All language subtitles for Analog Recording with Steve Albini

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:09,820 --> 00:00:12,580 hi I'm Steve Albini I am an analogue 2 00:00:12,580 --> 00:00:14,860 recording engineer and I make records on 3 00:00:14,860 --> 00:00:18,940 analog tape everyday 4 00:00:18,950 --> 00:00:22,220 I'm at Studio la Fabrique the band ratna 5 00:00:22,220 --> 00:00:23,750 magnificent have agreed to play some 6 00:00:23,750 --> 00:00:25,730 songs for us and I'm going to show you 7 00:00:25,730 --> 00:00:29,090 my normal working methods for recording 8 00:00:29,090 --> 00:00:31,640 mixing and finally producing a finished 9 00:00:31,640 --> 00:00:33,860 stereo master for an analogue recording 10 00:00:33,860 --> 00:00:45,370 session 11 00:00:45,380 --> 00:00:48,230 there's a bit of a magic sound notion 12 00:00:48,230 --> 00:00:50,630 associated with analog tape people think 13 00:00:50,630 --> 00:00:52,280 that the process of recording to tape 14 00:00:52,280 --> 00:00:54,620 changes the sound in some magic way and 15 00:00:54,620 --> 00:00:56,780 that's what makes it good it's very rare 16 00:00:56,780 --> 00:00:59,150 that I would use the tape machine 17 00:00:59,150 --> 00:01:01,790 outside of its normal parameters as a 18 00:01:01,790 --> 00:01:03,980 special effect the session that we're 19 00:01:03,980 --> 00:01:07,700 doing at la Fabrique is a 24 track 15 20 00:01:07,700 --> 00:01:11,090 inches a second using the C Cir EQ curve 21 00:01:11,090 --> 00:01:14,000 all tape machines have a range of 22 00:01:14,000 --> 00:01:16,400 performance characteristics which allows 23 00:01:16,400 --> 00:01:19,369 you to fine tune the session to suit the 24 00:01:19,369 --> 00:01:21,950 music that you're recording now I'd like 25 00:01:21,950 --> 00:01:24,290 to introduce my good friend and comrade 26 00:01:24,290 --> 00:01:26,810 Greg Norman the chief engineer at 27 00:01:26,810 --> 00:01:28,729 electrical audio the studio that I run 28 00:01:28,729 --> 00:01:31,100 in Chicago I'll be playing back a 1 29 00:01:31,100 --> 00:01:34,759 kilohertz tone and adjusting it for zero 30 00:01:34,759 --> 00:01:38,030 on the vu meter which that's pretty 31 00:01:38,030 --> 00:01:40,729 close but it's off maybe a quarter dB 32 00:01:40,729 --> 00:01:42,470 I'll just go back and forth and show you 33 00:01:42,470 --> 00:01:48,270 that's the whole kit and kaboodle state 34 00:01:48,280 --> 00:01:50,810 each of the drums is audible 35 00:01:50,810 --> 00:01:52,490 individually but you can also hear the 36 00:01:52,490 --> 00:01:54,590 sort of ringing interaction between them 37 00:01:54,590 --> 00:01:57,229 so one way to minimize that is to use 38 00:01:57,229 --> 00:02:02,120 dampening on the drums now have a much 39 00:02:02,120 --> 00:02:05,180 drier much more percussive sound so this 40 00:02:05,180 --> 00:02:10,990 is the ribbon microphone 41 00:02:11,000 --> 00:02:16,860 and this is the condenser microphone 42 00:02:16,870 --> 00:02:18,700 and if I play them together you'll hear 43 00:02:18,700 --> 00:02:20,410 that there's a hollow sound because one 44 00:02:20,410 --> 00:02:21,519 of them is out of phase with the other 45 00:02:21,519 --> 00:02:25,269 out of polarity with the other and if I 46 00:02:25,269 --> 00:02:27,310 collapse the signal into mono then 47 00:02:27,310 --> 00:02:29,019 you'll hear the cancellation effect of 48 00:02:29,019 --> 00:02:36,250 the out of phase signals I feel a pretty 49 00:02:36,250 --> 00:02:38,379 heavy obligation to the bands that I 50 00:02:38,379 --> 00:02:41,410 work for to make a recording that can 51 00:02:41,410 --> 00:02:43,360 survive potentially long enough for them 52 00:02:43,360 --> 00:02:45,790 to find an audience and to find their 53 00:02:45,790 --> 00:02:48,450 cultural significance3764

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