Thank you Baldy … it gets tiring after a while ( I’m trying to exercise patience, but that’s long gone …).
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Just downloaded the new Enmanuel Alexander release. I’m really enjoying it. I only wish PSA would provide liner notes for their releases. Seems like I get them only half the time. Even if you took all the information off the webpage you have for the album and stick it in a PDF that would be fine.
The best (most open, least restricted) sounding track I heard so far of an Octave recording (although a bit odd due to the sax either left AND right or with a strong reflection) is Shep‘s dream from Jeremy Mohney out of the bass sampler. But there’s no own album with this track. I wonder if the samplers repeatedly inherit tracks of upcoming albums?
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Thanks. That was done live in Octave studios which is a very live room.
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That’s really a good one, it has air and openness in the mids! If different recordings there sound so different, I assume mic placement and different mics are the reason?
When you say „live room“, do you mean it’s not overdamped? As the size and natural reverb can only have the extent of the room as it is (which is probably much smaller than even a small live club)…
For me the main disadvantage of quite big, otherwise impressive sounding rooms with larger mic distances, is lesser dynamics and immediacy.
The Passacaglia organ track also sounds great.
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There was quite some forum announcement around the participation of Gus Skinas at Octave Records, but I didn’t notice anything about him or read in terms of engineering credits since quite some time (roughly around the change towards FR30 Monitoring speakers). Is he still with PSA/Octave? Did just I miss any news of the past?
Yes, he does all of our mastering. You’ll see his name on every release.
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Thanks, the problem might have been on my side. On the Octave pages, I just found other three names mentioned for the recording, and I didn’t have a PDF in my last download or find a source for it to look for further information.
You don’t seem to include pdf’s in the downloads (I had it in the Bach Cello recording but not in the Mervine remaster anymore, are they linked somewhere?
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I finally found the section “recording” now, where every participant is mentioned, sorry I overlooked it, I just made it to the first abstract before, where only the recording staff was mentioned.
Can you tell when you as mixing engineer stop fiddling around with tonality works and hand over to the mastering engineer? Or does the latter just sequence, level otherwise finalize if it’s a new production and no remaster?
And regarding the Mervine remaster I remembered you remastered it…but within the credits you’re mentioned as mixing engineer and Gus as mastering engineer. I recognized its remixed AND remastered, but do you really stop after sorting out the soundstage and leave all the tonality stuff to Gus?
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