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TEEN ARCHER

bikes, bands, basses, baseball • film, vegan food, and nonsense
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Make Us Pay: A Conversation With Scott Evans

Good, thoughtful interview with Scott about recording and stuff. 

steelforbrains:

image

photo credit: Tim C. McLaughlin

Scott Evans is a graveyard shift musician and engineer whose work in both fields has garnered the vocalist/guitarist well-deserved respect from the heavy music community. His primary project, Kowloon Walled City, has long proven themselves an auditory…

worldwarmike:

Recorded Puig Destroyer vocals in this room last night. It was a lot different than what I’ve done in the past for this band/project. Usually I try to find an empty space and record everything there with my laptop. It was great to be in a studio again and I’m glad I was able to work with Andrew from Atlas Moth on this. I was so excited afterwards that it took me hours to come down from the adrenaline and I barely slept last night. I need to do this sort of thing more often.

worldwarmike:

Recorded Puig Destroyer vocals in this room last night. It was a lot different than what I’ve done in the past for this band/project. Usually I try to find an empty space and record everything there with my laptop. It was great to be in a studio again and I’m glad I was able to work with Andrew from Atlas Moth on this. I was so excited afterwards that it took me hours to come down from the adrenaline and I barely slept last night. I need to do this sort of thing more often.

productiveouts:

Dan Otero was literally just claimed off waivers and then released. Oh, look — it happened again! Whoops, the A’s just claimed and released him. Look it up. It’s true! 

Here is our show for the week of 7/7/2014. We hope you enjoy it!

- Open. If we all wish real hard, Dan Otero will become a real boy! (0:00-5:37)

- Emails. Crazy people, the lot of you. (6:20-25:38)

- Combination musical and baseballish guest: Josh Kantor (26:22-46:26)

- Baseball things (46:48-1:16:12)

  • The Jeff Samardzija/Jason Hammel trade: officially crizzazle
  • Halos are rolling but it doesn’t matter because so are the A’s 
  • B. McCarthy for V. Nuno trade 
  • The Astros are having a rough week 
  • All-Star rosters were announced – who cares?
  • When does the Phillies fire sale begin? 
  • Joey Votto out for the season?!?

- What’s next: a brief KWC tour and a fond farewell (for now) (1:16:12-1:20:00)

 EPISODE ERRATA, Ruben Rivera edition

Ruben’s Run by Justin Bopp

 

worldwarmike:

tinyclicks:

JULY 4TH LOAF WALK 2014 USA

I have two loafs. Sometimes we go on walks. It’s great.

best!!

worldwarmike:

tinyclicks:

JULY 4TH LOAF WALK 2014 USA

I have two loafs. Sometimes we go on walks. It’s great.

best!!

velominati:

Cycling art by Otomo Katsuhiro (akira creator). via Viva il Ciclissmo artbook

velominati:

Cycling art by Otomo Katsuhiro (akira creator).
via Viva il Ciclissmo artbook

hermitologist:

Music from Converge, emails from (mostly) Canadians, music advice, and all sorts of baseball chatter. 

productiveouts:

Hello! A short, sweet, guest-free episode for you this week, with baseball, musical advice, and #TRASHDICK for everyone!

- Open (0:00-3:20)

- Emails (4:00-23:50)

- Musical guest: CONVERGE (24:35-32:25)

- Baseball talk: (32:25-58:25)

  • The Giants are crumbling and the Dodgers are rolling

  • Sergio Romo done lost his job

  • Is Jose Altuve a warlock?

  • Are the Mariners actually pretty good?

  • OH NOEZ, GROUND CONTROL

  • Bryce Harper is talking shit again

  • RauLOL Ibanez and the RoyLOLs

  • Giancarlo Stanton is gonna be in the HR Derby and HOLY SHIT

  • Our picks for the HR Derby 

- Musical advice: What do you think about, and how do you approach/interpret your recorded performances? (59:10-1:08:08)

- Puig Destroyer update and KWC tour (1:08:08-1:11:00)

- Goodnight!

specialbored:

Now, we need to make 8 gallons of bug juice by snack hour; do you know where the powder packets are?

specialbored:

Now, we need to make 8 gallons of bug juice by snack hour; do you know where the powder packets are?

Puig Destroyer LP Tracking @ Antisleep, Oakland, CA

(Source: youtube.com)

poordietarychoices:

GOTTA SHOW OFF THAT TASTY SPINASSCH

poordietarychoices:

GOTTA SHOW OFF THAT TASTY SPINASSCH

1,500 notes on this post, which is probably at least 1,000 more than all my other posts combined. Glad folks are enjoying the photos. 

teenarcher:

Throwback Thursday: Blink (pre-182) at Berkeley Square, 1995. 

A band I was in shared management with Blink when they were first starting out. They were still unsigned and they hadn’t yet added the “182” to their name. We played a bunch of shows with them, including this one at the Berkeley Square in August of 1995. 

They were nice guys, but I didn’t think they were anything special. The fact that labels were falling over each other to throw money at them really confused me. This proves that I would have been a terrible A&R man. 

Not sure who took the photos, sorry. 

productiveouts:

Super excited for this one, which is basically just Riley and Ian talking for almost 2 hours about how great Eric Gagne was. 

Nah, just kidding, he was a giant tool! But we do have other great stuff for you, including:

- The open (0:00-5:23)

- The emails (5:51-29:31)

- The musical guest: FUCKED UP.  (30:10-33:45)

- The human guest: Justin Halpern (33:45-1:04:13)

- The baseball stuff: (1:04:47-1:38:52)

  • Manny Machado is a dumbass

  • Josh Lueke got DFA (finally) and the Rays will be sellers… but when? 

  • The Giants are running away with the NL West

  • Are the Blue Jays for real?

  • The Twines signed one or more Kendrys Moraleses

  • Tony Sipp played right field

  • Trevor Cahill was D’d for A

  • Gregory Polanco is finally up and the Super 2 thing sucks

  • Lonald Chisenhall had a big night

  • MLB DARFT

  • CWS stuff. Go ‘Eaters!

- The li’l KWC tour report (1:39:30-1:47:36)

See you next week! 

Utah, you’re all right.

On point. 
mackro:

How Not To Sound Like A Fool When Talking About Mastering, Vinyl, CDs, etc.
Today, I posted a mini-rant on Facebook around the old, current and perpetual audio medium war. It was inspired by a posting by Oliver Wang on his great blog Soul Sides. Here is that entry. I agree with the entry, but the resulting comments from it on various Facebook threads exhibited that there are certain technical issues that are still misunderstood by many. I posted most of the following off the top of my head earlier today, and I was kinda blown away by the positive response. So here it is, with some slight changes and amendments to make it a little less sloppy
Mastering vinyl from digital sources doesn’t universally suck, nor does it suck at all. It’s the majority of people who have no clue and/or no care for what they’re doing while mastering modern vinyl that suck. The issues that make these vinyl issues suck may easily be a different issue than any digital source or the vinyl part altogether. It could be the player. It’s often cheap headphones or speakers.
CDs and MP3s are not the same thing — especially 128kbps encoded MP3s. If you equate the two in an argument about “digital” media sucking, you’re a goddamn fool.
Actually, any debate about the “sound quality” of a certain medium is doomed from the start. “Sound quality” is far too vague a term, yet it’s a phrase that’s all too easy to blurt out. If it’s ever brought up in an argument, either clarify the phrase, or end the argument.
High-end open reel-to-reel tape has a better frequency range than both vinyl and CD. If you want to brag about Massive Frequency Superiority, show off your 2-inch tape machine instead of your turntable or high-end CD/DVD player.
Vinyl does not have a wider frequency range than CD audio, for practical purposes. Vinyl can handle higher frequencies than 20kHz, but these are frequencies humans can’t hear. Vinyl does more poorly with low frequencies — circa 20Hz — than CD because of rumble. That’s not vinyl’s fault. That’s your turntable cartridge’s fault. More to the point, it’s the turntable owner who needs to get a more boomin’ cartridge. Either way, CD audio frequency ranges are pretty much the same as vinyl, but without any contact-media complications
Vinyl’s technical advantage over CDs is its resolution. (Think of frequency range as the range of the color palette, and resolution as how detailed and life-like the painting looks.) Vinyl does not quantize its sound reproduction, which CDs and digital sources do, by definition. However, vinyl is only superior in resolution if the mastering source has equal or higher resolution, such as high-end reel-to-reel tape. That said, that same sound source as uncompressed 16-bit or preferably 24-bit digital audio is barely audibly inferior to reel-to-reel to most people. If the digital source is a low-bit-rate MP3, that MP3 will almost certainly sound better than the vinyl mastered from it.
A vinyl release with minor flaws can easily sound inferior to a well-done CD.
A CD release with minor flaws can easily sound inferior to a well-done vinyl release.
In the case of the latter two, you may blame the artist, the mixer, the studio, the mastering engineer, the record label, whatever. But don’t blame the medium.
Replace “vinyl”, “turntable”, “cartridge”, and “rumble” above with "cassette", "cassette deck", "playback head", and "tape hiss" respectively, and you have all you need to know about cassettes vs. CD as well — more or less.
Most people like the packaging and feel of holding a vinyl release than a CD release or MP3 release, for reasons of rumination, visual art aesthetics, and ergonomics. This is a perfectly valid opinion to uphold. It is no more than an opinion. Yet, that opinion is holding major economic sway these days, whether you like it or not. And "sound quality" has zero to do with vinyl’s high media profile today — except for when you buy and complain about horribly mastered vinyl, in which case go to the first bulletpoint.

On point. 

mackro:

How Not To Sound Like A Fool When Talking About Mastering, Vinyl, CDs, etc.

Today, I posted a mini-rant on Facebook around the old, current and perpetual audio medium war. It was inspired by a posting by Oliver Wang on his great blog Soul Sides. Here is that entry. I agree with the entry, but the resulting comments from it on various Facebook threads exhibited that there are certain technical issues that are still misunderstood by many. I posted most of the following off the top of my head earlier today, and I was kinda blown away by the positive response. So here it is, with some slight changes and amendments to make it a little less sloppy

  • Mastering vinyl from digital sources doesn’t universally suck, nor does it suck at all. It’s the majority of people who have no clue and/or no care for what they’re doing while mastering modern vinyl that suck. The issues that make these vinyl issues suck may easily be a different issue than any digital source or the vinyl part altogether. It could be the player. It’s often cheap headphones or speakers.
  • CDs and MP3s are not the same thing — especially 128kbps encoded MP3s. If you equate the two in an argument about “digital” media sucking, you’re a goddamn fool.
  • Actually, any debate about the “sound quality” of a certain medium is doomed from the start. “Sound quality” is far too vague a term, yet it’s a phrase that’s all too easy to blurt out. If it’s ever brought up in an argument, either clarify the phrase, or end the argument.
  • High-end open reel-to-reel tape has a better frequency range than both vinyl and CD. If you want to brag about Massive Frequency Superiority, show off your 2-inch tape machine instead of your turntable or high-end CD/DVD player.
  • Vinyl does not have a wider frequency range than CD audio, for practical purposes. Vinyl can handle higher frequencies than 20kHz, but these are frequencies humans can’t hear. Vinyl does more poorly with low frequencies — circa 20Hz — than CD because of rumble. That’s not vinyl’s fault. That’s your turntable cartridge’s fault. More to the point, it’s the turntable owner who needs to get a more boomin’ cartridge. Either way, CD audio frequency ranges are pretty much the same as vinyl, but without any contact-media complications
  • Vinyl’s technical advantage over CDs is its resolution. (Think of frequency range as the range of the color palette, and resolution as how detailed and life-like the painting looks.) Vinyl does not quantize its sound reproduction, which CDs and digital sources do, by definition. However, vinyl is only superior in resolution if the mastering source has equal or higher resolution, such as high-end reel-to-reel tape. That said, that same sound source as uncompressed 16-bit or preferably 24-bit digital audio is barely audibly inferior to reel-to-reel to most people. If the digital source is a low-bit-rate MP3, that MP3 will almost certainly sound better than the vinyl mastered from it.
  • A vinyl release with minor flaws can easily sound inferior to a well-done CD.
  • A CD release with minor flaws can easily sound inferior to a well-done vinyl release.
  • In the case of the latter two, you may blame the artist, the mixer, the studio, the mastering engineer, the record label, whatever. But don’t blame the medium.
  • Replace “vinyl”, “turntable”, “cartridge”, and “rumble” above with "cassette", "cassette deck", "playback head", and "tape hiss" respectively, and you have all you need to know about cassettes vs. CD as well — more or less.
  • Most people like the packaging and feel of holding a vinyl release than a CD release or MP3 release, for reasons of rumination, visual art aesthetics, and ergonomics. This is a perfectly valid opinion to uphold. It is no more than an opinion. Yet, that opinion is holding major economic sway these days, whether you like it or not. And "sound quality" has zero to do with vinyl’s high media profile today — except for when you buy and complain about horribly mastered vinyl, in which case go to the first bulletpoint.