Отправлено:22.04.10 10:36.Заголовок:Красавец Алан не сто..
Красавец Алан не стоит на месте,кроме живых выступлений он активно пользуется интернет технологиями(я нашел уже 3-й его сайт) и выпускает новый обучающий DVD.
Alan Parsons' Art & Science of Sound Recording Releases New Programs
Santa Cruz, CA (PRWEB) April 22, 2010 -- Alan Parsons’ Art and Science of Sound Recording, the ground-breaking instructional series covering all aspects of sound recording, has now released a third series of new programs, available for streaming and digital download at www.artandscienceofsound.com.
The Art and Science of Sound Recording collection offers something for everyone interested in recording their own music, from novice to professional engineers. Supported by extensive musical examples, custom diagrams, and interview clips, each section offers an in-depth view of individual areas of the recording process.
Along with a number of programs recently released in 2010 covering MIDI, EQ, Delays, Drums, Noise Gates, Recording a Choir, Keyboards and Bass, Digital Audio and Computers, Studio Acoustics, Monitoring and Microphones, the new sections feature three technical equipment-based scenes on Compressors and Limiters, Reverb, Consoles and Controllers, as well as an application scene on Recording Acoustic Guitar with Vocal, and finally a detailed look at the crucial topic of Mixing.
Compressors & Limiters This program explains the basics of exactly what compression and limiting are and why we need them. Hardware and software devices are examined as Alan guides the viewer through all the main controls. With fascinating insights from a number of notable producers and engineers throughout the section, this program concludes with a look at all the main sound types, with Parsons providing limiting and compression applications and settings – including those he used on Dark Side of the Moon!
Reverb This section opens with an interview with Bill Putnam Jr., currently chairman of Universal Audio, whose father, Bill Putnam Sr. was and one of the first people to develop and use artificial reverb. Explaining the basics of both what reverb is and how to program digital reverb on both hardware and plug-in devices, Alan provides valuable information on how, when, and where to apply reverb on recordings.
Consoles & Controllers What is the role of a console in these days of DAW recording? What’s the difference between a console and a controller? What are the differences when using an analog console and a digital console? In this program, Parsons tackles these issues and provides a hands-on tour down a channel strip, providing the viewer with succinct and practical information on everything from bussing to the difference between pre and post fade. Here Parsons also experiments with analog and digital summing.
Recording Acoustic Guitar with Vocal In this program, Alan Parsons looks at the classic problem of recording acoustic guitar and voice simultaneously, yet needing to have enough separation for replacements or processing later on.
Mixing This massive 50-minute program is split into two for the online releases. Set in Los Angeles’ Record One Studios and featuring the new Alan Parsons track All Our Yesterdays, the viewer gets to sit in on Parsons’ mix -- witnessing Alan’s many secrets of his mixing technique from set-up to level setting.
On the Art and Science of Sound Recording, Parsons, the acclaimed engineer, musician, and record producer known for his work with The Beatles, Pink Floyd, Paul McCartney & Wings, George Harrison, Ringo Starr, and The Alan Parsons Project offers viewers his exclusive insider access to legendary musicians, producers and engineers and to their award-winning recording techniques.
Featured guests span the entire realm of music recording, from producers like Jack Joseph Puig (John Mayer, Green Day, Fergie), John Fields (The Jonas Brothers, Miley Cyrus), to Elliot Scheiner (The Eagles, Steely Dan) and Jack Douglas (John Lennon, Aerosmith, Slash). Although Parsons’ heritage is firmly in the rock camp, the series features country music producers like Tony Brown (Dixie Chicks, George Strait) and Chuck Ainlay (Melissa Etheridge, Mark Knopfler), alternative rock producers like Sylvia Massey (Beck, Tool), R&B producers and engineers like Jimmy Douglass (Justin Timberlake, Timbaland), Allen Sides (Phil Collins, Joni Mitchell), as well as Grammy-winning artists like Michael McDonald, Taylor Hawkins and The Foo Fighters. The Art and Science of Sound Recording series also invites viewers into Parson’s personal custom HD recording facility and some of the country’s most acclaimed recording studios, such as Ocean Way, Record One, Sound Kitchen, Blackbird, Phantom Recording and Henson Recording Studios (formerly A&M.)
The fourth and final set of programs in the ASSR series will be available in a month, just ahead of the release of the complete Art and Science of Sound Recording DVD boxed set.
(March 17, 2011) DMN Newswire--2011-3-17--Renowned award-winning producer/engineer Alan Parsons has created an enigmatic new group, SubClones, and is recording their debut album at LA hit-makers' studio, The Village. Known for his enduring work with Pink Floyd, The Beatles, Yes, The Hollies, Al Stewart, Paul McCartney, George Harrison, Ambrosia and his own Alan Parsons Project, he is the man behind billions in record sales.
After three years spent creating his new instructional 3-DVD series, "The Art and Science of Sound Recording" (http://www.artandscienceofsound.com), to glowing reviews, Parsons is now working on his first major artist production since the mid-80s.
"I feel that the public deserves some genuinely innovative music and It's been a long time since I've heard some that truly excites me -- it made me want to get back into the studio and do another 'Dark Side'," Parsons jokingly refers to one of the biggest selling and most popular albums in history.
The identity of SubClones is presently a closely-guarded secret, but they are rumored to be known as well-respected, highly experienced and remarkably talented musicians. The dictionary definition of "subclone" is a clone or descendent of a mutant occurring in a previous clone.
Parsons has been working non-stop in the music business since his teens. He started at Abbey Road studios working as an assistant engineer, was soon promoted to first engineer, and then quickly gained major success as a producer, as well. His career went full circle in 1998, when he spent a period as Vice President at Abbey Road. Since then, he has been recording his solo records and successfully performing in sold-out international tours. With the formation of SubClones he is once again back in the studio as producer.
Отправлено:22.03.11 22:35.Заголовок:Parson в оркестра за..
Parson в оркестра записался? Ну тогда пусть очки оденет, тёмные. и назовется "The Alan Parsons Project part 2"... Вообще то я его группу очень даже уважаю. Хотя неприемлемо чтобы у них на разогреве ELO играл!
Отправлено:28.08.12 15:33.Заголовок:Interview with legen..
Interview with legendary sound engineer Alan Parsons
Alan Parsons is a sound engineer who received his start in the music industry helping work on The Beatles' Let it Be and Abbey Road albums. From there he became a Grammy-nominated engineer for his work on Pink Floyd's Dark Side of the Moon. He has gone on to garner more Grammy nominations, work with many musicians, and even put out his own work under The Alan Parsons Project, during his long, illustrious career. TheCelebrityCafe.com got the opportunity to talk to Parsons about his first big gigs, who he is working with now, and the current state of the music market.
TheCelebrityCafe.com: How did you get that first big gig working on The Beatles' Abbey Road album?
Alan Parsons: Just by being on the staff. I was essentially interning at that time. The very first encounter was on the Let it Be album and I was set down to the Beatles' own studio in central London. It was just a new assignment through my employment. It was all through EMI, which was the company that owned Abbey Road studios.
TCC: How did it feel to be nominated for a Grammy for your work on Pink Floyd's Dark Side of the Moon?
AP: Stevie Wonder won it that year, or the engineers that worked on his record did. I think I hold the record for the most number of Grammy nominations without ever winning. It was great to be nominated though. I was sent over to L.A. to attend the Grammys and at that time I met Ambrosia. That started a two-album long relationship with them.
TCC: Describe going from sound engineer to musician with The Alan Parsons Project.
AP: I was not really considered a musician on The Alan Parsons Project. I was really a producer. I did some performing and I was certainly involved in the music composition. It wasn't really such a huge change. We had a lot of good sets and I was always grateful for that. I was pleasantly surprised with each release that we continued to put out.
TCC: Why did you launch The Art and Science of Sound Recording? Can you tell me more about it?
AP: It's a full-blown video series based on everything you ever wanted to know about sound recording. It can be bought as a 3-DVD set or downloaded. We're actually planning to put it on USB memory stick. I'm looking to inspire others and I think the inspiration of the program comes from other sound engineers. A lot of it is contributions from other engineers through interviews. It's not like being in school classroom. It's mostly demonstration. We've been backing it up with real in-studio sessions, which have been very well-received.
TCC: With all the legendary acts you've worked with in the past, are there any artists you are currently working with?
AP: I just finished a record with an amazing musician. His name is Jake Shimabukuro. He's the virtuoso of the ukelele from Hawaii. He's become sort of an internet sensation for that. We've done an album together, partly with a band, rhythm section, and some with orchestra as well. It's called the Grand Ukelele. The ukelele has become tremendously popular in the past few months and I have high hopes for this project.
TCC: Are you working on any music right now under your own name?
AP: I have no plans to release anything under my own name. It's just production and engineering stuff for now, but I think there might be an EP with my name on it. I've actually got two tracks ready to go and if we just do one more, we might have an EP. It's a very different market these days. You don't have to make an album anymore since people only download one tune. I think we'll try to focus on one song and put out an EP.
TCC: That's a perfect segue to my next question: How would you describe the state of music now compared to when you first started out.
AP: There used to be a time when people would go and pick up their shiny new vinyl record and take it home and turn down the lights. They would listen to the whole thing from start to finish. There's too many distractions in this day to do that. It also seems that high fidelity sound has been quietly forgotten. We're all listening to ear buds on iPhones and MP3s and digital downloads. There's still the audiophiles who understand what hi-fi is, but people are listening to music on laptops. It's criminal. They think laptop speakers are good enough.
TCC: There needs to be more audiophiles.
AP: Yes, and we need to rise above the poor sound quality of MP3s and we need to get people interested in a slightly longer download time in return for a hugely better sound experience.
TCC: How would you describe a sound engineer's work on a record?
AP: It's interesting that modern musicians are expected to be computer savvy in sound engineering production strategy as well. Nothing has actually changed though as musicians are still musicians and engineers are still engineers. It's just that the areas are crossed over into each other. Everyone has a computer that technically makes them capable of being a sound engineer. Musicians continue to attempt to make their own recordings without the experience one such as myself has. That's one of the reasons we made the Sound Recording DVD to educate people that just can't turn on your laptop and plug in the mic to expect to know what you're doing.