SSL 9000J: What will replace it or does it need to be replaced?
David 'db' Butler
the wilderness about NOT LIKING the 9000J!
Virtually every major engineer and producer I talk to, and I talk to and
sell to a lot of them, LOVE the sound of it. They like it because it
isn't a 4000 or 6000. The signal path is clean, the tone is good. There
probably are warmer and/or better, but it works. It killed the VR etc.
cold. I have not heard a single major complaint until now except for you
two on the sonic merits of the 9000. Most comment on how much easier it
is to get a sound than it was on a 4/6000. They all report how much more
effort the older boards required.
Backing that up are the large numbers of Pultecs that have been retired
from big rooms that used SSLs! I think Power Station alone had over 40
per room at one point!
The AMEK 9098 may emerge in it's own right, but I would be surprised.
Amek was pretty directionless before Harman. They are 10 times worse
now. Look how badly Neve did with the Capricorn, literally giving 5 or
10 away to get noticed? Now Sony is doing much the same with the Oxford.
To penetrate the marketplace when SSL and ProTools OWN the whole show
(sad, isn't it??) is an uphill road.
Actually, I am going to stop here and repost a new thread, this could be
chewy!
MAYBE Neve can do it, I didn't get a good look at the new desk at AES.
But Harman would have to get behind the product and stay behind it. They
never have since the Angela days.
Look at the history! Mozart was supposed to replace the Angela but
missed by $50,000! The Hendryx was a GREAT idea but wound up confusing
people when it was only $20,000 less than the Mozart. The "replacement
Angela" wound up being that little horror, the Einstein. It wasn't a
genius board nor did it sound even close to an Angela (nor does it's
replacement, the badly titled "Angela II", already discontinued)
Where do we go from here?
db
PS: Wozniak and I do agree on part of this: the older E/G or E/G+ boards
are great buys now. The influx of Giant G+ and 9000J has left LOTS of
smaller old boards in excellent condition.
In article <8t1a7s$qe0$1...@nnrp1.deja.com>, mixfa...@my-deja.com wrote:
> The sound issue with the 9000J
> is a catch-22, for years everyone complained about the sonics of the
> SSL's(its funny, even though everyone hated the sonics, most records
> mixed on the 9000J, sound like old SSLE's wannabees, smiley face mixes,
> lots of lows and highs trying to recreate that gritty sound from the
> older SSl's). In order to clean up the sound, they made the boards mushy
> and sterile(great for Pro-Tools mixes though, I guess also cold and
> sterile). I hear the thing here in the city is that Amek is trying to
> make an inroads with their 9098I console, they invited alot of
> the top studio owners and engineers out to Jersey, and everyone was
> floored about how great it sounded compared to the 9000J. For that reason
> right now is actually a good time to purchase a 9098I(if you got that
> kind of cash on hand), Amek will give a really great deal just to get one
> out there. Once the big studios here start the purchases(Hit Factory,
> Sony, Avatar,Soundtracks), the whole 9000J will start to die down, and
> the prices should depreciate for a J. Also the whole digital console
> thing has been kind of a disaster, so they are looking for something with
> great sonics and a great character(for tracking). I can't wait for my
> first time to try a mix on one, I'm sure it will be fun. I think the
> other board to look out for is the new Neve, I spoken to a couple of
> studio owners out here who are waiting to check it out.
> MIXFACTORY
>
>
In article <_XTI5.131491$4d.19...@news02.optonline.net>, "John
Wozniak" <marc...@nospam.com> wrote:
> I agree. The 4000/6000 series with E/G automation are the better buy
> than the G+ or 9K.
>
> >(I think he also told Bryan Adams to acquire one [G+] at his place in
> > Canada).
>
> Well then apparently,.. Bryan didn't listen. Warehouse has a 9K. It
> sounds
> like a Mackie 8 bus. 9K's blow. I remember when Electric Lady traded in
> the
> Focusrite in studio A , for a 9K. I used to love that Focusrite. I
> refered
> a lot of business their way because of it. But, I just can't anymore. I
> tried the 9K when they got it. What a piece of sonic crap! I don't know
> how many people know the Lady, but the room-sound in Studio A is to die
> for.
> The 9K made it sound generic, bland, and just like every other room sound
> in
> the world. Just awful. It's not a console that anyone should ever track
> on. Might as well save a few hundred thousand bucks, get a Mackie and
> some
> Uptown "System One" fader packs. That's my 2 cents.
>
> --
> J¤h¬ W¤Z¬ïÅk
> Mushroom Studios: (Vancouver)
> http://www.mushroomstudios.com
> oh, and... http://www.marcyplayground.com
--
David 'db' Butler, Consultant
Acoustics by db
"...all the rest are just brokers"
now on the web at http://www.home.earthlink.net/~ob1db Boston, Mass Phone 617 969-0585 Fax 617 964-1590
Kevnsworlds
i own 3 ssl 9000J's, 2 ssl 4000's and 2 neve 8078's....that being said
The 9000J,rocks ( literaly and figuratively)...i have clients that were die
hard neve fans that won't mix on anything else. It is a and the standard, and
as SSL says, the last great analog console....
re: pro tools.....yes they have captured the digital storage market for the
moment,...as did sony 3348, adat and tascam da 88 3 years ago ......
IT , in the long run, comes down to accepted standards.....my clients, most
of which mix/record every day in various studios, from atlanta, NY to london or
LA....just want to work in a tech friendly environment that allows them to work
and create without the equipment being an issue.....ssl, pro tools, studer 827,
allows them to do that....re: db's pultec reference....outboard eq , and it's
popularity changes..pultecs were king in the late '80's...i find that neve, and
api eq's are more popular currently as is avalon ...none of this has anything
to do with the 9000J however....what will replace it? nothing.......what will
replace classic neve or api consoles? nothing
The SSL E console, is a classic as well..i bought that console 16 years ago,
and that room which houses it, is STILL our most popular........
Michael Seifert
day of the week... Or a Neve for that matter (in that order)... Of course... I, unfortunatly, don't own an API (YET!)... For now, it's just
a very large DDA DCM-224... (which sounds nothing like an API or a Neve... but oh well)..
Michael
John Wozniak
> the wilderness about NOT LIKING the 9000J!
First of all, we're talking about the /sound\ of the thing, not the coolness
of the blinking lights, and the bonus DK- MSDisplay (cause then it would get
an A+).
> Virtually every major engineer and producer I talk to, and I talk to and
> sell to a lot of them, LOVE the sound of it.
The only people I know who "LOVE" the sound of it either 1) sell 9K's for a
living, or 2) book 9K's for a living. Everybody else *tolerates* them.
> There probably are warmer and/or better, but it works.
HUH?!
> Backing that up are the large numbers of Pultecs that have been retired
> from big rooms that used SSLs!
That doesn't suprise me. Anyone who thinks the 9K sounds "beautiful" won't
have any idea what to do with a Pultec.
Mixerman
Kevnsworlds wrote in message:
>The SSL E console, is a classic as well..i bought that console 16 years
ago,
>and that room which houses it, is STILL our most popular........
I guess there's no accounting for taste. LOL.
(I'm a die hard Neve user myself)
Mixerman
Bob Blank
experience (which is really the bottom line here - which is what do the
top pros want in a console and what are they willing to pay big $$$s to
work on to create the hit sound) and how many wannabes then diss you for
actually OWNING said consoles.
EggHd
and that room which houses it, is STILL our most popular........ >>
This is the room at the original studio (west) on the right, correct?
Part of what makes that room so popular is the "sound" of the control room
itself. It's very easy to hear what one is doing in there. (IMO) Well
designed.
Flame away, but I think that console sounds great.
---------------------------------------
"I know enough to know I don't know enough"
David 'db' Butler
Not even FAINTLY true in my experience. At least a dozen multi-platinum
engineers or producers I work with RAVE about the 9000 constantly. They
all grew up on 4/6000s, so they speak from experience. Mind you, I
haven't mixed on a 9000 so I don't have an opinion. I am also NOT taking
sides, if you reread my post. I was surprised at your post as it went
100% against all the feedback I have heard, which is unusual.
Actually, the *** ONLY *** complaint I have EVER heard on the 9000J was
that the automation software didn't really work the whole first year
and/or was buggy as hell. All those who reported that were nearly in
tears, as they were very excited about the sound.
Also, you & I know that virtually every 4/6000 room we walk into will
have RACKS of outboard eq and mic pres. This started way before the
current ProFools, uh, ProTools trend. No-one, except maybe
Clearmountain, loves to track on a 4000 or 6000 without at least a dozen
outboard preamps and eqs.
Mind you, I am an old fart: I grew up on API and Trident and was trained
on EQ-less consoles custom built for Phil Ramone at A&R Studios New York
that were built out of Langevin discrete line amps. I cannot say I like
SSLs for sound period: I think most of them STINK! I don't know of a
stucio that ever bought an SSL for sound. It has always been for the
great control surface, speed and integration of automation and machine
control. That and a VERY large community of artists and producers who
won't work on anything else.
As far as my taste goes (and experience, I ain't driven a 9000 yet) the
4000s from late 1986 to 1989 were the finest ever. They had the best
version Black eq, REVs 7 & 8, the G mic pres, line amps and Buss cards.
The Senior SSL tech from that time says the switch and pot quality was
the best of ANY period.
(I'd still take an API for tracking...)
my 5˘!
db
Wozniak quotes db:
> > Well, I gotta say Mixfactory and Wozniak appear to be alone out there
> > in the wilderness about NOT LIKING the 9000J!
"John Wozniak" <marc...@nospam.com> wrote:
> > First of all, we're talking about the /sound\ of the thing, not the
> coolness of the blinking lights, and the bonus DK- MSDisplay (cause then it would
> get an A+).
>
db again
> > Virtually every major engineer and producer I talk to, and I talk to
> > and sell to a lot of them, LOVE the sound of it.
>
"John Wozniak"
> The only people I know who "LOVE" the sound of it either 1) sell 9K's for
> a living, or 2) book 9K's for a living. Everybody else *tolerates* them.
>
db again
> > There probably are warmer and/or better, but it works.
>
"John Wozniak"
> That doesn't suprise me. Anyone who thinks the 9K sounds "beautiful"
> won't
> have any idea what to do with a Pultec.
>
> --
> J¤hŹ W¤ZŹďĹk
> Mushroom Studios: (Vancouver)
Michael,
DON'T GET ME WRONG: I GREW UP ON API AND TRIDENT!
I would take either over SSL or Neve for trcaking most any day...
db
In article <39F533C5...@telocity.com>, Michael Seifert
<revers...@telocity.com> wrote:
> Well David, you can count me in with Mixfactory and John... I don't like
> SSL's one bit.. They are cold cold boards... Give me an API any
> day of the week... Or a Neve for that matter (in that order)... Of
> course... I, unfortunatly, don't own an API (YET!)... For now, it's just
> a very large DDA DCM-224... (which sounds nothing like an API or a
> Neve... but oh well)..
>
> Michael
>
--
Gulf Joe
<snip>
> Also, you & I know that virtually every 4/6000 room we walk into will
> have RACKS of outboard eq and mic pres.
<snip>
> I don't know of a
> studio that ever bought an SSL for sound. It has always been for the
> great control surface, speed and integration of automation and machine
> control.
Remember this question is from someone who uses a 1604...
If the console requires loads of outboard gear, doesn't that negate a
lot of the advantages of automation? You want to recall a setup, you
hit a switch (or whatever) on the SSL, then wander around the room
resetting all those outboard pieces...
D. Butler
*** really suck, since you mention it!
Not to mention a Lex 480L or an AMS DMX1580S>
None of them store a front panel setting!
It really is a bitch!
Nothing but pure (ggaaaggghhh) digital setups can!
Except they all need scads o' analog to sound worth shit!
db
In article <39F650FB...@hotmail.com>, Gulf Joe
<gul...@hotmail.com> wrote:
--
mixfa...@my-deja.com
the 9000J(compared to some of the SSl's I've worked on it is a god
send). For mixing a song(only some digital consoles compare with their
functions, the 9000 can't be beat). My perspective is strictly from the
mixing mindset(I don't track anymore(only once in a while), so that is
where my opinion comes from. I know lots of guys who think that the
sound is too bland, sterile, mushy(maybe), and they miss the edge of
the older models. I think when it comes down to it, is what you get use
to. With all of the ProTools work around town, alot of guys have
actually moved away from mixing on SSL's and are mixing on Neve VR's
for the sound. I much prefer to mix on an older Neve myself, but with
all of the recalls involved in mixing a single these days(between the
A&R's, producers, managers and others)it almost becomes too costly. I
think another factor to consider is the type of music you are doing,
that now a days is the deciding factor(rap as compared to rock). While
its true a lot of producers may dig them(I think this is point is up
for debate, the older cats all prefer the older Neve's, and the new
cats only really know the SSL's, cause that is like the defacto
standard in the industry).
MIXFACTORY
In article <ob1db-01CB89....@news.earthlink.net>,
Sent via Deja.com http://www.deja.com/
Before you buy.
Jay Kahrs
>
>If the console requires loads of outboard gear, doesn't that negate a
>lot of the advantages of automation? You want to recall a setup, you
>hit a switch (or whatever) on the SSL, then wander around the room
>
Yup. However, nothing ever comes back 100% unless you have everything inside
the console like a D8B or O2R. When I was at Showplace we took great notes on
every EQ, compressor and effects unit but we still never had a recall come back
more then 90% without some tweaking. In my studio none of my clients are recall
freaks so I don't bother to take notes.
Still, being able to recall all your fader moves, especially the 3 days that
you spent riding the gain just so on the lead vocal, mutes, EQ settings and
send levels can be a time saver and is pretty bitchin' if it's something you
need to do on a regular basis.
---
-Jay Kahrs
BrownSound Studios
Morris Plains, NJ
http://members.tripod.com/~BrownSoundStudios
Robert Hoffman
engineer is going to have his/her favorite EQ and compressor for certain
instruments. Most mixers I've worked with go outboard for lead vocals, bass,
kick and snare. Then scope out what's left in the room for the other
instruments. Recalls ? That's what assistants are for. If you can't get your
recall back 100% you've got the wrong assistant.
Rob
----------
In article <39F650FB...@hotmail.com>, Gulf Joe <gul...@hotmail.com>
wrote:
>> I don't know of a
>> studio that ever bought an SSL for sound. It has always been for the
>> great control surface, speed and integration of automation and machine
>> control.
>
Jay Kahrs
>Well, the recall functions on a Fairchild 670 or a Pultec EQP-1A3 *** DO
>*** really suck, since you mention it!
>
>Not to mention a Lex 480L
Good point on the Pultecs, but the same can be said about 1176s 160s etc. A
480L isn't as bad, you can write down the preset name and the numbers for each
parameter. It takes a few minutes each time but it does come back 100% unlike
the Pultec.
Jay Kahrs
>recall back 100% you've got the wrong assistant.
I'll agree with you to a point. No tube gear EVER comes back to 100%. You can
be a half db off here, a quarter there, etc. It even matters on things that
aren't tube. Add all those 1/2 db's up across 20 odd channels and piecees of
gear and your recall is around 90% maybe a little better.
-- ASD
For me, recall just lets me get back to a starting point from which
I can continue to tweak.
ie: Working on a song, run out of time/want to go to sleep/do stoned
o continue. Save the settings, walk away, start again tomorrow/next
month. In that case, 90% would be close enough.
Chances are I'd never really need to recall a mix, 100%. I mean, if
I was "recalling" a mix, it would be to fix something, which would
inevitably lead to more tweaking, so again, I think 90% would be close
enough.
If a mix was "perfect" whats the need for recall, the master copy
should be enough.
The only real advantage I can think of for "exact" recall is if a
remix needs to be done, or you want to cut a vocal track or something.
Generally, once I nail "my mix" I'll run off all these mix's anyway so
again, why need recall.
How do you guys use recall?
- Adam
Kevnsworlds
written:
<< I don't like SSL's one bit.. They are cold cold boards... Give me an API
any
day of the week >>
commenting on , and what studio you worked in.. etc..
FYI , larrabee..in the 70's was all API.....we still feature an api rack in
all of our rooms...
MOST engineers that i talk to, say that the J series SSL, is the best SSL
...YES the E series is a classic....and neve/api consoles are increasing in
value ...
i say to each their own! ( we offer all of the above )
Kevnsworlds
written:<< Anyone who thinks the 9K sounds "beautiful" won't
have any idea what to do with a Pultec >>
them...
REMEMBER guy, these engineers ( my clients ), have almost every EQ ever made
at their disposal.....they use whatever, according to the need..... avalon,
gml, neve, api, pultec, focusrite, lang, helios, summit, neumann, manley, urei
etc etc....
Michael Seifert
> experience (which is really the bottom line here - which is what do the
> top pros want in a console and what are they willing to pay big $$$s to
> work on to create the hit sound) and how many wannabes then diss you for
> actually OWNING said consoles.
Bob,
This is a pretty ridiculous statement... not to mention very condescending in
nature. I don't think anyone who's stepped up during this thread to state their
disdain for SSL's can really be considered a wannabe... I don't know who
Mixerman really is, but it seems to be accepted that he knows what he's talking
about. I DO know who John is, and he's no wanna be... and I've got my share of
records on the wall... so.. which wannabe's are you talking about? Or did I
misunderstand something? (and I'm not trying to be a smart ass... I'm actually
asking the question)
So some people (a lot of people actually) like to mix on SSL's... That is NOT
the bottom line though! Or at least it shouldn't be... The best sounding
product.. the best sounding console.. THAT should be the bottom line. I
wouldn't diss anyone for owning an SSL. It's obviously a sound investment. Why
anyone would actually CHOOSE to mix on one with so many other (better in my
opinion) options? That's what confuses me.
Michael
Michael Seifert
> They all grew up on 4/6000s, so they speak from experience.
I'm wondering if this might be THE reason they think the 9000 sounds so "grand". If they all grew up on older SSL boards (which a LOT of
people agree sound like crap), maybe the 9000 seems like a vast improvement to them. I can see that. But not for people who grew up on
Neve's or API's though..
> Not even FAINTLY true in my experience. At least a dozen multi-platinum
> engineers or producers I work with RAVE about the 9000 constantly.
Well count me as one multi-platinum engineer who DOESN'T then... Anyone else?
Michael
Michael Seifert
> recall back 100% you've got the wrong assistant.
No way! Not true at all in my experience! Even if notes are meticulous you're
going to have problems unless you're not using anything that won't store
presents. Shit... You're telling me that an old LA-2 or something of the sort
is going to sound EXACTLY the same as it did a month earlier as long as all of
the knobs are in the "right spot"?? My ass! No way!!! Things ALWAYS sound
different on a recall if you're using outboard gear... ESPECIALLY with tube
stuff. Things just change, it's the nature of the gear.
Michael
Tonebarge
Cheers,
TB
--
4F6E65204F5320746F2072756C65207468656D20616C6C2C204F6E65204F5320746
F2066696E64207468656D2CDA4F6E65204F5320746F206272696E67207468656D20
616C6C20616E6420696E20746865206461726B6E6573732062696E64207468656D
Mixerman
Mixerman
EggHd wrote in message <20001024115433.00235.00001290@ng-
EggHd
Bring it on! (laughing as well)
Robert Hoffman
changes. In that case the entire mix might be perfect except for these
changes; so getting a 100% recall or as close as possible, is essential.
Rob
----------
In article <39f66ed7...@news.supernews.com>, ad...@asdproductions.com
Robert Hoffman
gear coming back. This includes Pultecs across the stereo bus, fairchild,
RCA and Vac Rack compressors across various channels. I also assisted Bruce
Swedien before I worked for Chris, and with both these guys if the recall
wasn't perfect I heard about it. Bruce has a funny saying "one mistake and
you're through". He's not really that harsh but that gets the point across.
Rob
----------
In article <20001025005225...@ng-mg1.aol.com>,
Linus Sagadore
--
Regards,
Linus Sagadore
National Tech-Traders
Ph: 888-256-8650 Toll Free
Ph: 902-477-6860
Fax: 902-477-8970
mailto:li...@techtraders.com
http://www.techtraders.com
Fletcher
>
> It's Hendrix not Hendryx - I guess your no Einstein.
>
Pssst Linus...it's kinda good form that when you rag on someone for
their spelling, you in turn lead by example. Otherwise it looks like
you're no Einstein either [who was a mathematician, not a liguistician].
--
Fletcher
Mercenary Audio
TEL: 508-543-0069
FAX: 508-543-9670
http://www.mercenary.com
"this is not a problem"
Kevin Smith
come back 100%. Very close yes, but it's never quite the same. Between
ambiguities in things like outboard gear knob positions and electrical drift
everywhere else, at some point you gotta ditch the notes and dial it in by
ear. Even the relatively small variables in the console can be a big deal
on a big mix.
--
Kevin Smith, Recording Engineer
www.ksmix.com
"Robert Hoffman" <rob...@earthlink.net> wrote in message
news:b9tJ5.17190$1S5.1...@newsread1.prod.itd.earthlink.net...
Robert Hoffman
in a recall but a good assistant should be able to get you back.
Rob
----------
In article <3gHJ5.207305$3E6.2...@news1.alsv1.occa.home.com>, "Kevin
Smith" <ne...@ksmix.com> wrote:
>Maybe I'm working with the wrong people but I've never heard an analog mix
>come back 100%. Very close yes, but it's never quite the same. Between
>ambiguities in things like outboard gear knob positions and electrical drift
>everywhere else, at some point you gotta ditch the notes and dial it in by
>ear. Even the relatively small variables in the console can be a big deal
>on a big mix.
>
>--
>Kevin Smith, Recording Engineer
>www.ksmix.com
>
>"Robert Hoffman" <rob...@earthlink.net> wrote in message
>news:b9tJ5.17190$1S5.1...@newsread1.prod.itd.earthlink.net...
D. Butler
And YOU'RE not very strong on English I guess! <g>
YOUR cannot be substituted for YOU'RE ...
db
(Linus & I are ald friends, don't take this too seriously)
In article <39F73A11...@hfx.andara.com>, Linus Sagadore
<li...@hfx.andara.com> wrote:
> It's Hendrix not Hendryx - I guess your no Einstein.
>
--
Linus Sagadore
--
Regards,
Linus Sagadore
National Tech-Traders
Ph: 888-256-8650 Toll Free
Ph: 902-477-6860
Fax: 902-477-8970
mailto:li...@techtraders.com
http://www.techtraders.com
"D. Butler" wrote:
> Well, thank God for that, the Einstein was TRASH !
>
> And YOU'RE not very strong on English I guess! <g>
>
> YOUR cannot be substituted for YOU'RE ...
>
> db
>
> (Linus & I are ald friends, don't take this too seriously)
>
> In article <39F73A11...@hfx.andara.com>, Linus Sagadore
> <li...@hfx.andara.com> wrote:
>
> > It's Hendrix not Hendryx - I guess your no Einstein.
> >
>
> --
Mixerman
close enough in my opinion.
When I do a recall, once I have it pretty close I don't obsess on matching
it perfectly. I'll act as if I'm within an hour of completing the mix and
make my adjustments accordingly.
Mixerman
Kevin Smith wrote in message
<3gHJ5.207305$3E6.2...@news1.alsv1.occa.home.com>...
>Maybe I'm working with the wrong people but I've never heard an analog mix
>come back 100%. Very close yes, but it's never quite the same. Between
>ambiguities in things like outboard gear knob positions and electrical
drift
>everywhere else, at some point you gotta ditch the notes and dial it in by
>ear. Even the relatively small variables in the console can be a big deal
>on a big mix.
>
>--
>Kevin Smith, Recording Engineer
>www.ksmix.com
>
>"Robert Hoffman" <rob...@earthlink.net> wrote in message
>news:b9tJ5.17190$1S5.1...@newsread1.prod.itd.earthlink.net...
John Wozniak
> them...
> REMEMBER guy, these engineers ( my clients ), have almost every EQ ever
made
> at their disposal.....they use whatever, according to the need.....
avalon,
> gml, neve, api, pultec, focusrite, lang, helios, summit, neumann, manley,
urei
> etc etc....
Does anybody else find this post to be incredibly annoying promotional
rhetoric? Pathetic attempts to disguise your gear list as *conversation*,
just make you look like an ass. Nobody's impressed.
Fletcher
John Wozniak wrote:
> > HEY,.we OWN 25 PULTECS...clients use them and FYI, they know HOW to use
> > them...
> > REMEMBER guy, these engineers ( my clients ), have almost every EQ ever
> made
> > at their disposal.....they use whatever, according to the need.....
> avalon,
> > gml, neve, api, pultec, focusrite, lang, helios, summit, neumann, manley,
> urei
> > etc etc....
>
> Does anybody else find this post to be incredibly annoying promotional
> rhetoric? Pathetic attempts to disguise your gear list as *conversation*,
> just make you look like an ass. Nobody's impressed.
John, perhaps you are correct...but somehow, I get the feeling that Kevin Mills
from Larrabee in helLA isn't doing the shameless "plug and promotion" here.
Between their like 7 rooms, rental company, high profile clients in helLA...I'm
sure every kind of equalizer what ever been made has been wheeled across a
threshold some where in the facility's), at some point in time.
Somehow, I have this feeling that anyone hanging on this NG already knows
Larrabee exists...well, somebody seems to know, the joint is booked pretty
solidly from what I understand. Now,while "hit records" don't necessarily
define the quality of an engineer...bookings do reflect the quality of the
studio [or at least the attributes of an excellent studio manager/booker in a
less than perfect studio].
There's a thread on another group about 'when does owning a studio go from an
avocation to a vocation' [more or less]. Most studios are built because their
owner is an engineer and *really* wants a place of their own...then they become
a "business person" that engineers occasionally [maybe] but has an idea of the
equipment and it's function, or just a business person who is able to guide the
business through periods of change [different formats, etc.].
The survival of the studio depends on that transition...some make it better than
others, others inherit the business part and were never engineers [studio
manager turned owner], so they don't have to learn how to make a business
function.
Some studios have a 'successful' engineer, producer, artist behind them...so the
actual owner isn't involved with 'day to day' operations...but they have to have
a dedicated and competent 'studio manager' to make that function properly. Like
any 'upper management' job...being a 'studio manager' is absolutely no walk in
the park..it's also a *very* specialized animal that can function in the
business and artistic communities while appealing to both.
So...just curious...sort of a show of hands...who's where on in this group? Are
most still 'owner/operators'...or have some been able to 'split' the two gigs
and be either the 'business' *or* the 'creative' force behind the studio. If
the place is a commercial venture of mid to upper mid/lower high end stature,
then the 'split' has occurred [I've never seen it work where it hadn't].
Just curious.
JnyVee.
than not) the business end is sloppy as hell. In-House (in this case
litteraly) work is voice work, editing, small post work and small
singer-songwriter acoustic projects. Most work is location work that
gets worked over here or at a proper small room that another engineer
built and runs as a regular session studio. I'll take projects, that
need that, in there or hand the client off to him. FWIW he's the
owner/engineer there and he and his wife manage that place.
John V.
--
and as Mike Rivers once said:
"...smart people neither take out their own tonsils
nor pre-master their own projects."
--
Anthony B. Kitson
other guys doing work in the room and this past few weeks I've had a government
education facility booking time for the students seeing their console was down.
I've enjoyed it so much (sitting out at the front desk while the kids and lecturer
battle away) I'm trying to arrange for the console to have a 'permanent' accident.
:)
With Profools coming in big along with the 2", I'm getting enquiries from at least
one other to use the facility for projects. Big bonus for me. Most of the money
(reduced rate if I'm not in the chair and not sitting in the room all the time),
hardly any of the stress, little of the exhaustion and I enjoy music more because
I'm not absorbing the 90% total shit that comes into the place. And I get to work
on clients and work the phone a LOT more meaning more work.
And so if I am in the chair, I enjoy myself more. Hopefully soon I can find some
younguns with talent and ability (a few promising ones out of the students) that can
do the lion share of the engineering work while I can be more choosy in my projects.
Being a studio manager is good. :)
Anthony B. Kitson BSEE
Pinnacle Recording Studio
http://www.pinnaclestudio.com
EggHd
rhetoric? >>
There are other studio owners on this NG that promote their studios, equipment
and market share in conversational (is this a word?) ways.
By the way, although I use Larabee at times and many of our srtists use
Larabee, I have never met Kevin.
hank alrich
<shipitty hoohah>
> Einstein ... [who was a mathematician, not a liguistician].
Not a _what_?
--
hank alrich * secret__mountain
audio recording * music production * sound reinforcement
"If laughter is the best medicine let's take a double dose"
Mark McQuilken
>
> Fletcher <Flet...@mercenary.com> wrote:
>
> <shipitty hoohah>
>
> > Einstein ... [who was a mathematician, not a liguistician].
>
> Not a _what_?
>
> --
> hank alrich * secret__mountain
I think Fletcher misconscrewed that one...I think he meant someone who
studies linguiology! :>)
__
Mark McQuilken
FMR Audio
www.fmraudio.com
(800)343-9976 - US Only
(512)280-6557 Voice
(512)280-8627 Fax
Dave Martin
linguiniology, too.
--
Dave Martin
DMA, Inc.
Nashville, TN
"Mark McQuilken" <ma...@fmraudio.com> wrote in message
news:39F872...@fmraudio.com...
D. Butler
(ahem)
db
--
John Wozniak
equipment
> and market share in conversational (is this a word?) ways.
Sure. But they don't feel the need to type out a gratuitous list of 12+ EQ
manufacturers.... or capitalize "we OWN 25 PULTECS.", etc. People are
generally more subtle than that.
John Wozniak
manager books, promotes, administrates, coddles, and generally kills herself
doing an incredibly difficult job, as you know. But, now I'm curious...
what does this have to do with Kevin's gratuitous list of 12+ eq
manufacturers?
Fletcher
>
> Fletcher <Flet...@mercenary.com> wrote:
>
> <shipitty hoohah>
>
> > Einstein ... [who was a mathematician, not a liguistician].
>
> Not a _what_?
>
Linguistician: One who specializes in linguistics. I'm not making this
shit up...if you have a dictionary around...look it up...it's in there.
Brad Blackwood
news:39F89B...@mercenary.com...
> hank alrich wrote:
> >
> > Fletcher <Flet...@mercenary.com> wrote:
> >
> > <shipitty hoohah>
> >
> > > Einstein ... [who was a mathematician, not a liguistician].
> >
> > Not a _what_?
> >
>
> Linguistician: One who specializes in linguistics. I'm not making this
> shit up...if you have a dictionary around...look it up...it's in there.
I believe this was a tongue-in-cheek jab at your misspelling of
linguistician (left out the first 'n') in your previous post - kinda ironic,
huh? <g>
----------------------
Brad Blackwood
Mastering Engineer
Ardent Studios
www.ardentstudios.com
Barb Roy-Bridges
>> Linguistician: One who specializes in linguistics. I'm not making this
>> shit up...if you have a dictionary around...look it up...it's in there.
>
>I believe this was a tongue-in-cheek jab at your misspelling of
>linguistician (left out the first 'n') in your previous post - kinda
ironic,
>huh? <g>
Sorry.... not to interrupt (I just can't help myself, really) but, given the
usage/placement of the word within the sentence, I would've probably chosen
to say, "linguist". However, I believe that the usage of "linguistician"
was probably accurate in that, it typically refers to one who practices
professionally whereas, a linguist can be any person skilled in languages.
Either, however, would've probably sufficed.
bRb
http://scarlettown.cjb.net
http://bruceandbarb.cjb.net
JnyVee.
--
Barb Roy-Bridges
>everybody has their Scatology Filters set to max it seems...
Hey, it was just an observation voiced out of an interest that I have in
writing. I don't know what's in the air around here lately but, it feels
like time for a breather.
Timothy A. Lyons
> Linguistician: One who specializes in linguistics. I'm not making this
> shit up...if you have a dictionary around...look it up...it's in there.
> --
> Fletcher
> Mercenary Audio
> TEL: 508-543-0069
> FAX: 508-543-9670
> http://www.mercenary.com
> "this is not a problem"
Hmmm!..........and I thought this was a porn industry reference.
(:-)>
Tim L
--
Blue Bass Recording
Port Jefferson Station NY
A project studio with a personal touch
http://home.earthlink.net/~bluebass/
hank alrich
> Either, however, would've probably sufficed.
Compared to a liguistician.
j. taylor
I dunno if its Portuguese or Italian.
We don't study it too closely, though.
Sausage should not be studied. Just eat it.
Will Hunt
david
You can buy a linguica burrito here in Warren.
David Correia
Celebration Sound
Warren, Rhode Island
cass...@mediaone.net
www.CelebrationSound.com
In article <39F97908...@mediaone.net>, j. taylor