He seems like a high class producer, so hopefully a raw but clean sound. And hopefully there will be some volume flux, stand up was mono-tone in this sense (of course due to much help from complete mono-tone drums). But I find music is always better when the musician pays close attention to the volume for individual sections of songs (see damien rice)bense27 wrote:exactly what I meanttbillie41 wrote:Maybe he meant that he'd found that signature DMB sound. That old school, raw, open sound.taparoo wrote:Nitro1515 wrote:http://nab.broadcastnewsroom.com/articl ... ?id=105341I'm probably reading into it WAY too much"...Less cymbal splash, more low end and a rock bottom that worked exactly the way I wanted in that room. I immediately knew I had it.”
I pointed out into the room at the two mics -- which ended up giving me about 80% of the total sound I wanted for the record.”
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What are you guys talking about? That article has no mention of Steve Vining the producer, it just a little tidbit with Steve Miller an engineer.carter29 wrote:He seems like a high class producer, so hopefully a raw but clean sound. And hopefully there will be some volume flux, stand up was mono-tone in this sense (of course due to much help from complete mono-tone drums). But I find music is always better when the musician pays close attention to the volume for individual sections of songs (see damien rice)bense27 wrote:exactly what I meanttbillie41 wrote:Maybe he meant that he'd found that signature DMB sound. That old school, raw, open sound.taparoo wrote:Nitro1515 wrote:http://nab.broadcastnewsroom.com/articl ... ?id=105341I'm probably reading into it WAY too much"...Less cymbal splash, more low end and a rock bottom that worked exactly the way I wanted in that room. I immediately knew I had it.”
I pointed out into the room at the two mics -- which ended up giving me about 80% of the total sound I wanted for the record.”
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