not 'artificially dry' by any means.
Peter Gabriel's third solo album has to be somewhere near the top when it comes to influential albums. A lot of "years ahead of it's time" sounding tracks on there.
I love that big phat analogue reverby 80s sound, with all those big snares. Everything sounds too clean and lifeless these days.
Double overhead cardioid condenser mics don't really pick up any room sound aside from direct reflections off the floor.
I'm being somewhat hyperbolic here, as even a close mic setup picks up some room sound, it's just at such a relatively low db level that it is inaudible even with heavy compression.
I think it was a joke post.This post is like an oxymoron hypernova holy shit ahah
the 80s sound is basically a lot of tiny, ultra digital, artificial shimmering cold and chirurgical sounds.
Not the first time a Genesis member accidentally popularized/created a technique in music. The former lead guitarist of Genesis, Steve Hackett was the first to really use finger tapping on a popular rock record -- way before Van Halen or anyone in the late 70s/80s. All the members of Genesis are musical geniuses. Collins and Gabriel are amazing!
The Musical Box by Genesis
I was nostalgic for 80s music by the mid 90s lol. Love the sound of all of those guys.
Hahahahahaha. Dude, you really don't know what you're talking about here. For an engineer, that actually knows what to listen for, the room sound in that clip is very clearly audible. No, it's not drenched 80's style, but it's very clearly audible.
What you're describing defies the physics of acoustics unless you're talking about some anechoic chamber or a room with huge absorption coefficients on all surfaces and at all frequencies. Close mic'd drums absolutely are effected by the acoustics of the room. Obviously to a much, much smaller degree than overheads due to the inverse square law, but go close mic a snare in a closet and do the same outside in a field and tell me they sound the same. The reason that you don't hear much if any "reverb" with close mics is because they are almost always gated (manually or with a gate processor). Even so, there is still "room sound" that affects the signal to an audible degree due to phase cancellation, resonant nodes, flutter echo, etc. This close mic thing is a bit of a tangent, but you're statement that there is no room sound with close mics is just factually incorrect.
With overheads though, you get a decent amount of reverb, unless you're recording in a ultra deadened, 70's style studio (and even then, some of those places focused more on deadening mid to high frequencies and left the bass reflections to flop around the room like a dead fish). The difference between recording in a great sounding room and a shit sounding room is night and day, because of the room sound.
I think it was a joke post.
Yeah, I've heard Glyn Johns style micing outdoors(closest I've been to an anechoic chamber) and in a bedroom with 8 ft ceilings. There is very very little difference in reverb. A mic 3-4 feet from the snare can't pick up much room sound, regardless of the room you are in. Granted the degree of the room sound that you capture will change if you are playing softly with a more muted kit.
And the physics agree with that I'm saying. Every doubling of distance is a 6 DB drop, even in a perfectly reflective room(which doesn't exist).
It's funny to read how people talk about "80's synthwave" and how they have always loved it. There really was no such thing and all most of the current trendy 80's style synth music is actually a new genre. Sure there was elecronic music it was quite different. Some movie soundtracks and game music probably come closest. But i like it and i'm happy that it exists.
The best name would be "newretrowave". It's new and it sounds retro. It's basically this idealized pseudo 80's thing that never really existed.