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Originally Posted by Storyville  Yeah... "make you a better producer" don't quite grab as much attention though!
At the same time - it's also worth considering that there's a difference between on time and on time. If you are working a sustaining sine bass or square bass into your track, you may find it works better to have it hit just ever so slightly after your kick. Or, if it's an attacky bass or a live bass guitar, sometimes you get a little lift by playing just a touch ahead. OR the envelope of your bass sound effects the timing - so you have your bass exactly on the grid, but the envelope has a 10ms attack, which effectively changes the sense of timing.
Lastly, some elements really don't have an "on the grid". If you program a ramping string or brass pad on the one, it's actually playing well behind the beat. You'd have to program it ahead to make it feel "on time." |
Just one point about 'on time' totally agree with you story. All the best performances IMO are 'on time' ofcourse! That being said moving in and out of a tempo during a bar is what gives character. Everything spot on is actually really static and boring.
Listen to some Tori Amos - the tempo changes during some bars and back by the end of the bar. That is not 'ON TIME' but is on time if ya dig.
Robot timing is ugly and stale - whatever way you look at it. Wether you achieve it with a tiny bit more release just carrying over the beat or playing in and out of a groove it's all good.
Ofcourse this is subjective to a point - i mean some electronic requires robotic timing. For me a groove is determined by human feel.