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Post by kevinnyc on Apr 28, 2014 16:23:45 GMT -6
And again I think it's dangerous to over generalize or make assumptions as to how an end result is achieved.
A HUGE eye opener for me was hosting the Ramones for a chunk of overdubs then mixing of their "Mondo Bizarro" record circa '92 I think.....
Every drum hit was sample-enhanced (or replaced) and grid corrected, same with guitars.... iirc pitch correction done with an h3000 and fader automation....
Never thought such a garag-ey sounding band would need/want such artificiality in a production....
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Post by nico on May 7, 2014 12:58:18 GMT -6
Couldn't go through all the thread, so sorry if it has already been said :
To me this is pretty much killing it:
Midi quantize : turn the thing off for all virtual instruments/synthesizer parts. Might seem harder in the beginning, but try for yourself :
record the best possible parts you can without any quantise ( if a note is really off, then slide it closer to where you'd want it )
once you've recorded all parts and are satisfied, hit that quantize button for all tracks and hear the difference for yourself.
Regarding click tracks : fixed tempo can kill a song as well, the thing is with most DAWs you can write a click-tempo automation track.
It takes some time to get to know how a song moves in time, and recreate the automation that goes along but it can deliver.
Have a talk with the band, see if they are willing to try a gradually faster ending, or faster choruses/slower verse etc... depends on the song.
this one is pretty obvious, and certainly already mentioned : autotune : turn that sh*t off! every client that wants pitch correction here I always suggest my honest thought about it : that it won't make you less competitive and it won't make you a better singer, and most definitely will take some -if not all- life out of the performance.
After that if it's a T-pain sound they want I just sigh internally and do it. But I've already convinced more than one that they can do without.
On a sidenote subtle correction of a note here and there is fine with me.
In a lighter mood, but a serious undertone, here is one technique to avoid : playing only dull commercial radio stations to your kids, nephews ..any children: they are the music of tomorrow.
regards, Nico
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Post by Bob Olhsson on May 7, 2014 16:52:53 GMT -6
According to the musicians and engineers involved, most of the dance hits of the '70s and '80s were not recorded to click or quantized including many with drum machines.
That said, I think the biggest problem with clicks is slightly wrong tempos. When musicians count off a tune it seems like it's always a bit different than the tempo that gets played because it felt right. Quincy Jones has been quoted as thinking people don't pay nearly enough attention to tempo and I certainly agree with him.
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Post by nico on May 8, 2014 16:42:10 GMT -6
According to the musicians and engineers involved, most of the dance hits of the '70s and '80s were not recorded to click or quantized including many with drum machines. That said, I think the biggest problem with clicks is slightly wrong tempos. When musicians count off a tune it seems like it's always a bit different than the tempo that gets played because it felt right. Quincy Jones has been quoted as thinking people don't pay nearly enough attention to tempo and I certainly agree with him. I always was betting they had no click, even less quantize, yes! great to hear it from someone who has been there upclose and personal, thanks. Do you know when that changeover happened to clicks+quantize, was it gradual and in certain genres only? And yes, even one bpm-off can do some good or damage |
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Post by Bob Olhsson on May 8, 2014 21:47:10 GMT -6
Clicks were invented in the 1930s for scoring films. The reason they were used was for precise timing to match picture cuts. In pop music I first saw it used in rock bands during the '80s. The '80s also brought us MIDI producers who used keyboards and sequencers rather than hiring musicians.
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Post by nico on May 9, 2014 2:40:35 GMT -6
Clicks were invented in the 1930s for scoring films. The reason they were used was for precise timing to match picture cuts. In pop music I first saw it used in rock bands during the '80s. The '80s also brought us MIDI producers who used keyboards and sequencers rather than hiring musicians. Great info, thanks! regards, Nico |
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Post by scumbum on May 18, 2014 21:54:33 GMT -6
And again I think it's dangerous to over generalize or make assumptions as to how an end result is achieved. A HUGE eye opener for me was hosting the Ramones for a chunk of overdubs then mixing of their "Mondo Bizarro" record circa '92 I think..... Every drum hit was sample-enhanced (or replaced) and grid corrected, same with guitars.... iirc pitch correction done with an h3000 and fader automation.... Never thought such a garag-ey sounding band would need/want such artificiality in a production.... Hey I found a picture of the Mondo Bizarro days ,  www.musicradar.com/us/news/guitars/producer-ed-stasium-on-joey-ramones-new-album-ya-know-541252 |
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