David Weiss over at SonicScoop writes about the decision to allow no artificial reverb on La Dispute's Wildlife.
Like many feats of engineering, the “no reverb” rule came not by design but as a matter of natural course, starting at the initial sessions in Chicago. “We had miked the drums in the live room, and the room mics that were in there were set up for talkback,” Pedulla recalls. “Then the guitarist was in there to be next to his amp, and we started realizing, ‘This sounds cool.’ The parts needed this ambience, and sounded really good with that sound that you don’t get from close mics.
There's a really nice profile on producer Mike Crossey (The 1975, The Gaslight Anthem) over on SoundonSound.
"After these years of working predominately with pop music that involved a lot of programming, I had a period of rebellion to it, during which I fell out with computers and wanted to work all-analogue and solely with tape machines,” remarked Crossey. "I was inspired by the Steve Albini approach and worked with many guitar bands. These days, I'm somewhere in the middle, and so last year I was talking with my manager about finding this mythical band that blends pop, commerciality, programming and electronic elements with being a guitar band with real instruments, credibility and...
Women's Audio Mission is a San Francisco based, non-profit organization dedicated to the advancement of women in music production and the recording arts. In a field where women are chronically under-represented (less than 5%), WAM seeks to "change the face of sound" by providing hands-on training, experience, career counseling and job placement to women and girls in media technology for music, radio, film, television and the internet. WAM believes that women's mastery of music technology and inclusion in the production process will expand the vision and voice of media and popular culture.
Pink Floyd issued a brief statement about their new album, The Endless River, which is due out in October.
Pink Floyd can confirm that they are releasing a new album The Endless River in October 2014. It is an album of mainly ambient and instrumental music based on the 1993/4 Division Bell sessions which feature David Gilmour, Nick Mason and Richard Wright. The album is produced by David Gilmour with Phil Manzanera, Youth and recording engineer Andy Jackson. Work is still in progress, but more details to come at the end of the Summer.
The National will begin recording their 7th full-length record in October.
He continued: "We're talking about getting together, which won't be until about October, taking a little break and then getting together to try and write together in a room - which we've never done. We always work on little things and email back and forth. We have no idea whether it's going to work or not, but that's as far as we've got with the new record: trying to work out a plan and a different approach.
In a new interview, Mike Einziger revealed that he and Brandon Boyd have been secretly working on new Incubus material. Although that doesn't mean anyone should get their hopes up any time soon.
That doesn’t mean that stuff will be coming anytime soon. Though content has come from the sessions, much of it is in its infancy in terms of development; “They’re ideas but some are further along than others,” Einziger said.
With access to infinite bytes of media, describing a digital object as "rare" sticks out like a lumbering anachronism. YouTube - the official home of lumbering anachronisms - excels at these extraordinarily contradictory moments. Here, for instance, are the Beatles, performing a "VERY RARE" rendition of "Happy Birthday". That sonic obscurity has been heard 2.3 million times. And here is a "Rare Acoustic" version of Slash performing "Sweet Child O' Mine". Over 26 million have devoured this esoteric Axl-less morsel.
This recording is exciting because we are taking a much different approach than on The Beauty Between. That was such a focused and intentional two-year process of writing and recording. Basically it took forever and lots and lots of hours. For this EP, we purposefully gave ourselves about a month to write and record. The whole thing will be a much quicker, spontaneous process. Practice is going well, we have 3 songs done so far.
Self Defense Family will be hitting four studios in four days to record two songs at each of them for their next LP. Check out a photo in the replies detailing the studios and producers the band will be working with.
It sounds fuckin’ weird, man. That’s a really good thing. Right now I’m by myself in the studio; the rest of the band’s not here yet but, yeah, they’ll all come up here later. It’s going good. I’ll work on that for about a month and get as far as I can get. Then in July we have a little bit of a break where I’ll probably finish up the record, and then we have some more touring.
Communities Digital News conducted a great interview with Bill Stevenson. He mentions that the Descendents are working on a new album and that it's a priority for the band in the next few months. There's currently no plans for any new ALL recordings though.
We started on it. We’re not really far into it, but we’re making it a priority to kind of focus on it in the coming months.
Producer Joey Sturgis has teamed up with fellow producers Joel Wanasek and Joe Wohlitz to create Drumforge, which they claim is one of the "most comprehensive drum and cymbal sample libraries ever developed." You can pre-order it here for $249, full press release and video trailer in the replies.
Speaking exclusively to the UK’s The Telegraph, he said: “We are definitely getting together in May in Vancouver. We’re going to pick up some guitars, have a plonk, and see if anybody has got any tunes or ideas. If anything happens, we’ll record it.”