biggest "pet peeve" in the studio - Page 3

rrraaalllfff · 12th August 2008, 01:57 AM

Quote:

Originally Posted by AllAboutTone

I even tell them, PLEASE do not come back and say i dont like the bass sound or guitars to loud etc, fu+k they still do....

, hell they even have notes in there hand on how to fix the ruff mix, times etc.

yessssss.... why do they still do it?! do they think that you were just downplaying it, and the tracking day ruff mix really IS awfully close to the final cd mix?.... Aa!!

motherf***ers. I ask 'em what they think about the mastering.... they say "well, it aint mastered yet"... AHA! Get out! Definitely in the top 3 pet peeves for me.

Gzmo · 12th August 2008, 02:30 AM

Quote:

Originally Posted by plexisys

girlfriends/boyfriends and wives/husbands - followed closely by bored band crews who have nothing to do for 8 hours but can't leave,

same here...
singer with her child like 4-6years old -no bbsitter for the session-
told her dont bring in the bb let her play in the control....lol
after the session the bb went in to the studio and kicked off a mic....
i was the fool idiot so DONT LET small CHILDREN IN ITS NOT A PLAYGROUND!!!

mic went back to maintanace and they had to change the membrane and the basket /it was 80percent damaged/...

Steven_C · 12th August 2008, 04:06 AM

Quote:

Originally Posted by Zionpro

As a semipro, this is by far my biggest gripe...AFter a day of tracking, ears and perspective are gone. I tell them it is a VERY rough mix and stress the "very rough" part. Still they return with critiques on the mix...I get so annoyed reexplaining that it was only for the purposes of allowing them to listen to the performance...some people are ridiculous...

Yes, handing out roughmixes always leads into one of the following situations:
1.) they don't like it and keep complaining about sound details (often enough the true reason being they feel they've played badly)
2.) they like it and will try to talk you into doing things in the final mix like it (often enough the true reason being they've played well according to their standards)
The only solution is:
1.) Never, never give away any roughmixes, even if you (sort of) like them.
- I know this is hard to do with some artists (esp. the younger ones) but you'll have to convince them that the production really can benefit from the mental distance one can gain by not listening to some shitty roughmix at home after tracking.

Sk106 · 12th August 2008, 04:35 AM

I always bring my own talkback mic, a €20 mic with an on/off switch, and I ask them to just put it up on the rightmost channel on the console and don't touch it. I'll do the on/off-ing to speak through the mic.

1. they tell me "whatever for?" we got 12 mics on your drums and you think we won't hear you??
2. they don't wanna use the talkback mic, but during the recording they keep telling me to stand up behind the drums whenever I speak so they can pick up what I'm saying louder through the overheads.
3. sometimes I don't stand up, cause I wanna have more kick in the headphones, so I speak a bit louder .. and just plays 1 stroke to get a feel for how much more I will be asking for .. and they go apeshit in there behind the glass going "****, man! would you take it easy?? you nearly ****ing blew the membranes out of the speakers in here!!" ... meaning, they had raised the monitoring volume to hear me through the overheads, and then I flogged a full power kick on them.
4. They decide, alright alright, plug in the friggin talkback mic then
5. Whenever I pick the talkback up, turn it to on and speak, they keep telling me to s-t-a-n-d t-h-e f-u-c-k u-p c-l-o-s-e t-o t-h-e o-v-e-r-h-e-a-d-s!! which means they forgot they plugged the talkback mic in, and they also forgot that if they mute the talkback mic channel they won't hear me when I turn it to on, and instead tell me what a drag I am for continously not standing up close to the overheads.
6. They tell me this ain't working, my mic don't work. The talkback channel is on and not muted and the fader is up. So they bring me another one, which doesn't have an on/off functionality. So, now the drums sounds strange all of a sudden ... because they get the drums in through the talkback mic since they forgot that their mic didn't have an on/off function and that they have to mute from now on. And the reason my mic 'wasn't working' in the first place, was because they forgot they had 5 channels on solo mode at that time which effectively silenced out the talkback channel.

I'm just sitting there thinking "Why did they think I brought a talkback mic with off/on for in the first place for? if not to prevent precisely this BS"

adoucette · 12th August 2008, 05:04 AM

"I think it needs a little more... 341Hz"

"...Like that?" (Pretending to turn knobs)

"Yea exactly!"

dubrichie · 12th August 2008, 11:55 AM

"WOW! that soundproofing looks really great!"

...

It's NOT soundproofing!!! It's acoustic treatment!!!

Yes, it does look great and thank you for the compliment on my carpentry skills, but please, for the love of god, stop calling it soundproofing! I am constantly amazed by how many people who come to my studio to record and / or mix music know absolutely nothing about this stuff...

And then they ask why i don't have the useless "Acoustic Studio Foam" all over the walls that they have seen in other, crappier studios and magazines... Because it's useless you fool!

AllAboutTone · 12th August 2008, 12:17 PM

Quote:

Originally Posted by Steven_C

1.) Never, never give away any roughmixes, even if you (sort of) like them.
- I know this is hard to do with some artists (esp. the younger ones) but you'll have to convince them that the production really can benefit from the mental distance one can gain by not listening to some shitty roughmix at home after tracking.

Hey i agree but if you have clients that must have a CD before they leave, the famous words "can you burn me a copy", they are paying the bill so you sorta have to burn them a copy.

doorknocker · 12th August 2008, 12:38 PM

Quote:

Originally Posted by Steven_C

The only solution is:
1.) Never, never give away any roughmixes, even if you (sort of) like them.

In my situation, handing out rough mixes is always about the creative process i.e re-evaluating the arrangement/vocals/etc. I think it's essential to listen to these things outside of the studio, not so much for sonical but rather for 'mental' issues. Working non-stop in the studio can really cloud up your judgement.

As for more finished productions:if they like the rough mix better then use the rough mix! In today's DAW world it's really no big deal as you can easily save all the versions.

Though there is definitely a 'final mix process', I try to mix as I go. In most cases, a rough mix is about finalizing the arrangement, deciding which parts to keep ,etc and getting the basic sound together. I always try to get the balance right even in the rough mixes, it's a good training really and remember the old days with bouncing tracks,etc where you simply HAD to get it right from the get-go.

AllAboutTone · 12th August 2008, 01:13 PM

Quote:

Originally Posted by doorknocker

As for more finished productions:if they like the rough mix better then use the rough mix! In today's DAW world it's really no big deal as you can easily save all the versions.

Though there is definitely a 'final mix process', I try to mix as I go. In most cases, a rough mix is about finalizing the arrangement, deciding which parts to keep ,etc and getting the basic sound together. I always try to get the balance right even in the rough mixes, it's a good training really and remember the old days with bouncing tracks,etc where you simply HAD to get it right from the get-go.

The only issue with that is i mix OTB so i cannot recall a mix, either way that would be a ear burn out mix anyways, nothing like fresh ears.

gearaddict · 12th August 2008, 02:18 PM

Quote:

Originally Posted by doorknocker

In my situation, handing out rough mixes is always about the creative process i.e re-evaluating the arrangement/vocals/etc. I think it's essential to listen to these things outside of the studio, not so much for sonical but rather for 'mental' issues. Working non-stop in the studio can really cloud up your judgement.

As for more finished productions:if they like the rough mix better then use the rough mix! In today's DAW world it's really no big deal as you can easily save all the versions.

Though there is definitely a 'final mix process', I try to mix as I go. In most cases, a rough mix is about finalizing the arrangement, deciding which parts to keep ,etc and getting the basic sound together. I always try to get the balance right even in the rough mixes, it's a good training really and remember the old days with bouncing tracks,etc where you simply HAD to get it right from the get-go.

+1..I have no problem handing out a rough mix because I always mix as I go...At the end of tracking I useualy have a ok dry but rough mix!!

But even then, I have had problems like everyone else.

!. The guy that needs a 80% wet reverb on his vox. to sing...They always stop in the middle of a good take and say..man,..can I get a bigger verb on my vox.

I mean..do they think they suck that bad that they need to cover it up so much!!

Sigma · 12th August 2008, 04:22 PM

Quote:

Originally Posted by tracktension

QUIT POINTING AT THE TRANSIENTS AND TOUCHING THE MONITOR SCREENS !!!!!!

I HATE THAT !!!!

everyone does that unless you have the correct gear

i have a laser pointer on the producers area for point and touch happy clients..real simple and 10 dollars for one that is a red laser , blue led and an ink
pen

Sigma · 12th August 2008, 04:27 PM

Quote:

Originally Posted by otobianki74

clients who take off their shoes...

oto

hahahah i don't allow shoes in my home [no i am not japanese or muslim] shoes are for outdoors..slippers or slipper socks for indoors...all the floors in my home are wood or tile and i still insist..for those who have rugs it's even grosser..dog crap, phlem, bubble gum, etc. etc etc. on shoe bottoms and then on your carpet where you and your kids lay. roll around , sit around or watch tv on

fooman · 12th August 2008, 07:54 PM

Ooooo me too!!
- People who aren't part of the session hanging out in my one-room space. Tracking drums in a one-room setup works, if you can keep your mouth shut till the fade-out is complete.

- Although I appreciate the gesture, wrapping up my cables and cords incorrectly is really annoying because I have to redo them, so it takes longer cause I gotta unwind, wind back up, etc. O well, they meant well.

illiummusic · 12th August 2008, 08:12 PM

Another one I thought of. This one pertains to life outside of the studio as well.

People that wear sunglsses indoors. Especially really dark ones. Nothing says d**che bag to me more than a guy or gal walking around a not very brightly lit room with
shades on. Usually there is an accompanying self-centered, arrogant attitude to go
along with the glasses.

tomvan · 12th August 2008, 08:39 PM

Kinda surprised this one got missed

How about the guy walking out of a room with headphones still attached. Reaching the end of the line, wires taught, head thrown backward, headphones shoot back into the room wence they came and come crashing to the floor.

This is why I only buy the $40-$50 sets now. And keep one nice pair for people I can trust.

And as far as beverages go. Bring your own and if you want one of my beers!?! There is a sign on the fridge that says $2 a bottle.
One guy went as far to say (while walking around with a beer in hand)...No I didn't put two bucks in the bank...I thought it was a joke

Peace
Tom

maxpidge · 13th August 2008, 06:03 PM

touching the screen, then asking me to make that part "bigger", not louder.....

confooshus · 13th August 2008, 07:39 PM

Quote:

Originally Posted by illiummusic

People that wear sunglsses indoors. Especially really dark ones. Nothing says d**che bag to me more than a guy or gal walking around a not very brightly lit room with
shades on. Usually there is an accompanying self-centered, arrogant attitude to go
along with the glasses.

LOL me too... So pretentious.

I also hate when grown men smack gum.

confooshus · 13th August 2008, 07:43 PM

Another one I just remembered: when people make rhythmic noises with their mouth while recording acoustic guitar. The emo kids do it every time...

Bazooka Bob · 14th August 2008, 12:07 AM

I'm the big studio for the "ska" scene in Miami which usually entrails having 8+ band members (mostly horns).

I honestly find it extremely difficult to do any kind of work with 3+ people in the same room, whether it be tracking or mixing. Usually the people doing nothing slow down the other ones trying to be productive.

...and I love how the people doing nothing love to touch everything. Especially turning on an organ and playing Chopsticks while tracking.

I have recently established a rule to where if you're not tracking, you don't need to be there (unless you're some sort of producer/band leader). Works wonders.

Gzmo · 14th August 2008, 12:13 AM

Quote:

Originally Posted by Sigma

hahahah i don't allow shoes in my home [no i am not japanese or muslim] shoes are for outdoors..slippers or slipper socks for indoors...all the floors in my home are wood or tile and i still insist..for those who have rugs it's even grosser..dog crap, phlem, bubble gum, etc. etc etc. on shoe bottoms and then on your carpet where you and your kids lay. roll around , sit around or watch tv on

Fully agree with U Sigma!!!Cant say it better

Protools Guy · 14th August 2008, 12:54 AM

Using the cloth grill of my sub-woofer as a foot rest.

GearBit · 14th August 2008, 01:10 AM

People who ask for your advice and then argue with you.

JDN · 14th August 2008, 02:04 AM

I haven't seen this one mentioned yet...when tracking, vocal producers, or members in the control room that don't understand you have to hit the talkback button to communicate with the person in the booth!!!

This kills me, at the beginning of every tracking session that i'm engineering, I show the producers or other members where the talkback button is, or give them the remote, and even suggest they sit next too it. Inevitably, EVERY session I end up having to push it because they just start talking thinking magically the person in the booth can here them....

after a while, I stop pushing it, and i can't help myself from somewhat snidely saying "you know, they can't hear you unless you press the talkback button" I really just can't helpmyself from saying this with kind of an A-hole tone...it's just like nails on a chalkboard

shaneoconnor · 14th August 2008, 03:05 AM

i dont have very good isolation in my studio, and i thought that was why no one would hit the talkback button (even when the vocalist says they cannot hear the convo)

MIC FIEND · 14th August 2008, 03:42 AM

Quote:

Originally Posted by MixShmix

Vocalists chewing gum and/or wearing lots of jangly jewelry.

Who the hell are you tracking a 70's Elvis impersonator! lol
YouTube - Doug Church-2004 HURT

BCains · 14th August 2008, 04:07 AM

What about the singers that walk away from the mic and come up to the glass to talk.

goldenlotus · 14th August 2008, 06:21 AM

Quote:

Originally Posted by dubrichie

And then they ask why i don't have the useless "Acoustic Studio Foam" all over the walls that they have seen in other, crappier studios and magazines... Because it's useless you fool!

Yeah they ask me why I don't have egg crates on the wall to sound proof the room!?!

tomvan · 14th August 2008, 06:22 AM

Quote:

Originally Posted by BCains

What about the singers that walk away from the mic and come up to the glass to talk.

Similar Threads
Thread	Thread Starter	Forum	Replies	Last Post
Biggest mastering Screwup?!!! Sia "Some people have real problems"	nlc201	Mastering forum	32	23rd March 2008 07:15 PM
Use of echo chambers - "wall of sound"/"Pet Sounds" era	Sunim Koria	So much gear, so little time!	3	5th December 2007 09:13 PM
Beloved API 2500, minor pet peeve	Jonathan Starr	High end	39	4th September 2007 08:12 PM
Beach Boys "The Making of Pet Sounds"	cap217	So much gear, so little time!	13	11th May 2006 08:43 PM
Now that "American Idol" is THE biggest starmaking vehicle?	chessparov	So much gear, so little time!	13	30th January 2004 05:31 PM

12th August 2008, 11:55 AM	#66
dubrichie Lives for gear Join Date: Nov 2005 Location: Dublin, Ireland Posts: 1,164	"WOW! that soundproofing looks really great!" ... It's NOT soundproofing!!! It's acoustic treatment!!! Yes, it does look great and thank you for the compliment on my carpentry skills, but please, for the love of god, stop calling it soundproofing! I am constantly amazed by how many people who come to my studio to record and / or mix music know absolutely nothing about this stuff... And then they ask why i don't have the useless "Acoustic Studio Foam" all over the walls that they have seen in other, crappier studios and magazines... Because it's useless you fool! __________________ regards, richie. "a paradigm of restraint and good taste at a time of frequent excess"

12th August 2008, 07:54 PM	#73
fooman Lives for gear Join Date: Mar 2007 Location: Ontario, Canada Posts: 853	Ooooo me too!! - People who aren't part of the session hanging out in my one-room space. Tracking drums in a one-room setup works, if you can keep your mouth shut till the fade-out is complete. - Although I appreciate the gesture, wrapping up my cables and cords incorrectly is really annoying because I have to redo them, so it takes longer cause I gotta unwind, wind back up, etc. O well, they meant well. __________________ XXII-22 Productions

12th August 2008, 08:39 PM	#75
tomvan Gear interested Join Date: May 2008 Location: Gresham OR Posts: 5	Kinda surprised this one got missed How about the guy walking out of a room with headphones still attached. Reaching the end of the line, wires taught, head thrown backward, headphones shoot back into the room wence they came and come crashing to the floor. This is why I only buy the $40-$50 sets now. And keep one nice pair for people I can trust. And as far as beverages go. Bring your own and if you want one of my beers!?! There is a sign on the fridge that says $2 a bottle. One guy went as far to say (while walking around with a beer in hand)...No I didn't put two bucks in the bank...I thought it was a joke Peace Tom __________________ http://www.lost-studios.com myspace.com/loststudiospdx

13th August 2008, 07:43 PM	#78
confooshus Gear addict Join Date: Jan 2005 Location: Nashville Posts: 400	Another one I just remembered: when people make rhythmic noises with their mouth while recording acoustic guitar. The emo kids do it every time... __________________ "At your level, the Samson drum mic kit would be just fine" - air conditioner repairman

12th August 2008, 04:35 AM	#64
Sk106 Gear maniac Join Date: Dec 2007 Location: Sweden Posts: 229	I always bring my own talkback mic, a €20 mic with an on/off switch, and I ask them to just put it up on the rightmost channel on the console and don't touch it. I'll do the on/off-ing to speak through the mic. 1. they tell me "whatever for?" we got 12 mics on your drums and you think we won't hear you?? 2. they don't wanna use the talkback mic, but during the recording they keep telling me to stand up behind the drums whenever I speak so they can pick up what I'm saying louder through the overheads. 3. sometimes I don't stand up, cause I wanna have more kick in the headphones, so I speak a bit louder .. and just plays 1 stroke to get a feel for how much more I will be asking for .. and they go apeshit in there behind the glass going "**, man! would you take it easy?? you nearly **ing blew the membranes out of the speakers in here!!" ... meaning, they had raised the monitoring volume to hear me through the overheads, and then I flogged a full power kick on them. 4. They decide, alright alright, plug in the friggin talkback mic then 5. Whenever I pick the talkback up, turn it to on and speak, they keep telling me to s-t-a-n-d t-h-e f-u-c-k u-p c-l-o-s-e t-o t-h-e o-v-e-r-h-e-a-d-s!! which means they forgot they plugged the talkback mic in, and they also forgot that if they mute the talkback mic channel they won't hear me when I turn it to on, and instead tell me what a drag I am for continously not standing up close to the overheads. 6. They tell me this ain't working, my mic don't work. The talkback channel is on and not muted and the fader is up. So they bring me another one, which doesn't have an on/off functionality. So, now the drums sounds strange all of a sudden ... because they get the drums in through the talkback mic since they forgot that their mic didn't have an on/off function and that they have to mute from now on. And the reason my mic 'wasn't working' in the first place, was because they forgot they had 5 channels on solo mode at that time which effectively silenced out the talkback channel. I'm just sitting there thinking "Why did they think I brought a talkback mic with off/on for in the first place for? if not to prevent precisely this BS"

12th August 2008, 05:04 AM	#65
adoucette Gear maniac Join Date: Jun 2008 Posts: 204	"I think it needs a little more... 341Hz" "...Like that?" (Pretending to turn knobs) "Yea exactly!"

12th August 2008, 08:12 PM	#74
illiummusic Gear maniac Join Date: Jan 2006 Location: burbank ca Posts: 240	Another one I thought of. This one pertains to life outside of the studio as well. People that wear sunglsses indoors. Especially really dark ones. Nothing says d**che bag to me more than a guy or gal walking around a not very brightly lit room with shades on. Usually there is an accompanying self-centered, arrogant attitude to go along with the glasses.

13th August 2008, 06:03 PM	#76
maxpidge Gear nut Join Date: Jun 2007 Posts: 77	touching the screen, then asking me to make that part "bigger", not louder.....

14th August 2008, 12:07 AM	#79
Bazooka Bob Gear interested Join Date: Jun 2008 Posts: 22	I'm the big studio for the "ska" scene in Miami which usually entrails having 8+ band members (mostly horns). I honestly find it extremely difficult to do any kind of work with 3+ people in the same room, whether it be tracking or mixing. Usually the people doing nothing slow down the other ones trying to be productive. ...and I love how the people doing nothing love to touch everything. Especially turning on an organ and playing Chopsticks while tracking. I have recently established a rule to where if you're not tracking, you don't need to be there (unless you're some sort of producer/band leader). Works wonders.

14th August 2008, 12:54 AM	#81
Protools Guy Lives for gear Join Date: Nov 2006 Location: US of A Posts: 1,014	Using the cloth grill of my sub-woofer as a foot rest. __________________ I only need one more piece of gear...

14th August 2008, 01:10 AM	#82
GearBit Lives for gear Join Date: Feb 2005 Location: Sydney Posts: 2,563	People who ask for your advice and then argue with you.

14th August 2008, 02:04 AM	#83
JDN Lives for gear Join Date: Dec 2005 Location: Los Angeles Posts: 561	I haven't seen this one mentioned yet...when tracking, vocal producers, or members in the control room that don't understand you have to hit the talkback button to communicate with the person in the booth!!! This kills me, at the beginning of every tracking session that i'm engineering, I show the producers or other members where the talkback button is, or give them the remote, and even suggest they sit next too it. Inevitably, EVERY session I end up having to push it because they just start talking thinking magically the person in the booth can here them.... after a while, I stop pushing it, and i can't help myself from somewhat snidely saying "you know, they can't hear you unless you press the talkback button" I really just can't helpmyself from saying this with kind of an A-hole tone...it's just like nails on a chalkboard

14th August 2008, 03:05 AM	#84
shaneoconnor Gear maniac Join Date: Dec 2006 Location: Boston Ma Posts: 295	i dont have very good isolation in my studio, and i thought that was why no one would hit the talkback button (even when the vocalist says they cannot hear the convo)

14th August 2008, 04:07 AM	#86
BCains Gear maniac Join Date: Dec 2005 Location: Gold Coast, Australia Posts: 292	What about the singers that walk away from the mic and come up to the glass to talk. __________________ "The only thing I like more than the sound of my own voice is seeing you listening to me."