12.01.2020-13:40:40 :: Remember, remember, the velvet November


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minule ma len tak zo srandy napadlo... kedze som v 70 a 80 rokoch nežil, co sa pouzivalo vtedy v studiach? napr ze aky pouzivali ludia DAW ked nahravali kapely, ake mikrofony a tak. ci uz existovali pluginy na mastering atd... vie to niekto? napr black sabbath, zeppelin, metallica a vselijake aj popíky boli uz na tu dobu nahrate v slusnej kvalite, niektore bez šumu. ze co sa vtedy vlastne realne vyuzivalo.

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tak ako sa tu pise. existovaly uz nahravacie konzoly, nahravalo sa na magneticky pas, coho vrcholom boli 24 stope 2" pasy, ktore mohli byt aj viacere zosynchronizovane dokopy. vedeli sa robit overduby a editovalo sa ziletkou. efekty boli vsetko HW, teda kompresory, reverby, eq a dalsie... bola to narocna praca, kazdy mal svoju ulohu. dolezity bola udrzba, servis, skladovanie. aby sa na pas zmestilo co najviac stop, robili sa submixy tak, ze 24 stop sa zhralo na 2 stopy dalsej 24 stopeho pasu, atd, atd... boli to super casy podla mna asi... ja som pracoval na strict analog setupe s podporov pro toolsov a bolo to super. nie je to iba o sedeni, ale aj chodis po studiu, skusas, atd. :)

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v studiach kde nahravali kapely sa v 80s pouzivali 24 stope magnetofony, v 70s 16 stope. 8 track na takych produkciach nestaci. nahravalo sa 22 stop a finalizovalo sa do dvoch zostavajucich. na 2 track sa zhraval az master. v rusovciach v studiu 71 maju takyto 24 track mci v top stave. automatizacia na pulte mohla prist najskor v 90s, teda nie skor ako sa objavil touch fader. vela mikrofonov z tej doby (a este starsie) sa pouziva dodnes. napr. neumann u87, sennheiser md421, shure s55 etc. je toho plno, mikrofony nezomieraju. v 80s daw nebol moc rozsireny, stale to bolo na experimentalnej urovni a komercne sa podarilo presadit az v 90s sonic solutions.
pluginy existovali iba v podobe hw a ten presiel vyvojom od cca od 30s s nastupom filmoveho zvuku, takze uz bol na velmi slusnej urovni. prvy dolby system prisiel v 60s, takze so sumom uz nebol problem. rovnako aj s frekvencnym rozsahom.

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my sme mali 8 stopak, takze sme finalne do dvoch stop robili iba bicie, vsetko ostatne sa muselo zmestit do zvysnych siestich a potom finalny mix na datku.
prve automatizovane fadre boli uz v 70, kedy sa to zacalo realne pouzivat neviem.

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mas pravdu s tou automatizaciou. k nam to prislo o dost neskor, tak ako vsetko

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May, Mercury, and Taylor reportedly sang their vocal parts continually for ten to twelve hours a day.[19] The entire piece took three weeks to record, and in some sections featured 180 separate overdubs.[23] Since the studios of the time only offered 24-track analog tape, it was necessary for the three to overdub themselves many times and "bounce" these down to successive sub-mixes. In the end, eighth-generation tapes were used.[22] The various sections of tape containing the desired sub-mixes had to be spliced (cut and assembled in the correct sequence). May recalled placing a tape in front of the light and being able to see through it, as the tape had been used so many times.[25] A similar story was told in 1977 by Taylor regarding the elaborate overdubs and sub-mixes for "The March of The Black Queen" for the album Queen II. At that time, the band was using 16-track equipment.[26]

Producer Baker recalls that May's solo was done on only one track, rather than recording multiple tracks. May stated that he wanted to compose "a little tune that would be a counterpart to the main melody; I didn't just want to play the melody". The guitarist said that his better material stems from this way of working: in which he thought of the tune before playing it: "the fingers tend to be predictable unless being led by the brain."[19] According to Baker, "the end of the song was much heavier because it was one of the first mixes to be done with automation... If you really listen to it, the ballad starts off clean, and as the opera section gets louder and louder, the vocals get more and more distorted. You can still hear this on the CD. They are clearly distorted."[24]
https://en.wikipedia.org/wiki/Bohemian_Rhapsody

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nahravalo sa na pas, mix mal autamatizaciu a pouzival sa hardware, ktory dnes kopiruju pluginy, v mnohych studiach to maju aj dnes...
napr: https://www.electricalaudio.com/class.php?page=outboard

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ten link nefunguje, malo to byt toto?: https://electricalaudio.com/outboard

inak, sice nie *uplne* relevantne k teme, ale je to prakticky tour po EA and there is never enough of Steve Albini talking: Show Us Your Junk! Ep. 23 - Steve Albini (Shellac, Electrical Audio) | EarthQuaker Devices

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Kamarat si zreparoval Studer A80:

a ma aj Tascam ATR 60 8

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jasne tie kotucaky su mi jasne... ale napr museli to uz niekde mixnut a ze jak to robili napr bez monitora alebo ze ako sa robila vysledna stopa z layerov. co sa pustili vsetky kotuce naraz a nahrali sa potom na jeden?

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pult bol automatizovany, naucil si ho kedy ma pridat, ubrat,... tvoj monitor bol display s casom.
ked si nemal automatizovany pult, tak bolo na pulte vela ruk :)
a vysledny mix isiel na stereo pas. neskor na DAT kazetu.

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V 80desiatich rokoch sa este presle na digitalny zaznam PCM na U Matic video kazety https://www.picclickimg.com/d/l400/pict/123178977490_/Sony-Studio-Video-Cassette-Recorder-VO-9850-U-Matic.jpg pomocou A/D prevodnika. Neviem ci to sluzile len ako master ale zda sa mi ze to vedelo aj multitracking. Napr v BA opuse mali taku masinu a master nahravky od nich z polovice o80rokov a neskor su archivovane preve na U Maticu.

Zaujimavy prispevok v blogu o Opus archive. http://blueneonmonologs.blogspot.com/2018/09/ako-som-navstivil-archiv-vydavatelstva.html

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pouzivali sa viac stopove kotucaky (napr. 8), z ktorych sa potom finalizovalo na stereo kotucak.