[jusswerjk]

I'd like them to see them do it themselves with no outside influence

[New Zealand]

yeah same

[GeckoSushi]

El Camino wrote:

It would be great if he just came on this forum and told us personal stories about hanging around and recording with AC and Sun City Girls.

[El Camino]

lol yes that would be preferable actually

[Ethmin]

Hash is really anal about this topic but I think he's totally right to be. That's a great hash tag hash. TAG

[New Zealand]

thanks


I wouldn't care as much if Geologist hadn't specifically said more than once that they produced their own albums.in response to people on CA and other people calling their engineers "the producer". Plus I want the band members to get the credit they deserve as producers, not just as songwriters and performers, since their production is one of the coolest things about them.

from CA2:

wrote:

First off, we don't work with "producers". we've always produced our own records. not to take away from the engineers we've worked with because their talents and techincal know-how has played a big role in helping us achieve what we want, but we've always done the orchestration, been in charge of how a record sounds, and picked the songs we record and how the album is sequenced.

from this interview:

wrote:

The media always calls everyone we work with a producer. We produce our own records we just hire engineers. The people we work with have been producers for other people. Scott Coburn’s produced people, Rusty Santos has produced people. Ben Allen is the most well known producer, he’s produced a lot of mainstream stuff like Christina Aguilera, he was Puff Daddy’s engineer for a while and he’s worked with Danger Mouse on the Gnarls Barkley record. We were very explicit when we hired him that we just wanted him as an engineer and he was pretty cool with that. We ended up crediting him as a co producer because after the songs were already recorded and we had done all the pre production when it came time to mix the record there were certain things that we weren’t happy with. He was really good. He had about 5 or 6 really crucial moments on the record where we were not happy with a certain part of a song and he said that he thought he could do something mixing wise to really help it out. Normally when someone does that we would say absolutely not, we produce our own records just as a principal every idea on the record has to be ours. But this time just because he came from such a different background from us, this hip hop thing we were really curious as to what his ideas were. so we would say ‘why don’t you do what you have in your head,’ and he would do it and it would be fucking awesome. So it felt like we were co producing with him.

[Ethmin]

Great quotes, hadn't seen those before. Gah I love the boys.

[lhtd]

Hash, this is a tired debate but I think that you completely misinterpret what engineers actually do. Yes, AC have made it quite clear that they don't let people producer their records in the way Rick Rubin or Steve Albini do - as in letting a person dictate their sound or control the sequencing. But speaking as a person trained as an engineer, so much of the sound that you hear on records can be attributed to the engineer. Bands often have ideas and sounds, and what a good engineer does is work as a translator that helps takes that vision and actualizes it as transparently as possible.

I don't know. You're whole crusade against the ideals of producers really rubs me the wrong way. Rub a bit higher.

[coollodges]

I think what hash is saying is that ultimately the band has the actual "voice" in what is happening and like you said, dyland, the engineer then helps them track things in a certain way to get the sound they want with different rooms, mics etc. I think you are both right and this is a rather silly argument. The band said basically what you said in that quote dyland.

requote wrote:

not to take away from the engineers we've worked with because their talents and techincal know-how has played a big role in helping us achieve what we want, but we've always done the orchestration, been in charge of how a record sounds, and picked the songs we record and how the album is sequenced

[New Zealand]

yeah I hoped that would be clear. I know we've discussed this before dyland, and I'm sorry for rubbing your the wrong way. I'm just saying "they are engineers not producers". I'm not responding to anyone who thinks Scott's help with the production was good... just anyone calling him the producer, or thinking that if he was the producer of their next album then it would sound like Feels or Strawberry Jam because all of the way the album sounds is all just because of his work, or thinking that it would be good for them to give a producer creative control over the recording. Because stuff that, why would they need to give that control over completely after 14 years of producing/co-producing albums?

I'm biased though because I always appreciate people self-producing in general.

[vilent_sibrate]

Speaking to the whole engineer/producer discussion....

I've always (albeit to myself) credited Deakin as co-producer to Down There because as an engineer myself who uses the same DAW as Deakin did for that record, there is so much post production and recording nuance that seriously effects the way that entire record sounds. I can pick out tons of instances on that record where I know exactly what plug-in Deakin is using, and unless Avey did some engineering/mixing on it too, credit for some of the overall sound of the record should be given to Deakin.

So, AC is cautious not to use the word 'producer' because they know what it means to most of the listening world, even though they surely acknowledge that an engineer's touch, expertise with certain equipment, background, ear, training, and tendencies show up all over every record they've ever used an outside engineer for.

[New Zealand]

Yeah you're probably right.


I guess it would be best to talk to Deakin and Avey about something like that too though, you can never really know by guessing.

[El Camino]

Ahh man yeah I keep forgetting that Colby was the engineer for those albums for some reason, probably got confused because he produced a lot of Sun City Girls stuff so I thought he was just a producer.

But yeah I would be happy with AC getting production duties but Scott Colburn would be my top choice for extra studio work.

[archie]

garageband

[New Zealand]

(Logic)

[IkoOvo]

fl studio

[coollodges]

Microsoft Songsmith™

[IkoOvo]

Cakewalk Music Creator

[StrangeClams]

little known fact: all the Spirit They're Gone Spirit They've Vanished was recorded using MTV® music generator for Playstation.

[New Zealand]

Scooter wrote:

vilent_sibrate wrote:

Speaking to the whole engineer/producer discussion....

I've always (albeit to myself) credited Deakin as co-producer to Down There because as an engineer myself who uses the same DAW as Deakin did for that record, there is so much post production and recording nuance that seriously effects the way that entire record sounds. I can pick out tons of instances on that record where I know exactly what plug-in Deakin is using, and unless Avey did some engineering/mixing on it too, credit for some of the overall sound of the record should be given to Deakin.

So, AC is cautious not to use the word 'producer' because they know what it means to most of the listening world, even though they surely acknowledge that an engineer's touch, expertise with certain equipment, background, ear, training, and tendencies show up all over every record they've ever used an outside engineer for.

Which DAW did he use?

Logic.

[meetthelightchild]

vilent_sibrate wrote:

Speaking to the whole engineer/producer discussion....

I've always (albeit to myself) credited Deakin as co-producer to Down There because as an engineer myself who uses the same DAW as Deakin did for that record, there is so much post production and recording nuance that seriously effects the way that entire record sounds. I can pick out tons of instances on that record where I know exactly what plug-in Deakin is using, and unless Avey did some engineering/mixing on it too, credit for some of the overall sound of the record should be given to Deakin.

So, AC is cautious not to use the word 'producer' because they know what it means to most of the listening world, even though they surely acknowledge that an engineer's touch, expertise with certain equipment, background, ear, training, and tendencies show up all over every record they've ever used an outside engineer for.

just tell us all what the plugins were so we can replicate all replicate it and sound like avey

Spoiler: show

or better yet lol, make a series of tutorial videos on youtube on how to remake Down There with a brostep tutorial channel aesthetic

[P nu]

The cover of Tomboy looks exactly like my mom when she was a young woman. Like hauntingly similar.

Also my mom was apparently a tomboy when she was a kid.

Is Noah my real dad?

Hope so.

[New Zealand]

lol

meetthelightchild wrote:

just tell us all what the plugins were so we can replicate all replicate it and sound like avey

Spoiler: show

or better yet lol, make a series of tutorial videos on youtube on how to remake Down There with a brostep tutorial channel aesthetic

lololol

[Dearest]

Has anything important been announced in the past 6 months or so?

[StrangeClams]

Dearest wrote:

Has anything important been announced in the past 6 months or so?

lol no

[vilent_sibrate]

just tell us all what the plugins were so we can replicate all replicate it and sound like avey

Spoiler: show

or better yet lol, make a series of tutorial videos on youtube on how to remake Down There with a brostep tutorial channel aesthetic

[/quote]

Haha that's hilarious. It was pretty interesting because I heard Down There and some things sounded familiar but I chalked it up to that nostalgic feeling that the AC brings. Then I think I read in an interview, or someone asked Deakin, something... i don't know, that he used Logic and it all made sense. Most of the pitch shifting effects were done in Logic, which is different because Avey usually relies on his DigiTech vocal effect pedal for shifting vocals (like in #1). A lot of the delays are also Logic plugins. I don't want to make it sound like they were lazy and just 'threw on some sweet delay bro" because all the effects I could pick out I could tell were heavily automated. Some of the things he does (I have to keep some secrets out of respect for the boys and their process) are super innovative and very time consuming.

I bet Deakin had the time of his life engineering and assisting with the mix for that record.

[vilent_sibrate]

I too think they should ask Scott Colburn to engineer the next record, and keep the production in the Animal family. If anyone keeps up with Scott, he has a really cool solo music project, and to my knowledge still engineers and produces. A friend of mine did a tour with him where I was lucky enough to grab an opening spot. Anyone familiar with Dada Trash Collage? Dude's new record was produced by Scott.

[TetsuoUnderFire]

Avey Tare used a Moog Concertmate G1 Realistic synthesizer on Down There. He told me at U Street Music Hall when I spoke to him.



It was his main synth on the album if I'm remember correctly, or at least for the solo shows he did in 2011. You can find a VST replica of it online called "realism synthesizer".

[soundcloud]http://soundcloud.com/quasr/laughing-heiroglyphic[/soundcloud]

I used it for this Laughing Heiroglyphics remake.

I wonder if he ever listened to my demo....if so I wonder if he liked it. I like to think he jams to it now and again.

[IkoOvo]

vilent_sibrate wrote:

Anyone familiar with Dada Trash Collage? Dude's new record was produced by Scott.

I think Scott has worked on a few DTC records.

[Dearest]

StrangeClamsSequel wrote:

Dearest wrote:

Has anything important been announced in the past 6 months or so?

lol no

Lol k thx

[archie]

vilent_sibrate wrote:

just tell us all what the plugins were so we can replicate all replicate it and sound like avey

Spoiler: show

or better yet lol, make a series of tutorial videos on youtube on how to remake Down There with a brostep tutorial channel aesthetic

Haha that's hilarious. It was pretty interesting because I heard Down There and some things sounded familiar but I chalked it up to that nostalgic feeling that the AC brings. Then I think I read in an interview, or someone asked Deakin, something... i don't know, that he used Logic and it all made sense. Most of the pitch shifting effects were done in Logic, which is different because Avey usually relies on his DigiTech vocal effect pedal for shifting vocals (like in #1). A lot of the delays are also Logic plugins. I don't want to make it sound like they were lazy and just 'threw on some sweet delay bro" because all the effects I could pick out I could tell were heavily automated. Some of the things he does (I have to keep some secrets out of respect for the boys and their process) are super innovative and very time consuming.

I bet Deakin had the time of his life engineering and assisting with the mix for that record.

i dont understand how you can pick out different delays? u must have super ears

[StrangeClams]

[soundcloud]https://soundcloud.com/dj-persona/brother-slam[/soundcloud]

[coollodges]

lol sick.

tetsuo, I really liked the way that synth sounded on yr cover.

[Vovenarg]

same

[meetthelightchild]

hey guys

suddenly this came to my mind

would you agree that the lyrics to Amanita reference the film Spirited Away?
[as well as shrooms but anyway]
they did mention the studio as an influence according to that spin article

[GeckoSushi]

I could see that. Personally that song reminds me of Jumanji

[lhtd]

Do you mean Studio Ghibli? And anyone have a link to that Spin article?

[jfw7]

http://www.spin.com/articles/the-animal ... centipedia

[lhtd]

Thanks, yo

[Gool Aid]

so rad avey was into apples first record! makes a lot of sense to me, comin from a pavement fan