|
|
Post by WKG on Feb 1, 2014 11:33:20 GMT -6
There's a fine line between getting something "perfect for your vision", and over perfecting and neutering it into oblivion. IMO, it's experience is what guides that fine line. The tools are there so literally anyone can decimate the soul out of music. The experienced ones are the ones that can use the tools to make the music BETTER, not worse. It takes years of making music the old fashioned way - playing it - to know the difference. Great post. Way too much music nowadays ends up so "perfected" it reminds me of the stepford wives, perfect and pleasant but strangely un-human.... |
|
|
|
Post by popmann on Feb 1, 2014 12:24:56 GMT -6
So...we're talking about content manipulation?
There's a REALLY easy answer to that...I'm sort of standing in disbelief--there's a thread over at GS where someone, who apparently records bands....BANDS...one member/instrument at a time to a click...saw Sound City (movie) and was wondering how normal this is for everyone to play all at once--were they just practicing or actually recording...?
Disregard everything I said in this thread. I was talking about the actual sonic production....you know--since you were talking about mix engineer demos.
|
|
|
|
Post by Bob Olhsson on Feb 1, 2014 15:33:59 GMT -6
FWIW I'll edit the crap between different takes but I'll almost never move stuff around. Just as a point of reference, a friend of mine used to assist Bill Szymczyk. He tells me Bill never spent more than a half hour on a mix in his life!
Les Paul Memorial Overdub Parties are a real trap. Great for a Les Paul or Stevie Wonder but not the vast majority of people. I say this having worked on some of Stevie's early productions that were all overdubs. He wasn't just playing what he thought was the best part for the song. He was playing what he believed the best living or dead musician for the song would have played!
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Feb 1, 2014 22:44:21 GMT -6
Now we have a whole generation of kids that are used to perfect. I had a 16 year old female singer in to do a vocal. She sang like she was autotuned because that's her reference!! Bizarre. Thanks for the good laugh in the early morning!  Bizarre, indeed! |
|
|
|
Post by cenafria on Feb 2, 2014 2:07:50 GMT -6
FWIW I'll edit the crap between different takes but I'll almost never move stuff around. Just as a point of reference, a friend of mine used to assist Bill Szymczyk. He tells me Bill never spent more than a half hour on a mix in his life! Les Paul Memorial Overdub Parties are a real trap. Great for a Les Paul or Stevie Wonder but not the vast majority of people. I say this having worked on some of Stevie's early productions that were all overdubs. He wasn't just playing what he thought was the best part for the song. He was playing what he believed the best living or dead musician for the song would have played! I'm seeing the light at the end of the tunnel of one of those "overdub parties". This one was fueled by the fact that the artist came to the studio unprepared. Songs weren't finished, no lyrics. It has turned the mixes into "one day nightmares" instead of "one hour breeze through delights". Damn, half an hour on each mix. The best I can do is around an hour when the mix session is rolling. Probably done quicker occasionally, but not that often. |
|
|
|
Post by wreck on Feb 2, 2014 9:27:31 GMT -6
So...we're talking about content manipulation? There's a REALLY easy answer to that...I'm sort of standing in disbelief--there's a thread over at GS where someone, who apparently records bands....BANDS...one member/instrument at a time to a click...saw Sound City (movie) and was wondering how normal this is for everyone to play all at once--were they just practicing or actually recording...? Disregard everything I said in this thread. I was talking about the actual sonic production....you know--since you were talking about mix engineer demos. Pop my initial post was pretty vague. Just trying to work through an experience that I didn't have my head wrapped around. My bad. No new revelations here. The old standards apply. I was just having a hard time applying an old ruler to a new medium. |
|
|
|
Post by jazznoise on Feb 2, 2014 9:41:38 GMT -6
So...we're talking about content manipulation? There's a REALLY easy answer to that...I'm sort of standing in disbelief--there's a thread over at GS where someone, who apparently records bands....BANDS...one member/instrument at a time to a click...saw Sound City (movie) and was wondering how normal this is for everyone to play all at once--were they just practicing or actually recording...? Disregard everything I said in this thread. I was talking about the actual sonic production....you know--since you were talking about mix engineer demos. Content Manipulation is a big part of modern mixing. Doubling basslines with subby synths, trigger tones from kicks, sample replacement, pitch and time quantization, re-amping are all attempts to alter the production from a tracking perspective to improve the mix. Most projects the guy tracking is the guy mixing. I think we ended up talking both because they're inseparable. Even the choice of mastering style is still a production decision - to me, at least. |
|
