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Originally Posted by PettyCash  As an engineer, I have the tools and knowledge necessary to make that happen. If it means doing something as annoying and tedious as having to comp vocals to get a great sounding verse, I'm willing to do it. |
That's actually an excellent point. It kind of just hit me now that a while ago (let's say, back in the Motown era), it wasn't possible for producers and engineers to do what is possible today; this is probably why they focused more on coaching the artists and waiting for "that" take. I hadn't thought about it in that sense. I mean, this comp'ing technique sounds tedious indeed, but I can't even imagine how you would do this sort of thing if you had to splice tape.
I'm sure if Phil Specter had the tools he probably would have been more chilled-out. I suppose the side effect to this level of editing of course is that performance-wise, you guys at the helm of the audio industry are not pushing the artists to be the next Michael Jackson (in terms of the stories I've heard of him in the booth).
Passion, like any other emotion, varies from person to person. I kind of feel depressed that I have to dig up old music to "feel" a performance from an artist and feel that I don't hear the same pains or sorrows in performances today. Unfortunately I don't listen to too much commercial music to know all of it, but Sharon Jones is someone I really like these days, I'm willing to bet they don't comp her vocals. I heard her one day and I immediately bought almost everything she's done.