A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: Pottel on August 27, 2009, 10:54:23 PM
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found this by accidentally googling chuck, he seems to be a member of this gear freak forum.
start of the avatar part
"Chuck Ainlay
Gear interested
Join Date: Oct 2005
Location: Nashville
Posts: 22
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the quiet one in the back of the room
Good to hear from you Matt,
Bill seems please, we spoke just yesterday. What an honor to work with such a legend among Nashville engineers. When you consider his carreer, engineering for artists like Elvis and Roy Orbison and so many others.
The 20th anniversary of Dire Straits, Brothers in Arms has the original stereo mix of Neil Dorfsman's, although remastered by Bob Ludwig. To do the surround mix I transfered from the original digital multi-track masters and slave reels off of a Sony 3348 HR machine, analog out to Nuendo using the Apogee 16x converters at 96k/24bit. I had to do an analog transfer since the original master tapes had pre-emphisis on and there was no way to strip the emphisis to do a digital transfer. I did the transfer at 96k because there were some analog slave reels that I wanted to archive at the highest resolution. I then mixed through a Neve 88R at Mark's new studio in London, British Grove. The mixes were captured on a second Nuendo system using the Prism eight channel converters, also running at 96k/24bit. Bob mastered the album PCM and resampled to DSD for the SACD release.
You didn't say what you thought of the surround remix. It was very tramatic remixing such a classic album that I have always held with such esteem. Hopefully, you feel I did it justic.
High Fidelity Review is going to publish an interview with me about the surround production of this album that might shed more light on how I mixed BIA. Maybe worth reading.
would you think any of the others is a forum member somewhere??
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and here is more:
Thanks for the compliments. It's nice to know someone is listening. Golden heart was mixed at Air Lyndhurst studios in London on their SSL 6000 in studio 2. Sailing to Philadelphia as a whole was mixed in Air's studio 1 on their custom built Neve but the song Sailing to Philadelphia was mixed at Town House studios on their SSL 9000J.
The Dire Straits album On Every Street was tracked at Air studios when they were located on Oxford Street, in Studio 1, on the same custom Neve desk that is now in studio 1 at the Lynhurst location. I believe the signal path was just a pair of Sennheiser 421's through the desk. Paul Franklin is such an amazing player with incredible tone. What can I say, I'm spoiled.
I usually record Marks electrics with a Shure 57 and a Neumann U67, both mics through Neve 1073 modules. Sometimes I use some compression but mostly not since it really changes the way Mark plays. He's the consumate tone man and his dynamics are so much a part of his style. If I compress him he just digs in harder and the tone gets squashed out. His expression gets lost.
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topic "what gear do you use:"
Like George said I have the ATC 300a's for mains at my studio at Sound Stage. In the lounge I have a bass managed surround system of NHT A 20's that I check for low end conflicts on. I use the old tweeter KRK E8's for near fields and mid fields in surround and I have a pair of NHT M-00's for small speaker reference. At home I use Nova Applause speakers in surround. I also have a surround setup of the Nova Applause S that I use in surround to mix on, instead of the E8's, from time to time but are on loan at Georgetown Masters. (Hank at Mastermix also uses the Nova's for surround mastering) In my production room I've got a pair of ATC SCM 20's that are bass managed. These things sound amazingly like my main speakers at BackStage and I would highly recommend them.
The new line of JBL's are really impressing me as an alternative to any of these speakers.
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and another:
I've been very fortunate to work with some great artists throughout my carreer but no other artist has been more influential than Mark, in my understanding of the difference music can make, in the lives of the people who listen to it.
That said, I've no experience with the Apogee card but I would tend to worry about having both my audio interface and storage media on the same port.
If your currently mixing in the box, give the Trident a try and see if you enjoy it. The hassle might be worth it sonically.
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man I really didn't understand a word from these last posts,never heard of studio recording gear names.Chuck must be one smart and lucky man.
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ok, seems like his last visit was in nov. 2005. still, i simply found it interesting that everyone shits and is a member of a forum somewhere..
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Yes, but some smell like roses when they do. ;D ;D ;D