need d.j. advice
- Thread starter shem
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PapillonIrl
New member
Hey ! Someone who's into Portishead ! On this BBS !
Portishead have been very inspiring to me, both their music and their attitude to making it. Here's an exerpt of an interview with band mastermind Geoff Barrow, from Addicted to Noise magazine.
Addicted To Noise: Well, first of all, I wanted to ask you about how you view recording and making records. Because it seems like you are really trying to push boundaries. Even the way you look at making records is very different than a lot of people.
Geoff Barrow: It is. I suppose it is really. The way that we do it just seems natural to us. There's never any boundaries of recording. There's nothing you can't do. To achieve a sound on a beat or on a vocal or on a guitar or whatever, there's nothing that is wrong to achieve that sound, you know what I mean, in the sense of technique to make it sound like that. The restrictions of recording techniques during the 1980s was so huge with so-called professionalism. You have to record a drum kit with like 30 microphones, you know what I mean? It had to be done in a room that sounded a certain way. We still go along in the sense of a room that sounds good. But in the '80s it was so limited and so technology inspired that everything had to be cleaner, everything had to be tighter. It kind of squashed a lot of the emotion and mistakes and all kinds of things that go to make good music out of the music. It was just a weird state.
We just record in loads of different ways. We put stuff on tape. We put beats to vinyl, then we sample them. We stick things through little amps and re-record them again. Usually, the crappier the machine, the better it sounds. It's the way that we work. It's weird because we've got Dave [musician/engineer Dave McDonald], who's done years of recording and engineering and co-production and we've got Adrian {Portishead guitarist and studio ace Adrian Utley], who's very, very purist about sound in the sense because he played jazz for over 20 years and loved the original jazz recordings. [Producer] Rudy Van Gelder and people like that. The sound of Blue Note [Records].
...There's never any boundaries of recording, there's nothing you can't do....
And for me, I've always been into hip-hop, which is the other side of things. But we're all inspired by old records, old vinyl. And we love the sound of old vinyl. And so when we sample something or when we even make a sample ourselves, which we have done on this record, to incorporate the sound of vinyl is as important as the instruments playing.
So there ya go.
pAp
Portishead have been very inspiring to me, both their music and their attitude to making it. Here's an exerpt of an interview with band mastermind Geoff Barrow, from Addicted to Noise magazine.
Addicted To Noise: Well, first of all, I wanted to ask you about how you view recording and making records. Because it seems like you are really trying to push boundaries. Even the way you look at making records is very different than a lot of people.
Geoff Barrow: It is. I suppose it is really. The way that we do it just seems natural to us. There's never any boundaries of recording. There's nothing you can't do. To achieve a sound on a beat or on a vocal or on a guitar or whatever, there's nothing that is wrong to achieve that sound, you know what I mean, in the sense of technique to make it sound like that. The restrictions of recording techniques during the 1980s was so huge with so-called professionalism. You have to record a drum kit with like 30 microphones, you know what I mean? It had to be done in a room that sounded a certain way. We still go along in the sense of a room that sounds good. But in the '80s it was so limited and so technology inspired that everything had to be cleaner, everything had to be tighter. It kind of squashed a lot of the emotion and mistakes and all kinds of things that go to make good music out of the music. It was just a weird state.
We just record in loads of different ways. We put stuff on tape. We put beats to vinyl, then we sample them. We stick things through little amps and re-record them again. Usually, the crappier the machine, the better it sounds. It's the way that we work. It's weird because we've got Dave [musician/engineer Dave McDonald], who's done years of recording and engineering and co-production and we've got Adrian {Portishead guitarist and studio ace Adrian Utley], who's very, very purist about sound in the sense because he played jazz for over 20 years and loved the original jazz recordings. [Producer] Rudy Van Gelder and people like that. The sound of Blue Note [Records].
...There's never any boundaries of recording, there's nothing you can't do....
And for me, I've always been into hip-hop, which is the other side of things. But we're all inspired by old records, old vinyl. And we love the sound of old vinyl. And so when we sample something or when we even make a sample ourselves, which we have done on this record, to incorporate the sound of vinyl is as important as the instruments playing.
So there ya go.
pAp
Pap, that was awesome! Thanks alot, i love P.H. and there site just doesnt have a whole lot about them. Do you play this type of music? Or do you know any sites I could visit to learn more about scratching and this style of music, by the way what is their style of music called? Trip hop? I would like to know, thanks again for the post!
giaschel
Hello.
This is in response to your other thread.
Is 300$ what you can afford? Then this set-up is probably right for you.
In most cases (there are exceptions to that), the amount of money you put in will translate into a certain quality.
Note that, as far as I know, pro DJs don't use a 300$ set-up. It depends on the quality your looking for.
Is 300$ what you can afford? Then this set-up is probably right for you.
In most cases (there are exceptions to that), the amount of money you put in will translate into a certain quality.
Note that, as far as I know, pro DJs don't use a 300$ set-up. It depends on the quality your looking for.