I'll admit it right off the bat that I like ambient sound. Be it reverb or delay. The world is mostly composed with ambient sound. Les Paul was elated when the idea of tape echo was put to him. Story goes he raced home leaving his dinner guests at the restaurant so he could get right to work on it. By the time they got home he had it working!
So the battle to create a manageable manufactured ambiance was a somewhat hard won battle. It was the echo of Heartbreak Hotel that drew me inside of it in awe of that magic sound. Reverb was the thing that differentiated professional studio sound from the home based recorder and mic of the wannabes. One of the least appealing elements of the 70's rock was that dry black and white photo type sound that to me made it all feel like it was recorded in a big cardboard box of cotton balls. I loved Lead Zeppelin because it was sonically alive sometimes deep and mysterious. Perhaps the 80's was the ultimate in ambient sound. So many great tracks with amazing tape delays and reverbs that nobody has yet to duplicate. Sometimes it was over the top but enough of it was really well done.
Seems though it all came to a screeching halt with hip hop and rap. I always wondered why all those characters with more gold than Fort Knox armed to the teeth couldn't afford a reverb unit or somehow didn't know about it. Hell go down to the Bronx and rap in an alley between two apartment buildings and guess what you've got real live echo. So instead it ended up with getting screamed at in the face with the most unappealing sonic method as ever devised. Yikes the world don't sound like that Jack.
The easiest music money I ever made was when a friend gave me her CD tracks to go over prior to committing them to mastering. It was nice stuff but her "producer" was into making it drier than the Sahara and it wasn't to the benefit of the project. I didn't do much just some reverb. I'm happy to say my mix was sent for mastering an not the "desert fox" mix.
There it's a brand new year if you're making music you gotta have opinions and if you're recording music you gotta have strong opinions. I seem to like opinions with a touch of reverb. cooge
So the battle to create a manageable manufactured ambiance was a somewhat hard won battle. It was the echo of Heartbreak Hotel that drew me inside of it in awe of that magic sound. Reverb was the thing that differentiated professional studio sound from the home based recorder and mic of the wannabes. One of the least appealing elements of the 70's rock was that dry black and white photo type sound that to me made it all feel like it was recorded in a big cardboard box of cotton balls. I loved Lead Zeppelin because it was sonically alive sometimes deep and mysterious. Perhaps the 80's was the ultimate in ambient sound. So many great tracks with amazing tape delays and reverbs that nobody has yet to duplicate. Sometimes it was over the top but enough of it was really well done.
Seems though it all came to a screeching halt with hip hop and rap. I always wondered why all those characters with more gold than Fort Knox armed to the teeth couldn't afford a reverb unit or somehow didn't know about it. Hell go down to the Bronx and rap in an alley between two apartment buildings and guess what you've got real live echo. So instead it ended up with getting screamed at in the face with the most unappealing sonic method as ever devised. Yikes the world don't sound like that Jack.
The easiest music money I ever made was when a friend gave me her CD tracks to go over prior to committing them to mastering. It was nice stuff but her "producer" was into making it drier than the Sahara and it wasn't to the benefit of the project. I didn't do much just some reverb. I'm happy to say my mix was sent for mastering an not the "desert fox" mix.
There it's a brand new year if you're making music you gotta have opinions and if you're recording music you gotta have strong opinions. I seem to like opinions with a touch of reverb. cooge
The Curse Of Dry Sound...........
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