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Post by notneeson on Jun 28, 2022 10:57:18 GMT -6
Another option which is no slight against yours or anyone else's mixing chops: Find the guy that mixed the commercial reference and hire him to mix the song. 1. The client will be pleased that you got the sound they wanted 2. You now have an open dialogue with the mixer and can ask questions and learn a few tricks from a sought after colleague. Maybe you can even do an attended session and sit in and peek over his shoulder. I would love to do that! If it were a bigger budget, that would be fine. But my justification for my cost is being the built in mixer. When you’re tracking 3 songs in three hours, there’s not a ton of “producing” that is done. I don’t have time to say “hey guys, let’s try going to the 6 here and dropping the breakdown” blah blah. Or there’s no getting snare sounds for three hours. There’s no cartage. There’s no “let’s try that with the Matchless and Gretsch. Know what I mean? It’s an efficient knowing the direction you want and banging it out. I honestly think in these situations, my BIGGEST job as producer is casting. Hiring the right guys. There’s no budget for experimentation really. So, my mixing is part of the value they’re getting. That make sense? I know that scenario really well, it’s a rough spot when you’re providing a crap ton of added value but artists are (often quite rightly) still reaching beyond any reasonable results to budget ratio. Is what it is.
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Post by Tbone81 on Jun 28, 2022 12:44:00 GMT -6
I don't compensate for garbage Apple earbuds, iPhone speakers, computers, etc. Anyone listening on that shit doesn't care much about sound anyway, it's content driven. Don't take this the wrong way, but I don't feel like that's a fair statement. When I was growing up I listened to music on a shitting Sony Walkman with those awful foam headphones. Did the poor quality mean I didn't care about how it sounded? No, it was just all I had at the time and all I knew. Likewise, I look at my 16 yo daughter (and her friends), they listen to music quite a lot on earbuds but they LOVE, LOVE, LOVE music and always appreciate an upgrade. My daughter loves her Beats Headphones more than her earbuds. Loves the nicer blu tooth JBL speaker I bought her much more than the shitty one it replaced. Everyone starts somewhere. And hearing perception takes time to learn.
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Post by thehightenor on Jun 28, 2022 12:44:41 GMT -6
I'm going to own up to having bought into some of those online mixing classes like URM/Nail the Mix. I figure what the hell, it's great to see others work, especially if I like the tunes they worked on. I gotta say, I learned a lot for sure. Biggest thing was being able to hear the raw tracks and the progression of how they change as the mix is built. Tracks were a lot less "exciting" and a lot more "even" than ones I track, which explains why I always have trouble getting a mix together with my tracks without tons of carving and why I have a lot easier time working with other's supplied tracks. Overall everything was much more mid-centric and it took a while to get used to it. ^^^^ This Way back, when I had very, very limited budgets my sounds sources where a Yamaha MU80 and some Roland MBD-1 .... which was now I realise bass sounds that ended up in Trilogy and drums in early Roland E kits and drum machines. Anyway, mixes I made with these sources sounded great, really pro though I had very little mix experience. Now looking back I realise it's because they came pre-polished pre EQ'd pre compressed pre filtered. There's was nothing for me to f up :-) These days sample libraries come raw as heck and my acoustic sources are of course raw and I've had to learn how to really mix and get the work done.
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Post by jmoose on Jun 28, 2022 12:56:22 GMT -6
If it were a bigger budget, that would be fine. But my justification for my cost is being the built in mixer. When you’re tracking 3 songs in three hours, there’s not a ton of “producing” that is done. I don’t have time to say “hey guys, let’s try going to the 6 here and dropping the breakdown” blah blah. Or there’s no getting snare sounds for three hours. There’s no cartage. There’s no “let’s try that with the Matchless and Gretsch. Know what I mean? It’s an efficient knowing the direction you want and banging it out. I honestly think in these situations, my BIGGEST job as producer is casting. Hiring the right guys. There’s no budget for experimentation really. So, my mixing is part of the value they’re getting. That make sense? So is this like a songwriting deal that your also producing? Something along those lines..? Don't take this the wrong way but when your doing a run & gun project like that... tracking 3 songs in 3 hours? Your making musical fast food. Is what it is. Which means you need to present them with fast food style options... which combo meal would you like? Want secret sauce & pickles on that... I mean, reverb & echo? Yes they're always going to ask for more. Some... especially those with less experience might well expect a full rack of slow smoked ribs for the price of a double cheeseburger. Some who are super green might not even know the difference. Its just something to chew & swallow. Your tastebuds are probably fine. Quite possibly its their tastebuds that got smoked by too much cheap BBQ sauce? Or maybe you were both expecting a completely different plate..? One of the things I really miss is the sense of teamwork and yes, exploration when producing music. People getting together to mix used to be an event... but as the business evolves and we end up doing more alone in our private caves... that group "taste test" thing doesn't happen too often anymore. Not after basic tracks are cut. And so sometimes, especially if we didn't have great direction & communication up front... we'll spend hours working on a mix alone in the cave thinking its getting better & better! But it gets delivered and yeah, within the first 45 seconds they don't like it. Happens to all of us. Back in the days of consoles tape machines & attended mixes... even now I'll let people sit in the sweet spot and turn knobs. Vocal sounds peaky? You don't like the reverb? Ok cool here's your channels there's the EQ turn the knobs until your happy! I'm not precious about it. Of course the time for that, really digging into the mixes needs to be allocated. Just like allowing time to experiment with guitar & drum rigs for each song. And sometimes... when your doing the fast food sessions you have to stop and explain that you know, this isn't a sit down dinner. We can do that but not for this money... put the decision back into the artists hands. Even on longer marches... I'm more like a song a day guy sometimes that same conversation happens. Where I have to stop and say that if we continue on this path? We're probably not going to get done what we set out to get done. Again its that whole "aligning expectations" trip. There's only so much time available to make a record. The only way to get unlimited time is to have rock star level FU money or buy all the gear and sit at home for 5 years... for most professional artists neither of those is an option.
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Post by Martin John Butler on Jun 28, 2022 13:57:40 GMT -6
I don't compensate for garbage Apple earbuds, iPhone speakers, computers, etc. Anyone listening on that shit doesn't care much about sound anyway, it's content driven. Don't take this the wrong way, but I don't feel like that's a fair statement. When I was growing up I listened to music on a shitting Sony Walkman with those awful foam headphones. Did the poor quality mean I didn't care about how it sounded? No, it was just all I had at the time and all I knew. Likewise, I look at my 16 yo daughter (and her friends), they listen to music quite a lot on earbuds but they LOVE, LOVE, LOVE music and always appreciate an upgrade. My daughter loves her Beats Headphones more than her earbuds. Loves the nicer blu tooth JBL speaker I bought her much more than the shitty one it replaced. Everyone starts somewhere. And hearing perception takes time to learn. When I venture to suggest 98% of those listening on earbuds don't even think about quality, I'd have to say I really don't that's an unfair statement. I taught music to kids for thirty years, I think I'm qualified to make a general observation regarding their listening habits and preferences. I also think it's wonderful that you're gently leading your daughter to appreciate better and better sound quality. Not too many parents would even be thinking of that. I co-produced and mixed Dusty Wright's recently album, "Lonelyville", and wrote and produced 4 tracks for a documentary this year. When I mix for something that will be broadcast or made to be sold, I mix to sound its best. Luckily, I haven't found any oddities when listening on earbuds or computer speakers. Perhaps that comes from writing, engineering and producing music for radio and TV commercials back in the day for more than ten years. My ears got used to mixing for a broadcast and so I never worry about it translating to smaller speakers, my mixes work without adjusting specifically for phones or iPads or computer speakers.
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Post by Johnkenn on Jun 28, 2022 14:34:08 GMT -6
If it were a bigger budget, that would be fine. But my justification for my cost is being the built in mixer. When you’re tracking 3 songs in three hours, there’s not a ton of “producing” that is done. I don’t have time to say “hey guys, let’s try going to the 6 here and dropping the breakdown” blah blah. Or there’s no getting snare sounds for three hours. There’s no cartage. There’s no “let’s try that with the Matchless and Gretsch. Know what I mean? It’s an efficient knowing the direction you want and banging it out. I honestly think in these situations, my BIGGEST job as producer is casting. Hiring the right guys. There’s no budget for experimentation really. So, my mixing is part of the value they’re getting. That make sense? So is this like a songwriting deal that your also producing? Something along those lines..? Don't take this the wrong way but when your doing a run & gun project like that... tracking 3 songs in 3 hours? Your making musical fast food. Is what it is. Which means you need to present them with fast food style options... which combo meal would you like? Want secret sauce & pickles on that... I mean, reverb & echo? Yes they're always going to ask for more. Some... especially those with less experience might well expect a full rack of slow smoked ribs for the price of a double cheeseburger. Some who are super green might not even know the difference. Its just something to chew & swallow. Your tastebuds are probably fine. Quite possibly its their tastebuds that got smoked by too much cheap BBQ sauce? Or maybe you were both expecting a completely different plate..? One of the things I really miss is the sense of teamwork and yes, exploration when producing music. People getting together to mix used to be an event... but as the business evolves and we end up doing more alone in our private caves... that group "taste test" thing doesn't happen too often anymore. Not after basic tracks are cut. And so sometimes, especially if we didn't have great direction & communication up front... we'll spend hours working on a mix alone in the cave thinking its getting better & better! But it gets delivered and yeah, within the first 45 seconds they don't like it. Happens to all of us. Back in the days of consoles tape machines & attended mixes... even now I'll let people sit in the sweet spot and turn knobs. Vocal sounds peaky? You don't like the reverb? Ok cool here's your channels there's the EQ turn the knobs until your happy! I'm not precious about it. Of course the time for that, really digging into the mixes needs to be allocated. Just like allowing time to experiment with guitar & drum rigs for each song. And sometimes... when your doing the fast food sessions you have to stop and explain that you know, this isn't a sit down dinner. We can do that but not for this money... put the decision back into the artists hands. Even on longer marches... I'm more like a song a day guy sometimes that same conversation happens. Where I have to stop and say that if we continue on this path? We're probably not going to get done what we set out to get done. Again its that whole "aligning expectations" trip. There's only so much time available to make a record. The only way to get unlimited time is to have rock star level FU money or buy all the gear and sit at home for 5 years... for most professional artists neither of those is an option. You ever tracked with Nashville session guys?
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Post by Tbone81 on Jun 28, 2022 14:44:47 GMT -6
Don't take this the wrong way, but I don't feel like that's a fair statement. When I was growing up I listened to music on a shitting Sony Walkman with those awful foam headphones. Did the poor quality mean I didn't care about how it sounded? No, it was just all I had at the time and all I knew. Likewise, I look at my 16 yo daughter (and her friends), they listen to music quite a lot on earbuds but they LOVE, LOVE, LOVE music and always appreciate an upgrade. My daughter loves her Beats Headphones more than her earbuds. Loves the nicer blu tooth JBL speaker I bought her much more than the shitty one it replaced. Everyone starts somewhere. And hearing perception takes time to learn. When I venture to suggest 98% of those listening on earbuds don't even think about quality, I'd have to say I really don't that's an unfair statement. I taught music to kids for thirty years, I think I'm qualified to make a general observation regarding their listening habits and preferences. I also think it's wonderful that you're gently leading your daughter to appreciate better and better sound quality. Not too many parents would even be thinking of that. I co-produced and mixed Dusty Wright's recently album, "Lonelyville", and wrote and produced 4 tracks for a documentary this year. When I mix for something that will be broadcast or made to be sold, I mix to sound its best. Luckily, I haven't found any oddities when listening on earbuds or computer speakers. Perhaps that comes from writing, engineering and producing music for radio and TV commercials back in the day for more than ten years. My ears got used to mixing for a broadcast and so I never worry about it translating to smaller speakers, my mixes work without adjusting specifically for phones or iPads or computer speakers. Well, first let me say that I hope I didn't come off as confrontational or snarky. I certainly don't mean to. Also, I totally agree with perspective of "Not mixing for earbuds"...a great mix is a great mix, it'll translate fine. No arguments there. I guess (to me) it just comes off as an over derogatory statement, aimed at a generation that loves music just as much as my generation did. But YMMV.
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Post by ml on Jun 28, 2022 15:30:08 GMT -6
If it were a bigger budget, that would be fine. But my justification for my cost is being the built in mixer. When you’re tracking 3 songs in three hours, there’s not a ton of “producing” that is done. I don’t have time to say “hey guys, let’s try going to the 6 here and dropping the breakdown” blah blah. Or there’s no getting snare sounds for three hours. There’s no cartage. There’s no “let’s try that with the Matchless and Gretsch. Know what I mean? It’s an efficient knowing the direction you want and banging it out. I honestly think in these situations, my BIGGEST job as producer is casting. Hiring the right guys. There’s no budget for experimentation really. So, my mixing is part of the value they’re getting. That make sense? I know that scenario really well, it’s a rough spot when you’re providing a crap ton of added value but artists are (often quite rightly) still reaching beyond any reasonable results to budget ratio. Is what it is. Yeah I know exactly what you mean. The idea is basically a pipe dream with the budgets most artists have these days. And it seems the latest trend is for artists to pump out music non stop even if the song is shit, hoping for a tiktok viral moment.
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Post by jmoose on Jun 28, 2022 15:31:29 GMT -6
You ever tracked with Nashville session guys? Yup. I can also grab a guitar & hack through number system charts. Was even offered a job in town once & still have a couple friends there... What's that got to do with anything?
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Post by Martin John Butler on Jun 28, 2022 17:58:03 GMT -6
Tbone, when you said " I guess (to me) it just comes off as an over derogatory statement, aimed at a generation that loves music just as much as my generation did. But YMMV." That's kind of a straw man argument. You're criticizing something I never said. And, yes, my "mileage" is quite extensive, so it might vary from someone with far less hands on experience.
I said "anyone listening on that shit doesn't care much about sound anyway, it's content driven." and I stand by that because I said "doesn't care much about sound, not music. The generations you're speaking of do love music, of course differently than we did. I was obviously referring to sound quality, and if we're being honest, sound quality is far from a priority for that generation.
And yes, I do consider the sound those devices produce is mainly crap. I blame manufacturers and designers for that. If they created much better sound reproduction devices, that would create a need people didn't know they needed until shown.
Sorry to veer off topic. As far as EQ curves, I mainly HPF below 30-40 Hz, and that's about it. On a few occasions I add the slightest pinch of Clariphonic II or Manley Massive Passive if the mix feels a little dull.
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Post by Tbone81 on Jun 28, 2022 18:34:42 GMT -6
Tbone, when you said " I guess (to me) it just comes off as an over derogatory statement, aimed at a generation that loves music just as much as my generation did. But YMMV." That's kind of a straw man argument. You're criticizing something I never said. And, yes, my "mileage" is quite extensive, so it might vary from someone with far less hands on experience. I said "anyone listening on that shit doesn't care much about sound anyway, it's content driven." and I stand by that because I said "doesn't care much about sound, not music. The generations you're speaking of do love music, of course differently than we did. I was obviously referring to sound quality, and if we're being honest, sound quality is far from a priority for that generation. And yes, I do consider the sound those devices produce is mainly crap. I blame manufacturers and designers for that. If they created much better sound reproduction devices, that would create a need people didn't know they needed until shown. Sorry to veer off topic. As far as EQ curves, I mainly HPF below 30-40 Hz, and that's about it. On a few occasions I add the slightest pinch of Clariphonic II or Manley Massive Passive if the mix feels a little dull. Sorry that I offended you. I actually just brought up the "younger generation" as an example of people who mostly listen to music on earbuds, thought that was clear in the context of my post. I guess it wasn't. I wasn't trying to sound "precious" (saw you edited that), but yeah, maybe I was being a little too defensive. I guess its hard for me to read "anyone listening on that shit" without getting a little defensive, especially since I enjoy listening on ear buds. But what do I know?
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Post by BenjaminAshlin on Jun 28, 2022 19:46:47 GMT -6
I'm going to own up to having bought into some of those online mixing classes like URM/Nail the Mix. I figure what the hell, it's great to see others work, especially if I like the tunes they worked on. I gotta say, I learned a lot for sure. Biggest thing was being able to hear the raw tracks and the progression of how they change as the mix is built. Tracks were a lot less "exciting" and a lot more "even" than ones I track, which explains why I always have trouble getting a mix together with my tracks without tons of carving and why I have a lot easier time working with other's supplied tracks. Overall everything was much more mid-centric and it took a while to get used to it. Yeah consistency on the tracks to the point they are dull but the final product is great.
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Post by Johnkenn on Jun 28, 2022 20:08:57 GMT -6
You ever tracked with Nashville session guys? Yup. I can also grab a guitar & hack through number system charts. Was even offered a job in town once & still have a couple friends there... What's that got to do with anything? You sounded dismissive. Maybe I was reading you wrong.
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Post by jmoose on Jun 28, 2022 22:47:22 GMT -6
You sounded dismissive. Maybe I was reading you wrong. Yes... misinterpreted for sure.
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Post by the other mark williams on Jun 29, 2022 0:43:21 GMT -6
Johnkenn ‘s description of how this project was recorded (3 songs in a day) is not that unusual in Nashville. Personally, I think that is one of the things that differentiates the Nashville recording system. I’ve heard of session guys hoping to track 3 songs before lunch and 3 songs after. Outside of jingle work, I don’t know many other situations where a premium is regularly placed on speed to that degree.
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Post by thehightenor on Jun 29, 2022 1:44:39 GMT -6
Don't take this the wrong way, but I don't feel like that's a fair statement. When I was growing up I listened to music on a shitting Sony Walkman with those awful foam headphones. Did the poor quality mean I didn't care about how it sounded? No, it was just all I had at the time and all I knew. Likewise, I look at my 16 yo daughter (and her friends), they listen to music quite a lot on earbuds but they LOVE, LOVE, LOVE music and always appreciate an upgrade. My daughter loves her Beats Headphones more than her earbuds. Loves the nicer blu tooth JBL speaker I bought her much more than the shitty one it replaced. Everyone starts somewhere. And hearing perception takes time to learn. When I venture to suggest 98% of those listening on earbuds don't even think about quality, I'd have to say I really don't that's an unfair statement. I taught music to kids for thirty years, I think I'm qualified to make a general observation regarding their listening habits and preferences. I also think it's wonderful that you're gently leading your daughter to appreciate better and better sound quality. Not too many parents would even be thinking of that. I co-produced and mixed Dusty Wright's recently album, "Lonelyville", and wrote and produced 4 tracks for a documentary this year. When I mix for something that will be broadcast or made to be sold, I mix to sound its best. Luckily, I haven't found any oddities when listening on earbuds or computer speakers. Perhaps that comes from writing, engineering and producing music for radio and TV commercials back in the day for more than ten years. My ears got used to mixing for a broadcast and so I never worry about it translating to smaller speakers, my mixes work without adjusting specifically for phones or iPads or computer speakers. The issue is for me 99% of my grown up adult friends no longer have a hi-fi. In fact I'd hazard to say about 80% only own a mono speaker be it an Alexa or a Blue Tooth JBL brick of some sort etc etc. That or their computer speakers are 3" apart! My own wife listens to music (mine included) on her fancy Alexa Studio 360 degree "thing" .... but it's still a mono speaker! So all my sitting with my ATC 25's spending hours finding the perfect stereo position for elements in my mix is mainly for my benefit and satisfaction not theirs. In the 70's and 80's people owned fabulous hi-fi's. As a kid even I have a decent hi-fi my parents bought me - my patents had a nice hi-fi - quality stereo hi-fi was common place in the average home. In my experience, not anymore. My kids listen to music (in the background whilst they play video games and message away until the wee hours on social media) on the cheap ear buds that came with their phones or little PC speakers yep .... 3" apart! That or just the output of their phones speakers, when they play me a new song they like they hold their phone out for me to listen too - mmmh - well at least it's the song they like and not the production qualities - that's one positive I guess. So yes, as I write and perform pop-rock genre music that get's played back on these devices I feel the need to make sure my music sounds great on them. And to be clear the changes I make in a mix are subtle but they do to my ears make a difference - it's all about finding a happy balance and compromise that covers all bases. Don't get me wrong if I could wave a magic wand I'd have everyone back using hi-fi system with properly spaced hi-quality full bandwidth speakers and then I'd mix for those exclusively. You can clearly mix successfully without any of these considerations and that's great. Martin, I even use one of the plugins that let me hear what my music sounds like when it will become a streaming file and also a plugin that shows me how Spotify and Youtube will alter my mixes volume and density. Now you probably think I am definitely nuts :-)
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Post by jampa on Jun 29, 2022 3:41:36 GMT -6
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Post by Martin John Butler on Jun 29, 2022 10:29:55 GMT -6
thehightenor said, "Now you probably think I am definitely nuts :-)"
Nah, it makes perfect sense. There might come a time when I need to double check in the same way, I just happen to be doing projects lately that sound fine on any device I've tried it on.
I can certainly understand checking for any egregious anomaly on a track.
When I was 19 I was recording The Demons album at Plaza Sound. It was the studio on the top floor of Radio City music Hall, built for Toscanini to conduct the NBC Orchestra. Craig Leon (Ramones, Blondie, etc.) was producing. The engineers had Grammy credits. I was tracking guitar solos.
Something was bothering me in my headphone mix. I tried to ignore it and play, but finally mentioned it to the producer and engineer. The did the roll-eye thing, so I tried again. Finally after 15 minutes of struggling, I stopped and said I'm not gonna play a note until you figure out what's wrong. Again I got the disrespectful look from the "pros" in the booth, like what does this kid know about recording. But they indulged me and had the tape-op come to check.
It turned out an ultra low frequency was being printed on the tape that would have cause record player tonearms to jump and would have necessitated a recall of all the albums. The first pressing was 100,000. They had trouble looking me in the eye after that session. I learned then to trust my ears first and foremost.
So, checking for mixes on different devices is in my DNA, and I'm certainly not against it. I just won't make a mix worse to compensate for earbuds. In the future, I think technology will advance to where music will sound incredibly good on every device, and my mixes will still sound good. The same way some of those 80's mixes with the snare drum sounding like a cannon shot make me cringe now, I think many "modern" mixes won't stand the test of time.
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Post by jmoose on Jun 29, 2022 13:38:49 GMT -6
Johnkenn ‘s description of how this project was recorded (3 songs in a day) is not that unusual in Nashville. Personally, I think that is one of the things that differentiates the Nashville recording system. I’ve heard of session guys hoping to track 3 songs before lunch and 3 songs after. Outside of jingle work, I don’t know many other situations where a premium is regularly placed on speed to that degree. Speed? Several things come to mind... Nascar and F1 pitstops... pitch clocks in baseball (they're coming)... McDonalds. Hey if its the "fast food" comment that some take exception to I didn't come up with that phrase. About 15 years ago (+/- 3dB) John McBride offered me a job at Blackbird. Which after much thought I respectfully declined. When I asked people what I could expect if I took it several, including the man himself said "Your gonna get really good at making the same record over & over... this town makes musical fast food" There's certainly a place for that kinda work. I'm not knocking it at all but it is what it is. Even John himself said there's no time to try different guitar amps... use the tweed bassman instead of the Matchless which, in my view... if time is so limited we can't find 10 minutes to plug in a different guitar amp? And we're mixing with Ozone presets? Dude. Been there. I get it. But even if we think we're Iron Chef its still fast food. Like I said in those situations more often then not its the artist who needs the tastebud/menu expectation adjustments.
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Post by Johnkenn on Jun 29, 2022 13:47:03 GMT -6
Johnkenn ‘s description of how this project was recorded (3 songs in a day) is not that unusual in Nashville. Personally, I think that is one of the things that differentiates the Nashville recording system. I’ve heard of session guys hoping to track 3 songs before lunch and 3 songs after. Outside of jingle work, I don’t know many other situations where a premium is regularly placed on speed to that degree. Speed? Several things come to mind... Nascar and F1 pitstops... pitch clocks in baseball (they're coming)... McDonalds. Hey if its the "fast food" comment that some take exception to I didn't come up with that phrase. About 15 years ago (+/- 3dB) John McBride offered me a job at Blackbird. Which after much thought I respectfully declined. When I asked people what I could expect if I took it several, including the man himself said "Your gonna get really good at making the same record over & over... this town makes musical fast food" There's certainly a place for that kinda work. I'm not knocking it at all but it is what it is. Even John himself said there's no time to try different guitar amps... use the tweed bassman instead of the Matchless which, in my view... if time is so limited we can't find 10 minutes to plug in a different guitar amp? And we're mixing with Ozone presets? Dude. Been there. I get it. But even if we think we're Iron Chef its still fast food. Like I said in those situations more often then not its the artist who needs the tastebud/menu expectation adjustments. Well good for you. I’m glad you have $25k budgets. I don’t for the majority of the work I do. I don’t make the “same record.” I don’t use Ozone presets. I don’t make “fast food.” But hey - if that’s what you want to call it, knock yourself out.
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Post by Ward on Jun 29, 2022 15:56:20 GMT -6
I've had a song I co-wrote, produced and mixed for a client recently rejected by several radio networks because the program director in each case didn't think it sounded 'country' enough because the snare sounded too (and I kid you not) "snare=y" and didn't have the thud to it.
Might not be the same thing, but sure seems like it's in the same ballpark. Like everything has to sound cookie-cutter and generic in order to be cool enough.
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ericn
Temp
Balance Engineer
Posts: 15,011
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Post by ericn on Jun 29, 2022 17:16:27 GMT -6
I've had a song I co-wrote, produced and mixed for a client recently rejected by several radio networks because the program director in each case didn't think it sounded 'country' enough because the snare sounded too (and I kid you not) "snare=y" and didn't have the thud to it. Might not be the same thing, but sure seems like it's in the same ballpark. Like everything has to sound cookie-cutter and generic in order to be cool enough. It ain’t like the old days when the Sleave for the 45 had a little packet of coke to make sure it sounded great on first listen, oh the 70’s.
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