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Danhedonia's Achievements


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  1. It would lend great color to the article to cite examples of each type of reverb, e.g., "Dick Dale's 'Misirlou' is a great example of classic spring reverb."
  2. Have not had at the Eventide products, but after trying out most consumer-level stuff I just sat down on Valhalla Vintage Verb and EchoBoy. Not much you can't do with those, price is right, sounds great, and nice intuitive interfaces.
  3. I don't wish any business to fold, but a couple of points: * The home recording revolution has IMO really brought a lot more good music to the fore. Workers controlling the means of production is a thing, an important thing. * Some great records were also made in studios that really aren't that romantic at all. The Spacemen 3's "Perfect Prescription" - which many consider not only a classic of creativity but also of a certain sonic aesthetic - was done in a couple of super non-special rooms in a building that featured cinderblock construction.
  4. So, I honestly have NOT thought this through, but the other day I recommitted to working with music. I do know that my record label will resume 'activities,' but goodness knows what those will be. My perception is that there is zero money in small-scale recordings, so I may as well become a 'demo producer,' and try to encourage artists, perhaps splitting costs with them as they attempt gig-friendly indie releases. Or not, who the hell knows? It is most important to do things, and see where the results fall. I'm old enough now to help others make music for the simple joy of doing so, and if more than that happens, great.
  5. There is so much to be said for the magic of specific studios and rooms. Vibe, history, gear combos that produce(d) a certain sound ... it honestly makes me sad as hell to see it all go away. On the other hand, New Mexico has some terribly inexpensive real estate and is a good environment for creative types. Keep hoping that someone will open something here ...
  6. When I was manufacturing CDs, I really liked being in control of the packaging vs. letting someone one-stop it. Everyone has preferences. I'm just thinking that if you had control of the situation (e.g., could always whip off another 100 CDs), you would experience some financial relief.
  7. Reading and wondering: why DiscMakers? At this point in time, is it not cheaper to buy a high-end duplicator and do runs of 100 at a time yourself? Issues with a bar code? Explain? And it has been at least 15 years since I was hands on the manufacturing end of indie releases, so if I'm out of touch, yeah, I'm out of touch.
  8. I used to get very decent mastering at $600/day. Mixing was definitely on a sliding scale, but I got $80/hr. Both folks had either Grammies or multi-plat, and were colleagues but not party friends. In other words, is it really that big of a stretch?
  9. "Just to put this to bed, I changed drummers. One of the best decisions I ever made." I'm glad you took my advice, and look forward to my 15% management fee on your future earnings!
  10. His posts on the Velvet Rope were incredibly funny, but I feel like it became one more schtick ... But still. I'll never forget the character "Fingaz." I knew a couple of those kids ... scary types.
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