this thread is definitely delivering if not only for the interesting info on the track data, and learning how the bass was recorded.

It's wonderful to hear the sound of the 24-track nirvana. I think I now understand when Steve told Mojo that he felt the mastering had been too overbearing for his taste. I still love the original record, of course I was only 14 when I first heard it, and kids are easy to be influenced, but nevertheless it still had a big impact on my life, especially the sound. Hearing the 24-tracks gives the impression that we're right in the middle of the room with them.

if anyone wants to share more recording details, by all means I'll be listening

Although it's sad that Moist Vagina (one of my all-time faves!) is cut by about 20 seconds at the end... did no one notice this?!?


EDIT: NIN multitracks are out in the open because the newest NIN release, Year Zero Remixed, contained an extra DVD with the multitracks for people to do their own remixes. So it was no studio intern on this case.
but for the other cases, the studio intern rule probably applies.

Am I the only person who thinks this fetishistic fiddling about is actually a bit tragic?

johnnyshape wrote:Am I the only person who thinks this fetishistic fiddling about is actually a bit tragic?

"Fetishistic fiddling" is derogatory. It is just enactive learning. It's not about the art of music creation, it's about the art of capturing a performance and trying to reproduce it.

jason smith wrote:

johnnyshape wrote:Am I the only person who thinks this fetishistic fiddling about is actually a bit tragic?

"Fetishistic fiddling" is derogatory. It is just enactive learning. It's not about the art of music creation, it's about the art of capturing a performance and trying to reproduce it.

Bollocks. If it's just about that, then why is it only the multitracks of In Utero and not [insert name of one of the gazillion other great albums recorded by Steve here] that gets leaked and copied and pored over?

Hundreds or thousands of other albums worldwide must have had the multis digitized in the last ten years or so. It's only a thing that happens to hugely famous acts; because it's a bragging rights, showy-off thing.

Plus, I don't notice anyone shouting 'Eureka!' about all the hidden recording secrets, or some hitherto unexamined aspect of Kurt's muse for that matter.

johnnyshape wrote:Plus, I don't notice anyone shouting 'Eureka!' about all the hidden recording secrets, or some hitherto unexamined aspect of Kurt's muse for that matter.

That's because it's all pretty mundane. Making records isn't special or magic, and this might be a good way for people to finally understand that. Listening to multitracks is engaging for engineers and other people with technical interest, but that's probably about it. Anybody else might get a ringtone out of it.

Its kind of wierd how no one really gives a shit about hearing Butch Vig's original mixes for Nevermind. Meanwhile the original mixes of Heart Shaped Box and All Apologies have been chased around for more than a decade like some sort of holy grail.

Poor Butch.

Are you kidding?

That dude is rich beyond fucking belief. How many multi-Platinum albums does he have a percentage of? Even if it was just Siamese Dream and Nevermind, he could probably retire in comfort.

tommydski wrote:Are you kidding?

Bingo.

I heard some cassettes of a couple of Butch's mixes from Nevermind, and they were much more aggressive, typical of his recordings of the bands Nirvana had already heard -- the Laughing Hyenas, Killdozer, Tad... They sounded pretty good, in other words.

Andy Wallace?