|
Post by Martin John Butler on Aug 28, 2017 7:11:52 GMT -6
Wow, that's really out there nobtwiddler. I suspect they knew but figured it'll help them move forward.
|
|
|
Post by jeremygillespie on Aug 28, 2017 12:04:03 GMT -6
I've worked on projects where everybody is in the room at the same time and it's my job to make everything sound great. The players do their job, they have fantastic instruments, I have great microphones and gear, and we make a record. I love doing it this way.
I've also worked on projects where I've completely timed the drums, replayed the bass and guitar parts, tuned the crap out of vocals, and made fake harmonies in Melodyne.
At the end of the day, I'm paid to make something sound good. If a band wanted a crap recording of them playing poorly, they can do that themselves at home. But if they are going to come and spend time and money at a studio, I'll give them whatever they want.
This isn't just nobody bands doing this either. I've worked on projects with half a million $ budgets where basically half the band's (incompetent) parts were replaced by other musicians without their knowledge, and upon playback come mix time they had no idea. I simply see it as part of the job, and if I don't do it, somebody else will - and I've got mouths to feed.
|
|
|
Post by johneppstein on Aug 28, 2017 12:55:35 GMT -6
You see, I was there when it all started. At one time 20 people, 14 of them in bands were the "Punk scene", before the term was coined. This is what Punk was, following your authentic self to its realized end. Punks were legitimate by in fact being who they really were. All of the bands that began the movement were extremely different, yet the same in this one way, being unique to themselves. As time passed, others copied it, developed it, packaged it, sold it, but the core of it all was authenticity. It was "punk" to be authentic, and the anger and pushback was against the bloated carny show R&R had become, and the fact that New York was our home that had been abandoned and left to rot, yet we stayed and made something of it. Many of us didn't make it. Yeah. I was a sound man at The Mabuhay Gardens, which was regarded as the west coast answer to CBGB, starting around '78 (which I guess makes me "second generation"). At the time SF had a thriving original punk scene, long before anything much was happening in LA.
|
|
|
Post by nobtwiddler on Aug 28, 2017 17:30:35 GMT -6
Martin is correct, I lived it. Even though I had my first studio at age 16, by the time I hit 17, I was doing sound at all the clubs (long Island & Manhattan) when the "punk" scene started!
At first I was a stand by sound guy, since most of the guys back then were addicted to heroin, and half the time wouldn't be able to make the show. So more often then not I'd receive a last minute phone call and have to make a trip from Bayside Queens (where my studio was located) to Manhattan ASAP ! Back then, If there was no traffic, I could make it in 13 minutes, (driving my PINTO full speed) but most of the time, that was not the case.. Haha Anyhow in the city, (or surrounding areas) from what I can remember off the top of my head... Max's Kansas City CBGB's Louis Freedmans' Snafu, Great GIldersleeves, Tracks, Privates, The Ritz (original location) The Coventry (Queens blvd)
There's a few more, but their names escape me at the moment???
It was THE BEST TIME TO BE IN THE CITY~! I'm glad I lived it, and remember (MOST) of it !!!!
|
|
|
Post by Martin John Butler on Aug 28, 2017 18:36:21 GMT -6
I played at every one of those clubs with one exception. We must know each other!
|
|