Archives: August 2007
That's the general idea I'm going for. American Apparel heather grey ringer t-shirts. I'm waiting for a quote right now.
In other news, Shepard Fairey was on the Henry Rollins Show last night (in my opinion, the single best television show produced in the United States) and his interview got me thinking about subversive iconography and such. I was actually somewhat inspired by the whole thing, to the point where I'm entertaining actually making Analog Industries stuff. Say, for instance, I made a nice vinyl AI sticker with the Space Invader saying something subversive. If you could Paypal me a buck and get a couple of them, would that be something you found interesting?
The topic today: mastering in the home studio. I'm personally of the impression that the whole L3 "squish it 'til it bleeds" method is seriously detrimental to the quality of your music. Since most people will be listening to your music via MP3, and in the unlikely event you're played on the radio, they'll run it through their own brutal compression algorithms, is it necessary to have every tiny sound slamming 0db at this juncture?
What's your favorite 2-buss treatment and finalizing method? Please extemporize.
You can hear the "OFFSET" parameter used to good effect in that little clip; that's what's causing the wide stereo imaging of the flange effect. (More obvious in headphones, of course.)
As far as dev goes, we're done with the VST versions, and Adam says he's about 2/3 done with the AU. What I take that to mean is "I have all the files and code in place, but I haven't yet begun to fight with this ridiculous SDK and any of the stupid changes that Apple has put in to it while we weren't looking." I could be wrong there; it's only been like a week and a half since the last build of Dr. Device, so how much could the AU SDK possibly have changed?