The No.1 Website for Pro Audio
Serban Ghenea Mixes - all ITB?
Old 5 days ago
  #751
Lives for gear
 
e-are's Avatar
Quote:
Originally Posted by N1Greg View Post
It's flawless. I've been listening to this song repeatedly since it came out. We need separate threads for each of these great mixers.
I just watched a MWTM video with Josh Godwin. Great mixer and interesting guy. Highly recommended.
Old 4 days ago
  #752
Gear Addict
Quote:
Originally Posted by psycho_monkey View Post



Totally ITB mix...
Love the "tape" splat on the drums - I presume the cymbals have been treated entirely separately? They don't sound typically modern harsh either. Love it - I even forgive nicking the Prodogy's "Firestarter" rundown! (although that's not the mixers fault and yes I know it was played!) really nice sounding track, to my ears could easily pass for a (very good) analogue recording from the past. Great work and the engineering must have been pretty solid too.
Old 4 days ago
  #753
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by e-are View Post
I just watched a MWTM video with Josh Godwin. Great mixer and interesting guy. Highly recommended.

Yeah that mix N1greg posted of Josh Gudwin is astounding. Id have to rank it as one of the best ITB pop mixes I’ve heard.
Old 4 days ago
  #754
Lives for gear
 

Quote:
Originally Posted by psycho_monkey View Post
For sure it's for the money - effectively another sync opportunity - and certainly promo - but actively trying to get illegally sampled and sue? maybe not. Maybe there'll be the odd case of someone trying to clear a sample, but in this day and age the fees for use of the master have been decimated since it's relatively easy to get someone to recreate it, and then you only have to clear publishing, so it's not exactly a gold mine even if someone takes that path.
An example of this: Trent Reznor began releasing his music under Creative Commons copyright, which directly allows people to sample it and share so long as big money isn’t being made. When “Old Town Road” blew up using his sample, everything was cleared then at that point, and Trent walked away with a massive check and writing/production on a 15 week #1 for no additional work other than having his lawyer work out the deal.

This is the future imo, smart stuff. It’s not like suits are that big a deal, or that things even come to that, many recent post-release sample clearings have been quite amicable and easy. Attitudes have changed big time. Many have realized “if i get sampled i get PAID” and thus do stuff like Trent to encourage sampling.
Old 4 days ago
  #755
Lives for gear
 

Quote:
Originally Posted by psycho_monkey View Post
It really isn’t. I was thinking back to my uni days - and really how limiting the mix process was - from ADATs, to a crappy Mackie, maybe 3-4 gates and compressors available, a half decent reverb and delay...I don’t even remember thinking about mixbuss compression.
The Beatles only had access to a four track. So obviously it’s not about the gear.
Old 4 days ago
  #756
Gear Maniac
Quote:
Originally Posted by newguy1 View Post
An example of this: Trent Reznor began releasing his music under Creative Commons copyright, which directly allows people to sample it and share so long as big money isn’t being made. When “Old Town Road” blew up using his sample, everything was cleared then at that point, and Trent walked away with a massive check and writing/production on a 15 week #1 for no additional work other than having his lawyer work out the deal.

This is the future imo, smart stuff. It’s not like suits are that big a deal, or that things even come to that, many recent post-release sample clearings have been quite amicable and easy. Attitudes have changed big time. Many have realized “if i get sampled i get PAID” and thus do stuff like Trent to encourage sampling.
Just need to clarify, it was 19 weeks no 1, and Atticus Ross is also part of the production too, not just Trent Reznor. I knew the sample as soon as I heard it, as I've listened to NIN all my life.
Old 4 days ago
  #757
Lives for gear
 

Quote:
Originally Posted by hellohead View Post
Just need to clarify, it was 19 weeks no 1, and Atticus Ross is also part of the production too, not just Trent Reznor. I knew the sample as soon as I heard it, as I've listened to NIN all my life.
Cheers for the correct details. Brilliant move to go Creative Commons to help up their chances at something like this. Took years, but it finally materialized.
Old 4 days ago
  #758
Gear Maniac
Quote:
Originally Posted by newguy1 View Post
Cheers for the correct details. Brilliant move to go Creative Commons to help up their chances at something like this. Took years, but it finally materialized.
They're really lucky that the sample was easy to clear since it's Trent Reznor, I know if it was someone else, they might have gone for blood honestly. Lil Nas bought it for 30 bucks!

Side note, sample based music, even though theres always the risk of boring the listeners out, is still really strong even now.
Old 4 days ago
  #759
Lives for gear
 

Quote:
Originally Posted by hellohead View Post
They're really lucky that the sample was easy to clear since it's Trent Reznor, I know if it was someone else, they might have gone for blood honestly. Lil Nas bought it for 30 bucks!
I know its a wild story.

They had to know something like this was inevitable: https://wiki.creativecommons.org/wik...ls_Ghosts_I-IV

Trent and his crew are out there as good to sample now. They'll take theirs but you'll get yours. I bet there's more.
Old 4 days ago
  #760
Gear Guru
 

Quote:
Originally Posted by Philter View Post
You're also assuming all kinds of stuff about me that you don't know.
You said in so many words that these engineers you don't know are prostituting their skills. I did not take that out of "context". You are the one making assumptions about people you don't know.

Quote:
You don't know anything about my tastes
It doesn't matter in the least in what specifically you consider 'bad' music. No one cares about that list but you. Whatever is on your "s#!t list" is just a detail. Your narrow perspective, on the other hand, is self-evident.

Quote:
Maybe you're such a hot shot that you forget what it's like to record schlock to make rent?
Me, a Hot shot? As I said, I record little kids singing to a Casio. In a foreign language. Does it help to make the rent? You betcha. If I had high-level jazz cats coming in every day, would I 'hand off' the kids to another studio? Well, I don't have enough business to afford that. But I also don't call them "schlock" behind their back, nor do I take the attitude that they are beneath my august skills or that there is nothing for me to learn by recording them.

Like many of us in the Trenches, I am sometimes recording people who can barely play or sing! Here you are on your high horse about someone who -whatever else you say - is a professional vocalist, with professional production and studios. And you have a snobby attitude about it because of the style.

TBH, I kind of feel sorry for you. Recording must really be "Hell" except on those rare days when a really talented band is playing a song in a genre that you approve of.

Quote:
How can you love everything you work on, didn't you ever record schlock?
"Shlock" is created by your attitude towards something - not intrinsic to any music itself. And like I also said, you are the creator of your own "Hell". Perhaps if you evinced less snobbery towards those clients, your reputation would improve and so would the quality of your clients over-all. Do you really think they can't tell you are looking down on them?

From the poem Horn by Robert Pinksy
this is a poem about Charlie Parker - who was known for being able to walk past a club where some unknown musician was playing and still hear something positive, something interesting, good, unique about the music coming out the door...

Quote:

Listen-
Listen to what that cat in there is doing. Some figure,
Some hook, breathy honk, sharp nine or weird
Rhythm this one hack journeyman hornman had going.”
Listen says the Dante of bop, to what he's working

.
Old 4 days ago
  #761
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by newguy1 View Post
I know its a wild story.

They had to know something like this was inevitable: https://wiki.creativecommons.org/wik...ls_Ghosts_I-IV

Trent and his crew are out there as good to sample now. They'll take theirs but you'll get yours. I bet there's more.


Thx for the link. Interesting read. The article says they netted an estimated “1.6M overnight”. Is that from sales of the $300 deluxe edition? Or are they saying that’s from the $5 sale of the download of the 36 tracks? Also, do you think their intention was to get samples and then take a cut? Or is that a happy accident?
Old 4 days ago
  #762
Lives for gear
Quote:
Originally Posted by joeq View Post
You said in so many words that these engineers you don't know are prostituting their skills. I did not take that out of "context". You are the one making assumptions about people you don't know.

It doesn't matter in the least in what specifically you consider 'bad' music. No one cares about that list but you. Whatever is on your "s#!t list" is just a detail. Your narrow perspective, on the other hand, is self-evident.


Me, a Hot shot? As I said, I record little kids singing to a Casio. In a foreign language. Does it help to make the rent? You betcha. If I had high-level jazz cats coming in every day, would I 'hand off' the kids to another studio? Well, I don't have enough business to afford that. But I also don't call them "schlock" behind their back, nor do I take the attitude that they are beneath my august skills or that there is nothing for me to learn by recording them.

Like many of us in the Trenches, I am sometimes recording people who can barely play or sing! Here you are on your high horse about someone who -whatever else you say - is a professional vocalist, with professional production and studios. And you have a snobby attitude about it because of the style.

TBH, I kind of feel sorry for you. Recording must really be "Hell" except on those rare days when a really talented band is playing a song in a genre that you approve of.


"Shlock" is created by your attitude towards something - not intrinsic to any music itself. And like I also said, you are the creator of your own "Hell". Perhaps if you evinced less snobbery towards those clients, your reputation would improve and so would the quality of your clients over-all. Do you really think they can't tell you are looking down on them?

From the poem Horn by Robert Pinksy
this is a poem about Charlie Parker - who was known for being able to walk past a club where some unknown musician was playing and still hear something positive, something interesting, good, unique about the music coming out the door...
I'm not going to waste time with this because it's 5% of what I said and 95% of what you read into it. There are numerous inventions in this post that you're attributing to me. It's impossible to discuss anything with someone who insists on framing your own person to suit their whim.
Old 4 days ago
  #763
Quote:
Originally Posted by newguy1 View Post
An example of this: Trent Reznor began releasing his music under Creative Commons copyright, which directly allows people to sample it and share so long as big money isn’t being made. When “Old Town Road” blew up using his sample, everything was cleared then at that point, and Trent walked away with a massive check and writing/production on a 15 week #1 for no additional work other than having his lawyer work out the deal.

This is the future imo, smart stuff. It’s not like suits are that big a deal, or that things even come to that, many recent post-release sample clearings have been quite amicable and easy. Attitudes have changed big time. Many have realized “if i get sampled i get PAID” and thus do stuff like Trent to encourage sampling.
Sure. But not only is that the exception not the rule (at this point at least), I just don’t agree that’s the prime reason for submitting stems to a project like the linked site.

Otherwise you’d put your whole catalogue up there.

Reznor has always been a trailblazer when it comes to new business models.
Old 4 days ago
  #764
Quote:
Originally Posted by Saxplayerz View Post
The Beatles only had access to a four track. So obviously it’s not about the gear.
In your efforts to score points, you’ve completely taken my quote out of context and made a straw man out of it!

Funny Cat said “the idea of balancing a modern tracked mix, faders at zero and the mix is done just doesn’t happen”. I agreed with him - people (because they have options at mix in a way they didn’t used to have) are less committed on the way in, so there generally IS more to do on the mix.

The Beatles are the opposite of this - precisely because as you say, things had to fit on 4 tracks so it would be committed on the way in.

Well done on bringing the Beatles into a thread on Serban though - talk about irrelevant!
Old 4 days ago
  #765
Quote:
Originally Posted by Scragend View Post
Love the "tape" splat on the drums - I presume the cymbals have been treated entirely separately? They don't sound typically modern harsh either. Love it - I even forgive nicking the Prodogy's "Firestarter" rundown! (although that's not the mixers fault and yes I know it was played!) really nice sounding track, to my ears could easily pass for a (very good) analogue recording from the past. Great work and the engineering must have been pretty solid too.
Thanks

I’m not averse to recording cymbals separately, but I’m this case they were just part of the overheads. Ribbons perhaps, definitely 1081s on them, probably some compression too...maybe 33609? I’ve forgotten if I’m honest!

I get the bit you mean re Prodigy...I also produced and tracked this, but didn’t write it...they were cool with the reference, and after all it’s just a chromatic movement...others have done it too!
Old 4 days ago
  #766
Lives for gear
 

Quote:
Originally Posted by psycho_monkey View Post
In your efforts to score points, you’ve completely taken my quote out of context and made a straw man out of it!

Funny Cat said “the idea of balancing a modern tracked mix, faders at zero and the mix is done just doesn’t happen”. I agreed with him - people (because they have options at mix in a way they didn’t used to have) are less committed on the way in, so there generally IS more to do on the mix.

The Beatles are the opposite of this - precisely because as you say, things had to fit on 4 tracks so it would be committed on the way in.

Well done on bringing the Beatles into a thread on Serban though - talk about irrelevant!
Irrelevant is you posting your mix in a Serban thread.
Old 4 days ago
  #767
Quote:
Originally Posted by Saxplayerz View Post
Irrelevant is you posting your mix in a Serban thread.
I posted it to back up my point - like, putting my money where my mouth is, something you might think about doing occasionally

In fact I suggested I should start a new thread in the correct forum if people wanted to discuss it, before someone else commented that in reality without 1st hand info it wasn’t really going anywhere.

So apologies for actually using real world examples instead of invoking the Beatles...
Old 4 days ago
  #768
My point is that we all should include examples of our work with everything we post, so that people can read what we’ve shared, confident that none of us has the slightest clue what we’re doing.
Old 4 days ago
  #769
Lives for gear
 
GreenNeedle's Avatar
 

So, Serban! What a guy. Love his work!
On some recent mixes i do suspect it’s become more of an assembly line of sorts though.
If you use Red Pill Blues as the standard, many of the other things coming out if there aren’t quite up to that standard.
Could be the talent and care in the tracking process too though.
Old 3 days ago
  #770
Lives for gear
 

Quote:
Originally Posted by Funny Cat View Post
Also, do you think their intention was to get samples and then take a cut? Or is that a happy accident?
I think they had a number of intentions with that move, one of them being that a certain percentage of the Creative Commons work would go on to make money in some way which they could collect on.

Something as out there and huge as “old town road” probably not, but spillover into paid work, yes for sure.
Old 3 days ago
  #771
Gear Maniac
Quote:
Originally Posted by psycho_monkey View Post
I posted it to back up my point - like, putting my money where my mouth is, something you might think about doing occasionally

In fact I suggested I should start a new thread in the correct forum if people wanted to discuss it, before someone else commented that in reality without 1st hand info it wasn’t really going anywhere.

So apologies for actually using real world examples instead of invoking the Beatles...
How dare you post your work you piece of crap! This thread is about the best mixing engineer of all time lol. I haven't checked the mix you posted yet, it's probably pretty good.


Quote:
Originally Posted by newguy1 View Post
I think they had a number of intentions with that move, one of them being that a certain percentage of the Creative Commons work would go on to make money in some way which they could collect on.

Something as out there and huge as “old town road” probably not, but spillover into paid work, yes for sure.
I honestly think, because Trent is successful, rich etc, that they didnt even think of it this way. They just wanted to be inclusive, and then this curveball happened and they cashed in and that's it. If I meet him, I'll ask him.
Old 3 days ago
  #772
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by hellohead View Post

I honestly think, because Trent is successful, rich etc, that they didnt even think of it this way. They just wanted to be inclusive, and then this curveball happened and they cashed in and that's it. If I meet him, I'll ask him.

I sort of got that impression reading the article although it's purely speculation on my part. I mean what are the chances of earning any significant money on samples?

I read this as a "leaving a legacy" type move? But good for them. They did something to help and support other artists and it came back around in a big way. Kudos.

I'm still curious as to how they netted "1.6M overnight" though!
Old 3 days ago
  #773
Gear Maniac
Quote:
Originally Posted by Funny Cat View Post
I sort of got that impression reading the article although it's purely speculation on my part. I mean what are the chances of earning any significant money on samples?

I read this as a "leaving a legacy" type move? But good for them. They did something to help and support other artists and it came back around in a big way. Kudos.

I'm still curious as to how they netted "1.6M overnight" though!
Can you link the article? A little more interesting than Serban mixes haha.
Old 3 days ago
  #774
Lives for gear
 

Quote:
Originally Posted by hellohead View Post
I honestly think, because Trent is successful, rich etc, that they didnt even think of it this way. They just wanted to be inclusive, and then this curveball happened and they cashed in and that's it. If I meet him, I'll ask him.
I have yet to meet a successful rich person who wasn’t highly aware of the seeds they plant toward potential future wealth. I’m sure they saw all sides and potentials, from “inclusivity” to “coolness to artists” to “legacy” to “potential future payouts.” Motivations and intentions tend to be pretty multi-dimensional like this in my experience.
Old 3 days ago
  #775
Gear Maniac
Quote:
Originally Posted by newguy1 View Post
I have yet to meet a successful rich person who wasn’t highly aware of the seeds they plant toward potential future wealth. I’m sure they saw all sides and potentials, from “inclusivity” to “coolness to artists” to “legacy” to “potential future payouts.” Motivations and intentions tend to be pretty multi-dimensional like this in my experience.
Yeah for sure I agree.
Old 3 days ago
  #776
Lives for gear
 
Funny Cat's Avatar
Quote:
Originally Posted by newguy1 View Post
I have yet to meet a successful rich person who wasn’t highly aware of the seeds they plant toward potential future wealth. I’m sure they saw all sides and potentials, from “inclusivity” to “coolness to artists” to “legacy” to “potential future payouts.” Motivations and intentions tend to be pretty multi-dimensional like this in my experience.


You make a good point.
Old 2 days ago
  #777
Gear Guru
Most successful people work their asses off. Luck doesn't just happen. Much less sustained success. Even someone who's a pop diva still can perform to stadium size crowds and balance all the balancing that goes with it. Staying sane can be a huge deal. You have to respect that even if you don't like the music.....

If you look at someone like David Bowie, look at the breadth of the man's work. While others were bonging out at their next kegger, he was probably recording and writing his ass off..... Even someone like Brittney can still summon millions of ears or eyeballs, if she can literally get her act together. Mainstream success doesn't just happen, and being envious because you feel your art is precious? Newsflash it ain't and money and awards are usually a byproduct of hard work and talent........

There are a lot of reasons why someone like Serbian works the way he does, but the bottom line is we're all discussing the mans art on a professional music forum...
I should be so lucky.....
Old 2 days ago
  #778
Lives for gear
Quote:
Originally Posted by ardis View Post
Most successful people work their asses off. Luck doesn't just happen. Much less sustained success. Even someone who's a pop diva still can perform to stadium size crowds and balance all the balancing that goes with it. Staying sane can be a huge deal. You have to respect that even if you don't like the music.....

If you look at someone like David Bowie, look at the breadth of the man's work. While others were bonging out at their next kegger, he was probably recording and writing his ass off..... Even someone like Brittney can still summon millions of ears or eyeballs, if she can literally get her act together. Mainstream success doesn't just happen, and being envious because you feel your art is precious? Newsflash it ain't and money and awards are usually a byproduct of hard work and talent........

There are a lot of reasons why someone like Serbian works the way he does, but the bottom line is we're all discussing the mans art on a professional music forum...
I should be so lucky.....
All the hard work in the world means absolutely nothing if you don't get in front of the right people. For an artist worth a damn, hard work is their default. That's actually what they're here to do according to Jung.

Lazy artists just aren't artists. They don't practice, they don't craft... That's not being an artist, an artisan. Where they fall behind and other people who aren't as good at craft get ahead is manipulation of people's opinions. Then suddenly anything can be "good", it's all a big subjective murky mess and hey if that star mixer touches it, it MUST be good right? I'm not saying it isn't, I legitimately admire stuff the big names have worked on. But I'm also saying craft is not that subjective and there is such a thing as (overall) good and bad (and "not my thing") and there's also such a thing as results over how I feel about person X. Anytime the results fall down a notch because a vaunted professional felt like a)phoning it in or b)not getting it in the first place (out of genre etc) is a crying shame. And really nobody should have a say over that but the most trusted persons in a production, which would be the artist(s) themselves or maybe a producer.

There's other people in the world who can work as hard as Serban does. There's other people in the world who can produce mixes just as good as he does too. I know it, I've heard 'em, I've seen 'em. I hope nobody thinks it can't be replicated or even surpassed, because that's not admiration or respect anymore. It's idolatry. It's worship.
Old 2 days ago
  #779
Lives for gear
 

Quote:
Originally Posted by Synonym Music View Post
There's other people in the world who can work as hard as Serban does. There's other people in the world who can produce mixes just as good as he does too. I know it, I've heard 'em, I've seen 'em. I hope nobody thinks it can't be replicated or even surpassed, because that's not admiration or respect anymore. It's idolatry. It's worship.
They're missing something though, or creating unnecessary obstacles for themselves in some way. If their skills are as good or better than Serban's by relevant-to-the-times objective standards, and they work as hard or harder than Serban, and their work is out there visible to the world, then it'll get recognized and they'll be doing well at or towards the top along with Serban. Something is or isn't there that's holding them back from his level of success in the music world.

Its not "worship" to recognize the man at the top at any given time, and pay attention to his work lol. That's just taking a basic interest in one's field of work.
Old 2 days ago
  #780
Lives for gear
 
b0se's Avatar
Indeed, this 'worship' labelling is nonsense.
Post Reply

Welcome to the Gearslutz Pro Audio Community!

Registration benefits include:
  • The ability to reply to and create new discussions
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get INSTANT ACCESS to the world's best private pro audio Classifieds for only USD $20/year
  • Promote your eBay auctions and Reverb.com listings for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Forum Jump
Forum Jump