Having worked in music and technology for over 15 years this conversation has come up more times than I can count. When it does arise it's a hilarious bit of banter. People can get so heated claiming to be one and, in no way, would they ever consider themselves as the other. If you do make that mistake though you better be ready to do battle like these guys because them fightin' words!
That said, all signs point to me being a Geek. Whew! In my (mac power) book that's way better than being a nerd.
Here's a great infographic to help you decide your fate. Feel free to comment below if you'd like to defend your brainy existence.
I love Logic. It comes with everything. From synths to samplers to loops to drum machines to a ton of plugins. One of it's best, and I'll assume underutilized, is its plugin for Pitch Correction. If you're confused by this tools ultra simple interface you are not alone.
That's so simple it just might work!
The plugin interface is so simple that I thought it can't possibly be a "real" pitch correction tool. When I first opened it I wasn't sure what to make of it. It has a piano keyboard layout, a couple of buttons and that's it. So I of course headed over to YouTube to try and find a video about it and discovered that the guys over at Gearwire created a great six minute tutorial that outlines the plugin nicely.
Focusrite reports that Grammy Award–winning Los Angeles-based engineer/producer Rafa Sardina (pictured) relies on the company's ISA Range of modules for production work in his studio, After Hours. His collection includes a rack of eight classic ISA110 modules from a Focusrite Studio console, and he recently acquired an ISA828 8-channel microphone preamp.
"My first encounters with Focusrite were with the Studio console at Ocean Way,” Sardina says. “I had quite a lot of experience in working on that board, and I was very fortunate to work in other studios that had them."
Sardina's client list includes Stevie Wonder, Beyoncé, Lady Gaga, Luis Miguel, Rodrigo y Gabriela, Paco de Lucía, and Alejandro Sanz. His diverse work covers everything from pop to R&B, to classical recordings and movie soundtracks.
“I came out to Korea because there was a song that was released that I produced,” says Riley. “The company didn’t tell my team what was going on with the song, so I wound up taking a trip there, and it turned into a two-month visit. The first three weeks we were in the apartment making beats. Then we met a friend who became a partner in our company, TRX, Teddy Riley Xperience. He showed us the ropes in Korea and connected us to all the major companies, including SM Entertainment, the largest record company in Korea, maybe in all of Asia.”
When talking about the Dangerous product line he mentions...
"I can only say that the Dangerous 2-Bus is the closest thing to the analog SSL I used back in the day. That’s a real strong and prominent sound for me. Using the Dangerous gear has gotten me into that sonic landscape. The Dangerous gear is ‘Warm’ – I can make anything have ‘punch’ in the box, but I can’t make it sound warm, and that’s the thing that I get with Dangerous gear. I can also get a ‘grimy’ sound with Dangerous, and I get ‘presence’ as well. It takes me back to Dolby SR with tape where you feel the warmness of it.”