another hint...something from 1971Anyone try to zoom in and see what song he had up on the screen? The reference to 'handclaps in the middle' makes me think it's The Who's "Won't Get Fooled Again".
Visconti's Atmos mix of Space Oddity and his 5.1 mix of Young Americans were both great, I hope he gets the chance to tackle more of the back catalog (especially the Berlin albums). SW can't do 'em all.any chance Bowie's original producer, Tony Visconti, might shift ATMOS remixing responsibilities for Bowie's catalogue to Mr. Steve Wilson?
Agreed, both of Visconti's remixes are stunning but the man is 78 [born 1944] and Bowie's catalogue SO expansive, there's only so much one man can accomplish..and I suppose that also applies to Mr. Wilson himself who has his hands full nowadays...but might jump at the opportunity to do so!Visconti's Atmos mix of Space Oddity and his 5.1 mix of Young Americans were both great, I hope he gets the chance to tackle more of the back catalog (especially the Berlin albums). SW can't do 'em all.
And the musical components were drums, bass, acoustic guitar, electric guitar and organ along with the aforementioned handclaps. At first I thought it may be an Atmos mix of Aqualung, but there's no flute! I'm going with Who's Next.another hint...something from 1971
To simulate the analog master tape, or to allow for tape overdrive on the "playback" of the individual tracks.Why would he add an analog tape simulator plugin to a source that is analog tape in the first place?
Indeed, for the same reasons I'm sure Giles Martin is using plugins like the EMI REDD console or J37 tape emulator on his mix bus for the Beatles remixes.To simulate the analog master tape, or to allow for tape overdrive on the "playback" of the individual tracks.
On repeat listens with a critical ear (and a bit of research into studio practices of the time), you can start to pick up on these "signature tones" that come from outboard processing. One example could be the aggressive acoustic guitar sound on Beatles tracks like "Norwegian Wood" or "I'm Only Sleeping" that came from use of the Fairchild 660 unit.He can recognize classic equipment used from the SOUND of a STEREO MIX???
To simulate the analog master tape, or to allow for tape overdrive on the "playback" of the individual tracks.
My assumption would be it was captured clean. Should the mixer want to later add overdrive, they would use a plugin.The multitrack tapes were already played back on a RTR deck. And that output was fed into an ADC to produce the files Wilson gets. Whatever playback-related tape overdrive happened, was captured then.
More on this. He talks about his new album and his approach of trying new sounds/instruments/plugins.
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