...and i'm hoping the postman conceals the package, like usual, behind a bush or behind the sideyard gate if no one is home. there have been instances when i came home and found a package from an online purchase by the front door where any passerby can snag it...
and if i was a thief, i have seen packages on the front steps or by the front door of people's houses while walking...
got my discbox today. it's nice. well constructed and packaged.
unfortunately the cd still has the same shitty blown-out mix. How the hell do you decry the damage the record industry has done and then put out a cd that hovers around -5db RMS? Fuckers.
i wonder how many boxes they sent out for this batch...it must be amazing to see crates full of radiohead discboxes being unloaded into the east coast port to be distributed throughout the states...
i went for the download and put 0 in the box, like most of the planet i think.
didn't get the bonus tracks though. if you're a cheap bastard like me then torrent hunt for those.
John Leckie, an Englishman, wrote some kind of paper on electronic music that he gave to Abbey Road studios as a resume. They hired him and he was an in-house engineer for years there. During this time he worked with Pink Floyd, all of the Beatles individually, and lots of other bands. Eventually, he got into producing freelance and is in very high demand.
What do you feel have been the most significant changes in audio technology during the years you've been making records?
I've actually been reading about the entire history of recorded music recently, and it's fascinating, absolutely fascinating. We take sound reproduction for granted, but we don't remember that just 100 years ago, the only time you could hear music was in the present, when musicians were actually performing. When the performance was over, it was gone...
as far as production goes, i think thats one of the reasons that Kid A is not only my favorite radiohead album, but my favorite album... period.
The quality of the sound, the complexity of the composition and yet the clarity they were able to capture blows my mind.
Songs like Kid A, Ideoteque, Everything In Its Right Place, How To Disappear Completely... i dont think they could sound better than they do. Amazing depth in that album... like built to spill says
What a sound straight through my spine
Bounced off me
Makes me round
3-D sound
Push it down move it around, see I'm fine
but there are two different approaches to making a record. One is to stimulate and capture the best performance-kind of like taking a photograph-and the other is to construct a fantasy that could never be performed
I tend to view it as a photograph, but it really depends on the artist I'm working with. If the artist has a very strong personality and the musical sense is highly developed-perhaps they've already been performing the songs live for years-then it would be crazy for me to develop a fantasy sound picture. In that case, they've hired me to present them in their best light. Making a record is really all about presentation, so I think it's up to me to take the best picture rather than create an artifial thing. The worst thing about that approach is that it takes forever, and you have to be totally into it, every day for months and months and months. The possibility of losing focus is high, and the possibility of having a life outside of the studio is low; that's the price you're going to have to pay. It's also very difficult to do within a limited budget and time period. Many artists desrtoy themselves by sepnding so much time making records, because they've got so much more to offer. If an artist spends a year, two years, three years in the studio. when they come out, their life has really changed-I know my life changes when I haven't been out of the studio for a long time. They find it hard because they lose the connection they have with the audience; they can't exist on their own.
That's the biggest problem for people working on their own in project studios-knowing when enough is enough. What criteria do you use to make that decision?
I think you have to be aware of the people who are going to buy your records. If you're sending out demos and not getting any response, it's probably because you're not making your recordings for other people, you're making them for yourself. Very often, bands will take an obstinate stance: "This is our third album, and we're going to make this record for ourselves. We're not going to have any singles, fuck the record company, we're going to do this for us." And usually it's shit. Sometimes it's interesting or off the wall, but that's as far as it goes.
But there's also something to be said for being true to yourself, staying true to your artistic goals
Sure it's a fine line. But if you want success-if you want to take it a little bit further-you have to be aware of your audience, too. You have to ask yourself, what is it you want to do? Do you really want a record deal? Because if you get a record deal, your life's going to change. People working in home studios need to ask themselves if they really want to do this, or if they just want a CD in a cardboard box that they can give to their friends and family. If you just want that, that's easy to do, and you don't need a record company. But if not, you need to ask yourself a lot of tough questions: Do you really want to go further? Do you really want to sek out a management? Do you really want to change your hair color, or sit through a photo session, or make a video?
Because if you sign a record deal, you just don't go into a studio and do records, You're expected to be a video film star, you've got to look good in photos, you've got to be controversial in interviews, speak sense and yet relate to kids. And right at the bottom of the list, o, by the way, you're expected to write songs as well. Youve got to have a great voice, you've got to have a great band of musicians, you've got to have your business all together, all that stuff. Just writing songs is a very small part of it.
has anyone listened to the vinyl? is it better quality? does it come in a gatefold? i don't know much about what the numbers mean, i only know how my ears and brain process the music, and i just want to blast the record from my turntable when i get it.
i think the reason why it is being dispatched via land and sea is due to the band's environmental consciousness.
i have this old adc accutrac 4000. i replaced the cartridge with a stanton but had to do a little modification to make it mount on the weird arm. it's missing the tonearm weight so i had to ghetto style it with a stack of washers. i'm not getting a lot of bass with this turntable though.
production CDs aren't burned with a laser...they're stamped.
a hole in the disc is probably a packaging mishap...they should send you a new one.
take a pic of the disc and send it to them...also post it on ateaseweb.
I've avoided getting into vinyl...mainly because I'm kind of OCD when it comes to collecting things, and getting into vinyl would probably bankrupt me. I do have a handful from tour 7" and special editions like the in rainbows box set, but mainly I just transfer rare things and different mixes to high res digital and put them in a box for safe keeping. The local Hi-fi shop is starting to get a little suspicious when I ask to "demo" the Linn LP12 again, so I haven't listened to the in rainbows LPs yet. If I hear about it being a more high-fidelity mix, I'll try and do (or find) a transfer of it.
bangers 'n mash is much less chaotic, but this album version is fantastic...
might be the 'coolest' song they've done sing talk show host... or maybe the start of transatlantic drawl... or electioneering... you get my drift
arpeggi and videotape are amazing... as is the version of 15 steps.
also... a tour is coming!
no dates yet, but these cities have been mentioned...
Atlanta
Boston
Charlotte
Chicago
Cleveland
Dallas
Houston
Indianapolis
Los Angeles
Miami
Montreal
New York
Philadelphia
San Diego
San Francisco
Santa Barbara
Seattle
St. Louis
Tampa
Toronto
Vancouver
Washington, DC
maybe the city of chicago will let them play at millennium park this year
radiohead: in rainbows
go now!!! GO GO GO
dj set by thom and a video for 15 steps!!! which opens as a scene from Seven!!!!
The Bends was a masterpice...I began to lose interest after that when they began to lose interest in song structure....
nice cover of the headmaster ritual. very.... authentic.
hahaha you saw that? i actually really liked it
i like hearing him sing that bjork song.
Yeah that whole webcast was nice!
Especially liked some of the DJ sets track list..
Burial, MIA etc...
And Bicycle helmets!
Yeah that whole webcast was nice!
Especially liked some of the DJ sets track list..
Burial, MIA etc...
And Bicycle helmets!
Yeah that whole webcast was nice!
Especially liked some of the DJ sets track list..
Burial, MIA etc...
And Bicycle helmets!
i agree namhenderson!
i agree namhenderson!
i agree namhenderson!
dec 3 today - super expensive disc box supposed to ship
I received an email confirming that my discbox has been dispatched...
5-18 days to the US though. Sea & ground shipping. For $80 you'd expect they'd send it airmail.
Listening to House of Cards right now. Nice.
...and i'm hoping the postman conceals the package, like usual, behind a bush or behind the sideyard gate if no one is home. there have been instances when i came home and found a package from an online purchase by the front door where any passerby can snag it...
and if i was a thief, i have seen packages on the front steps or by the front door of people's houses while walking...
got my discbox today. it's nice. well constructed and packaged.
unfortunately the cd still has the same shitty blown-out mix. How the hell do you decry the damage the record industry has done and then put out a cd that hovers around -5db RMS? Fuckers.
what? that quick? what city are you in...damn...let me check my front door to see if mine arrived
I'm on the east coast. coming from england, west coast will probably be a few more days (i assume)
i wonder how many boxes they sent out for this batch...it must be amazing to see crates full of radiohead discboxes being unloaded into the east coast port to be distributed throughout the states...
there's already some ebay listings
i went for the download and put 0 in the box, like most of the planet i think.
didn't get the bonus tracks though. if you're a cheap bastard like me then torrent hunt for those.
=
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John Leckie, an Englishman, wrote some kind of paper on electronic music that he gave to Abbey Road studios as a resume. They hired him and he was an in-house engineer for years there. During this time he worked with Pink Floyd, all of the Beatles individually, and lots of other bands. Eventually, he got into producing freelance and is in very high demand.
he produced...
I heart The Bends.
It's my favorite radiohead album; moreso, for the fact that it elicits pure nostalgia.
What do you feel have been the most significant changes in audio technology during the years you've been making records?
I've actually been reading about the entire history of recorded music recently, and it's fascinating, absolutely fascinating. We take sound reproduction for granted, but we don't remember that just 100 years ago, the only time you could hear music was in the present, when musicians were actually performing. When the performance was over, it was gone...
as far as production goes, i think thats one of the reasons that Kid A is not only my favorite radiohead album, but my favorite album... period.
The quality of the sound, the complexity of the composition and yet the clarity they were able to capture blows my mind.
Songs like Kid A, Ideoteque, Everything In Its Right Place, How To Disappear Completely... i dont think they could sound better than they do. Amazing depth in that album... like built to spill says
What a sound straight through my spine
Bounced off me
Makes me round
3-D sound
Push it down move it around, see I'm fine
I tend to view it as a photograph, but it really depends on the artist I'm working with. If the artist has a very strong personality and the musical sense is highly developed-perhaps they've already been performing the songs live for years-then it would be crazy for me to develop a fantasy sound picture. In that case, they've hired me to present them in their best light. Making a record is really all about presentation, so I think it's up to me to take the best picture rather than create an artifial thing. The worst thing about that approach is that it takes forever, and you have to be totally into it, every day for months and months and months. The possibility of losing focus is high, and the possibility of having a life outside of the studio is low; that's the price you're going to have to pay. It's also very difficult to do within a limited budget and time period. Many artists desrtoy themselves by sepnding so much time making records, because they've got so much more to offer. If an artist spends a year, two years, three years in the studio. when they come out, their life has really changed-I know my life changes when I haven't been out of the studio for a long time. They find it hard because they lose the connection they have with the audience; they can't exist on their own.
That's the biggest problem for people working on their own in project studios-knowing when enough is enough. What criteria do you use to make that decision?
I think you have to be aware of the people who are going to buy your records. If you're sending out demos and not getting any response, it's probably because you're not making your recordings for other people, you're making them for yourself. Very often, bands will take an obstinate stance: "This is our third album, and we're going to make this record for ourselves. We're not going to have any singles, fuck the record company, we're going to do this for us." And usually it's shit. Sometimes it's interesting or off the wall, but that's as far as it goes.
-John Leckie
Sure it's a fine line. But if you want success-if you want to take it a little bit further-you have to be aware of your audience, too. You have to ask yourself, what is it you want to do? Do you really want a record deal? Because if you get a record deal, your life's going to change. People working in home studios need to ask themselves if they really want to do this, or if they just want a CD in a cardboard box that they can give to their friends and family. If you just want that, that's easy to do, and you don't need a record company. But if not, you need to ask yourself a lot of tough questions: Do you really want to go further? Do you really want to sek out a management? Do you really want to change your hair color, or sit through a photo session, or make a video?
Because if you sign a record deal, you just don't go into a studio and do records, You're expected to be a video film star, you've got to look good in photos, you've got to be controversial in interviews, speak sense and yet relate to kids. And right at the bottom of the list, o, by the way, you're expected to write songs as well. Youve got to have a great voice, you've got to have a great band of musicians, you've got to have your business all together, all that stuff. Just writing songs is a very small part of it.
discbox has arrived in los angeles ..
discbox has not reached the san fernando valley...
discbox has not yet reached idaho.
has anyone listened to the vinyl? is it better quality? does it come in a gatefold? i don't know much about what the numbers mean, i only know how my ears and brain process the music, and i just want to blast the record from my turntable when i get it.
i think the reason why it is being dispatched via land and sea is due to the band's environmental consciousness.
what kind of turntable does everyone have?
i have this old adc accutrac 4000. i replaced the cartridge with a stanton but had to do a little modification to make it mount on the weird arm. it's missing the tonearm weight so i had to ghetto style it with a stack of washers. i'm not getting a lot of bass with this turntable though.
i wanna see your collection too!...i love seeing other people's crates, prized possessions, and thrift shop/goodwill gems...
my recent favorite lp is antony and the johnson's i'm a bird now. love the sleeve and the label on the record.
dammson i sense a new thread... like the idea.. will post some images later
well?? what do you guys think of the in rainbows package?? i got mine - very impressed. art is...splashy
but
my second cd is burned. like during the burning process, the laser stayed in a spot too long and just jacked a hole into it.
not pleased.
emailed w.a.s.t.e.
nada.
any suggestions?
production CDs aren't burned with a laser...they're stamped.
a hole in the disc is probably a packaging mishap...they should send you a new one.
take a pic of the disc and send it to them...also post it on ateaseweb.
I've avoided getting into vinyl...mainly because I'm kind of OCD when it comes to collecting things, and getting into vinyl would probably bankrupt me. I do have a handful from tour 7" and special editions like the in rainbows box set, but mainly I just transfer rare things and different mixes to high res digital and put them in a box for safe keeping. The local Hi-fi shop is starting to get a little suspicious when I ask to "demo" the Linn LP12 again, so I haven't listened to the in rainbows LPs yet. If I hear about it being a more high-fidelity mix, I'll try and do (or find) a transfer of it.
wow 'house of cards' on disc 1
now '4 minute warning' on disc 2
my new faves
so good
thank you, radiohead
so, FRaC, is the 2nd disc of material good?
I like the second disc...up on the ladder is great. should have been on the album
bangers 'n mash is less chaotic than the live versions.
oh.
will do!
bangers 'n mash is much less chaotic, but this album version is fantastic...
might be the 'coolest' song they've done sing talk show host... or maybe the start of transatlantic drawl... or electioneering... you get my drift
the packaging reminds me of some of peter saville's work for factory records . will radiohead open a hacienda next?
discbox has [strike]not[/strike] reached the san fernando valley...
more of the sleeve...
i still have not received mine and those pictures are like spoilers!
there should have been some sort of alert!
:)
ah mybad...
it's better in real life
:)
in case you missed last nights webcast
http://current.com/radiohead_s_scotch_mist
The webcast was awesome!!!
They are so nice for giving all their fans a free concert !
What a laugh....
I love how the presenter/host basically told Lilly Allen to shut up and schooled her on the financial numbers re: the "free record"
great balls alive... they are amazing...
arpeggi and videotape are amazing... as is the version of 15 steps.
also... a tour is coming!
no dates yet, but these cities have been mentioned...
Atlanta
Boston
Charlotte
Chicago
Cleveland
Dallas
Houston
Indianapolis
Los Angeles
Miami
Montreal
New York
Philadelphia
San Diego
San Francisco
Santa Barbara
Seattle
St. Louis
Tampa
Toronto
Vancouver
Washington, DC
maybe the city of chicago will let them play at millennium park this year
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