Danny Danzi

trimph1


mmmm....self recordists? what be this creature? 


I  am really not that good as a muso so I tend towards a kind of ambient/drone/pastoral/whattocallit kind of material.  So I tell myself anyways. Now, here is the thing..when I am tracking I am doing this, sometimes, with those crappy sounds as well...think about stuff like hearing a far off station that is fading in and out and another station that seems to be fighting for control of that frequency, or just oscillator drift on my Arp2600...so, to me, crappy sounds end up working into the mix simply because they become the background for the matrixing...at least I suppose.. Once I get doing my tracking I tend to let things happen...ohno ohno...a John Cagism just happened.

Ah trimph, don't confuse crappy sounds with authentic, classic Arp sounds brother. That was a cool synth for the time and still has it's strong points. I had the same one you have. It got stolen in a huge gear fiasco years ago. They wanted that Arp more than they wanted our drum kit. They stole our pa, both my Marshall cabs, my rack, the bass gear...it was horrible. But that Arp was an interesting piece. And that "whattocallit" stuff is usually good music for the head. Kinda atmospheric and spiritual. Mood music....let it fly brother and share some with us sometime. :)
 
-Danny

I just caught this this morning..where was my head at?


I know what you mean on the ARP...it's just that some of the sounds that come out can be quite raunchy!! As it is I've been doing a fair bit of work on a couple of modular synths that I've been reworking and those things are just monsters when it comes to sound! 


Meh..when it comes to tone on my guitar..weeelll...that remains to be seen/heard. I do tend to use a LOT of processing on the thing ...like I do with everything else in here. lol!! 

Thanks for the support 

batsbrew

montezuma


Monitoring environment?

BINGO!




should be #1.

 
or inspiration/performance should be #1.  Or sampling should be #1.  JMO/IMHO: please consider:
... or is it ARC, headphones, multisystem monitoring ..., etc.?
 
Monitoring environment, while a necessary factor is not #1.  This certainly sounds like circular reasoning to me (in this thread that stresses nailing 'great tracks'). 
 
Great tracks evolve and are created from within and without.  I can not separate the 2.  Whatever it takes.  Nailing them takes time and chance, not just performance monitoring.  Golden ears also come into play.
 
IOWs, Great tracks ("well recorded tracks" in your words) have a lot of beautiful song-schemes going on "in our heads".
 
(Then again, I'm a bit neurotic)
(EDITED for incoherency and my confusing monitoring with mix-monitoring)

batsbrew



pristine recording AND awesome performances!!

LOL

+1000 Hahahahah!
 
Except for the kick drum (lol) in today's dance-driven environment.
 
 
OTOH:
 
 
Still, its great to have some solid scratch sketches, house-plans, and song schemes: whether the song is written in a few minutes or few months.
 
 
Personally I love a strong kick vibe ... that track must not to get drowned in a mix. The kick must be isolated and dealt with by the composer-producer-mixer ... with additonal efforts.
 
I'd have to say Danny Danzi knows how to balance pristine recording and awesome performance ... on the dozens of tracks I've enlisted with him (vocs, drums, guitars, MIDIs) the last 12 months.  But consider:
 
1) Often, Danny meditates/digests on a scratchy song sketch a day or 2.
 
2) He makes track sketches (that he oft hides from me) :)
 
3) He performs ... finally, sometimes after a week or 2.  ... else he performs quickly, after a few minutes, when the muse slams him.
 
4) His signal chain, not always pristine mics, consistently captures astonishing vibe and performance to be priceless (for my aspiring productions)
5) He employs awesome fx's that sync with pop.  His drums contain fx's (about 8 or 10 tracks (each with fx's) going into a drum buss with yet additional fx (like soft reverb) ... that is aimed at commercial pop.
 
6) Nevertheless, anticipating fx's in the low end, I communicated: and requested a dry kick-track separately from all the wet stuff (snares, bells, toms, etc.).  The problem is ... on hind-site (or whatever the idiom is called) ... I usually prefer not to interefere with someone higher than myself ... when it comes to making great tracks.
 
(EDIT: Re-worded #5 and #6 for grammar and errors)
Regarding #5 & #6: I think Danny was spot on and top-drawer for a commercial feel, but my personal artistic needs caused me to focus on the kick.  Art vs. commercial is difficult ... we establish both I'm afraid.
 
In Sum: My own validation is: mixing paradigms do evolve and conflict ... regarding the most important elements of mixing.  What is pop itself may be mis-interpreted by myself and others (myself mostly); its impossible for me to be 100% perfect here. 
 
Paradigms are established by each of us and pop audiences.  Also, there is a great amount of blessings and love involved in making songs.  To somehow find and keep a serious top-drawer 'Danny' who is willing, enabled, inspired, etc. ... truly is a Godsend, IMHO.