16368 Views Previous 1 2 Next 26 Replies Latest reply: Jan 28, 2006 7:33 PM by Fred St-Gelais Go to original post
well - i don't think that the powerbook would have had to do much more than tracking. knowing how they work they would have recorded using prism converters (infact that was discussed at the time too), and undoubtedly onto an external firewire drive. i must say - i was pretty surprised too. i don't know how many tracks they used - most likely 24 (which a powerbook would handle fine), but most of the "mixing" is done live with the orchestra. shawn murphy, who records john williams' scores simply sets up the desk and the main reocrding is simply the overhead pair. then he has ambient mics in the room corners. he spot mics as well in case a section needs to be brought out but he's on record as saying that generally they try to do that in the room (ie the orchestra plays louder or softer). it's this old school approach that gives john williams his unique sound.
i might add while we're on the subject, i have quite a few friends in the lso, and they very often (in fact mostly) work without click. JW is legendary for being able to conduct precisely in time and hit markers exactly with nothing more than a big stop-clock and streamers on a projected film in front of him (behind the orchestra). oh for the luxury and experience to pull these sorts of tricks off. they players also tell me that he is one of the best conductors they work with, able to pick out obscure mistakes or problems even in dense textures.
i should also add, that they now prefer to record onto tape these days. analogue is definitely "in".
many people track and sequence in logic but the final mix is usually still done in pt. pt is still the mix format of choice at least here in L.A. Some still use mpc but that number is dwindling. at least 70% of the records that i've worked on and/or my friends have produced (including the hits) have been at least sequenced in logic. Most still track vox in Pt and even more still mix in pt. it will be interesting to see if this changes here in the states over the next few years. it's mainly been a european thing until about 3-4 years ago. i actually got pt and logic at the same time way back at version 4.5 (pre exs 24 or evp88 etc). i ignored logic years but kept working with so many europeans that i had to learn it. i saw where things were headed and new i'd have to get on board.
Many engineers here are having to learn logic because so many producers are using it mainly because of the virtual inst and it is cheaper that pt. the problem is that the learning curve is huge especially for those coming from pt. although you can do many of the same things in logic as pt it is still easier to edit audio in pt where it may take 3 steps in logic to do what it would take 1 in pt. also because there are so many functions in logic that have names that you wouldn't expect (such as "clutch" which suspends groups), it is difficult for a pt user to know exactly how to get to the function he's looking for. also, the arrange window is still not sample accurate and the stereo spread (logic's summing bus) is very narrow and small which are huge issues for potential pt users especailly engineers to who may wish switch over...but they did at least ad the marquis tool which helps a lot.
in the end i think it will come down to economics. if budgets keep getting smaller, big studios keep closing, more high quality logic specific interfaces such as apogee's new ensemble are developed and if the music industry in the us follows the trend of europe where they expect producers to mix their own records, i think you will see a lot more hits coming totally out of logic in the next few years. it really does come down to price/performance ratio.
2" still sounds better than everything but who cares...pt is cheaper and has better price/performance ratio...the same may happen to pt in the next few years.
"after all...we do all of this work for it to end up on an mp3 anyway"
Another one to add to the list is Rennie Pilgrem... He actually uses GB to get his loops sorted, bounces and exports to Live, sorts out all the cuts and things, and then import to Logic for arrangement and mixdown. A great many people use Logic, and although you cannot call everyone on this forum famous, there are many here who are very respected engineers (see Blumpy for example [he had an article on the Apple Pro site!!]). Logic ain't no toy, it's serious stuff. Best, Fred
know Phantom Menace used a Powerbook rig (G3 300) for ADR recording. Are you sure they used it on the orchestral sessions (with logic)? Link?
that's what the engineer who recorded it told me. at that time i was not as technically saavy as i am now, but that was the discussion we had. it actually centred more closely on what a genius the guy was.
this is in contrast with the way LOTR 2 was done. they came within an hour of breach of contract because after the first hour of music had been composed recorded and mixed, they changed the edit and they had to start from scratch. they had specially set up links from abbey road to the savoy where HS was working in temporary studio in a penthouse suite, where mixes where being piped through to him there for signing off. they then effectively "emailed" the final mix (it was a special hi-speed internet link) to NZ where they were doing the dubbing. they pushed the boat out with technology on that, JW just does it with an orchestra.
also, the arrange window is still not sample accurate
yep that's exactly what happens.
he is really old school. he composes on 12-stave manuscript, paper and pencil at the piano. he orchestrates as he goes and even does 1/3 to 1/2 of the full orchestration after writing. nowadays, they change the edits so often and so dramtically, that he hardly ever gets to have anything he has written to picture to the picture he wrote it for. he has editors that edit his orchestration and cues to fit the new pictures before the record, and sound editors to edit it after the record because the pictures may change again.
to give an example - if you have seen the 3rd harry potter film, there is a section on the night bus where the bus sqeezes between 2 london busses. no one told him that was in the new edit - he had to go away that night and write something to stick in between the main body of the cue. in turned out to be incredibly effective scoring. the man is a bona fide genius.
I spent my weekend listening your mix and I like very much Melissa O'Neil mix...
It's really everything "made" in Logic?...
Which drum kit did you use it for example...(acoustic drum)
I would like to ask you many more questions but I don't know if you have time...
Any advice will be appreciated
Dual 2GHz G5 Mac OS X (10.4.3)