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My “ideas” were meaningless. I was in an unfamiliar technological maze. It took a good year or so to get a grip on the basics.
It seems the greats, Phil Spector for instance, or Floyd on the Dark Side of the Moon, are the guys who hold
on to a, yes, VISION…a vision that is a sound—the technological maze is navigated until, and not until
the prefered sound is rendered…one should do a lot of imagination while writing the song, all the time
anticipating what gear will make it work—make it come true…
…otherwise we become Recording Engineers working for pay, eh ? ( not that there’s anything wrong with that )
Have you seen the movie WHALE MUSIC ? It’s about a retired old fat rock star who lives in a mansion with gear everywhere ( some beautiful reel to reels ) and of course he’s crazy and writes song for whales—but he
gets it so so right…
You guy have all gone through the technicological maze to make the amazing…
My strategy will be to begin with guitar and voice ( i can do tons of Dylan songs as well as my songs )…
This will give me experience in acoustics as well as just plain recording…of course i’ll edit to get the right
guitar, the right vocal, sounds…I’ll be using a $300 suspended mic for voice and an SM58 positioned
right at the the f-hole of the guitar, as well as a Dean Markely acoustic humbuking pick up—that’s alot of sound …there wil be sound bleed, but hopefully not too much to dis-permit a degree seperate treatment…because i want more chunky guitar, and vocal treatment, than most singer/song stuff, eh ?
Yes, the next path is to track all these independent sounds and get them in to the DAW…just to hear it’s seperate treatment of music, audio, my ears…
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