Where does it all end?

A) the Beatles were working with a million in gear (at the time--money adjusted for inflation). And when you get to the bottom of this post--weren't in their basement with a computer and those four guys.

B) Most of the people having these discussions are recording at home, and even more of them using fake sampled shit--ie, not MAKING recordings, but reorganizing already recorded sounds. (flame suit on) Not that there's anything wrong with that--the cheapest way to a decent sounding recoridng is makes some midi stuff with virtual instruemnts and buy a single channel with sm7 and sm81 to record your acoustic and voice. But, talking about reverb qualities when your drums are samples tapped or moused in his WHOLLY missing the point of what a good recording is.

There's also a dangerous cross pollination on forums of people just wanting to make some recordings for fun to share that don't suck...and professionals working in commercial rooms who will have COMPLETELY different needs (not better....different)...and musicians with home studios who think the sound is in the gear--at least to the end that they feel like if they spend enough money they can be SURE that's not the problem.

What does it take to get a good recording? Collaboration. See--you play bass, right? I can give you a gear list of a couple grand that will get you impeccable recordings OF YOUR BASS (both DI and amp). If you're wanting a list and price for more, you're embracing the wrong and already proven failed paradigm. The thing about the project studio and budgets...is the POWER lies in NOT doing it all. Whether that means tracking the basics in a big studio (or to tape and transfer)...having players do remote overdub sessions in THEIR studios with THEIR tools...having me, or someone you like their work better, mix it...anyway--at that point, where's the $40k going? Does that total include every piece of gear used by anyone on the recording? Or some combo of what you have plus what you pay others for their work?

I like to say that ignoring dogshit bottom feeding gear, talent gets you to the 90th percentile of sonics. Buying gear will never get you past it if you're not already there. AFTER that, gear/money talks. But, the problem is, if you dont' KNOW that, you're not gonna hit the 90th...and $40k in gear moving you from 60th to 65th is meaningless, because you've now invest $40k in a subpar recording. For what?

Until you make recordings you're pretty happy with--and others are, it's a hobby to spend on fancy gear**. No more than going to the golf range and seeing the amateur golfers with thousands and thousands invested in clubs. Training as a swimmer BY shaving all the hair from your body before you've even qualified for regionals. That's a thing that LITERALLY the fastest swimmers in the world do to shave a few milliseconds from their time. Until you can keep up with the fastest swimmers in the world--you're just making statement about how committed you are. The milliseconds won't do anything for 99% of swimmers. What's a few MS in 80th place? Ooh...81st? Ok--I'll stay not looking like a freak and take 81. Those milliseconds are as important at the top of a game...as they are utterly irrelevant at any other level of playing the same game. IMO.

The part about live versus recording is old as time and also just a completely separate thought. Gear doesn't bring the kinds of manipulations you speak of that people "can't do live".

**and there's nothing inherently WRONG with that...but, call a spade a spade. People with high paying day jobs should spend their money however they see fit and brings them joy.

My view has always been to never own what I can rent! Chris Stone told me he bought everything used for Record Plant but the consoles and tape machines which were too new for the used market.

Actually, gear can make you a better musician.. In a way.  I've been there when musicians hear their songs come to life in the studio for the first time.  I've seen their faces light up like it was the first time they'd ever heard their song the way they intended, rather than sub-par quality demo material.  In that moment, they play better, they hear their mistakes better, and they find grooves that eluded them.

They are truly inspired, and they play like it.  These are the times that gear does make a person a better player.  It's not augmenting or supplementing, it's facilitating.

On the other hand, I still disagree with buying gear bringing happiness.  Obsession is not happiness, no matter how pleased you are when you open the box for the first time.  Too many times people buy things because someone else has the same thing.  People tend to keep up with the Jones's, not only with cars and clothes, but with audio gear too.  The rest is marketing hype and expectations.  It's "fun" to play with gear, but it's never fun to come to the realization that maybe you bought the wrong gear, or maybe you wasted your money.  I know I sure did.  I'd probably be thousands richer now if I hadn't wasted my money on things.  That's no fun.

When I was 13 my uncle Frank gave me a Gibson acoustic that was such a mess, i fucked with it for a day and lost interest, fast forward 13 years(give take), I got my hands on a finely set up acoustic, it kept my interest, and I've played every day since, I guess it mattered to me, u could even say Crappy equipment caused me to spend 13 years without the love of my life?

Just saying... mobeach ...
i got a 40ch british nice sounding medium class console for mix, hybrid pres with 4 transistors front-end, built like a tank for 200 Eur. Including freight right to the door. The bay. It looks like it survived a bomb attack, had seen heavy use. It was sold with no reserve, i bid 1 euro more than the next and got it.
It came to my house, i did not even use my Teslanol (Deoxit type of spray), just moved everything heavily, then tested. Everything working. So what. Nice character sound for a fistful of Euros the channel. Nice eq for my taste.
Not the big names, so what...
I just had a chat with a producer who swears he gives shit about bit depth talk as long as his clients are afraid of a DR of 7 because his direct competitor producer team spits out no product with higher DR than 5. Commercial major label stuff, high rollers in their field...
What do you need to make a good product nowadays? Tipp - money is not no. 1 on the list.
Why would one want to sound like the Beatles. The Beatles did not want to sound like anyone else 50 yrs. before them....

Matt - "where does it all end"

In a pine box, 6 feet under.....

:-)