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Post by Deleted on Mar 26, 2020 20:26:45 GMT -6
While I think that's just the way things have worked, I do think it's time for change. When I was doing freelance work, I recall a studio owner instructing me that the interns (who had just gone through a $35,000 recording course) were not to handle any mics. And, when I got hungry, to let the interns know what I needed. I felt absolutely terrible for these kids and tried to impart as much info as I could on them as it was clear they were being robbed of any education during their internship. The real crooks are the schools charging so much money with promises of careers upon "graduation" And then they graduate and know the exact workflow of a some old console the artists who would work with them could never afford to record on but can’t tune instruments, mic, dial in amp and basic channel strip settings, and mix for shit. What they typically produce after a recording session and a few DAYs of mixing is far worse than what was done cheaply and quickly in a day or two decades ago when the engineers had to be professional. They were often EEs, electricians, or techs. There were no second chances, no 30 dollar per hour Mackie and Adat rooms, and no fixing it in the mix on the DAW. They had to deliver the band and label something workable in a set amount of time before the next client came in. Most of them can’t “fix it in the mix” either judging from the amount of rescue mixes I’ve gotten that were recorded in real rooms by ”professionals” who graduated from supposedly professional programs. I have to get the rough tracks and start from scratch and wonder if anyone turned their brain on at all and presume every track will be an adventure wading around a sewer knee deep in muddy shit. Many of them were totally haphazard in tracking and intended to replace everything but the vocals and the band didn’t want that. They were ill-prepared to work with many genres of bands, had no idea what they were going for, and the close-miced studio recordings are worse than the self-recorded rehearsals and demos. The band or artist often has way more real world recording experience than the novice recording school trained engineer. The band just couldn’t afford to pay tens of thousands of dollars to play around with a console. Small wonder that they’re treated like shit, can’t find paying clients, and newer small studios go bust all the time. |
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Post by Deleted on Mar 26, 2020 20:33:59 GMT -6
Oh and the gun part is awesome. That was undoubtedly the coolest thing to ever happen to that guy in his life and he has to go be a rat? Beavis and Butthead would call that guy a wuss. He will never be allowed to take the trash out again.
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Post by chessparov on Mar 27, 2020 0:59:37 GMT -6
And never given another shot...
Chris
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Post by christopher on Mar 27, 2020 20:27:33 GMT -6
"hey you.. go get the shotgun out of the closet and aim it at the Marshall"
"What? You want me to threaten a police officer?!"
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Post by johneppstein on Mar 27, 2020 21:45:40 GMT -6
Oh and the gun part is awesome. That was undoubtedly the coolest thing to ever happen to that guy in his life and he has to go be a rat? Beavis and Butthead would call that guy a wuss. He will never be allowed to take the trash out again. Ya think?
What I can't get past is that if the errand was of such a nature to require carrying a gun, McBride should have carried it out himself instead of sending some green kid who wasn't even getting paid.
And if you think the gun part was "awesome" you're obviously never been involved in a "situation" that involved the presence of firearms.
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Post by Deleted on Mar 28, 2020 11:19:34 GMT -6
Oh and the gun part is awesome. That was undoubtedly the coolest thing to ever happen to that guy in his life and he has to go be a rat? Beavis and Butthead would call that guy a wuss. He will never be allowed to take the trash out again. Ya think?
What I can't get past is that if the errand was of such a nature to require carrying a gun, McBride should have carried it out himself instead of sending some green kid who wasn't even getting paid.
And if you think the gun part was "awesome" you're obviously never been involved in a "situation" that involved the presence of firearms.
We’re just joking about some Behind the Music type stuff. I want to know why the guy continued working for them after that? |
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Post by chessparov on Mar 28, 2020 16:13:32 GMT -6
Isn't it obvious? His intern skills, were of the highest caliber!
Chris
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Post by johneppstein on Mar 28, 2020 17:41:36 GMT -6
Ya think?
What I can't get past is that if the errand was of such a nature to require carrying a gun, McBride should have carried it out himself instead of sending some green kid who wasn't even getting paid.
And if you think the gun part was "awesome" you're obviously never been involved in a "situation" that involved the presence of firearms.
We’re just joking about some Behind the Music type stuff. I want to know why the guy continued working for them after that? Maybe because he was terminally stupid?
Assuming, of course, that he did continue working for them.
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Post by jeremygillespie on Mar 31, 2020 19:52:31 GMT -6
Sounds like an ordinary day working at Electric Lady ‘95-‘05
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Post by stratboy on Mar 31, 2020 22:21:56 GMT -6
When I started at Filmways Heider in 1977, as a Hustler, I did whatever was asked of me and I did it as quickly and as well as I possibly could. And I mean whatever. It’s a service business, after all. BUT I was paid for every hour I worked, and there was a path to 2nd engineer, and we could use unbooked studios after everyone was gone for the night. That was fair. Some guys were dicks, but most were either total pros who expected you to do your job, or total pros who would mentor you as well. Unpaid internships of more than say, two weeks, are not fair. They are exploitative, and being a dick on top of that is unconscionable. However, the music business attracts a fair number of people like that, unfortunately.
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Post by Deleted on Apr 2, 2020 1:07:37 GMT -6
The craziest I've had to put up with is psychotic, drug-fueled fits from metal musicians and rappers. No guns yet. I don't allow drugs or booze in the room with me. I'm the only one allowed to drink beer and touch the gear, at home, mixing.
The entire industry is pretty much fucked now from the top down and bottom up. People will "work" for practically free and put up with ungodly amounts of abuse. Anyone can create a sterile trap or "modern rock/metal" type record from a few di guitar tracks and vocals very quickly. You don't even need a real drummer to write the midi now. Then whoever pays someone for that can get on a pay to play label with pr agents in place to promote them. Getting on the label can costs more than the fake record, even if the producer horrifically overcharge them to make it sound like a sterile modern "recording". Even if it sounds like a buttrock band with growls or Britney Spears with rap verses, a label with good enough pr and distribution can sell the music as whatever to hipsters and mainstream fans. It's a slightly edgy lifestyle product for them like snowboarding, funky haircuts, and drinking craft brews in a fake, brand new, immaculately clean "dive bar". PR agents will promote these in media outlets for the "genre" that the label wants to sell that are exclusively dedicated to this and insist it is the same as the music from 30 years ago, pushing out the more recent acts and even the acts from 30 years ago. These media outlet solely exist to be tied to the PR agencies and to seek maintream advertising because this ia an edge lifestyle product, not art, not even commercial art at this point. There's no longer any financial incentive for young people to learn to play instruments, write interesting music on those instruments, and then pay (or get a label to pay) for people to record, mix, and master them so that their music can be presented realistically or even interestingly. The fake guys on a major label or well distributed "indie" will make more money than them. The only incentive is artistic but to get to the next level, where they actually get paid, requires losing the art. This is in spite of streaming and direct sales (thousands of cds or lps sold cheaper than other distributors and the artist can sell them) making tens of thousands of dollars for the labels for any decently promoted release that can sell even a stamper or two of LPs online or get on a featured playlist. Many acts of that level of popularity can't tour profitably with venues closing and pay to play. |
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