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On our relationship with gear...
Old 3rd May 2005
  #31
Lives for gear
 
zimv20's Avatar
 

Quote:
Originally Posted by thethrillfactor
In this decade?
did moby's bittersweet symphony break the charts?
Old 6th September 2005
  #32
Lives for gear
 
Kestral's Avatar
 

I'm attached to certain pieces of gear, but it's mainly because I am familiar with them and know how to use them inside out.

For example, if I had to come up with something quick on synths, give me a Roland Juno 106 and a Roland JV-series synth. I know those two pieces really well and can get anything I need with them.

For guitar, I have a really hard time playing other peoples' guitars. I WANT MY 52 TELE REISSUE. Or at the very least a good Tele. And I demand that I play with my Vox (AC15) amp, with few exceptions (ie. Vox AC30, Matchless, 5E3 Fender Tweed Deluxe).

Preamp/EQ/Compressor? I want Neve 1073 and Urei 1176/LA2A. The only exceptions I would even consider is a Neve 1084 or Purple Audio compressor.

Basically I want to use MY TOOLS. I know how they work and so I can get results quickly and easily. I'm finding that the more I get on, the more I want to use MY gear and not someone else's.
Old 6th September 2005
  #33
Gear Nut
 

Quote:
... but it is really the corporatization of music these days. music as an art is very rare.... and soul contained within is ever rarer.
I would agree with that, but a big part of that corporatization rests with the "artists" themselves. Just look at American Idol - how many kids there are doing it for anything other than the potential for money and fame ? Part of the problem is that the music industry is in a sense a victim of its own success.

Too many of the "untalented" have seen the rewards that can accrue to those that "make it" and strive towards those ends purely for financial ends. The result is that so much competition now exists that the truly luminous hearts who really have something to say through their music are drowned out by the noise in the system created by the sheer numbers clamouring for a piece of the pie. I think they're still there though - somewhere - among the soul-less virtuosos.

Would Bob Dylan still make it he were a 17 year old today ?

--------------------------------------------

I see parallels between this and the recent onslought of affordable technology. It's competition among gear manufacturers has driven the price down to the point where dummies like me can now afford them. I'm coming from the position of the much despised home hobyist - but for me, the march of technology has been a good thing and has meant essentially emancipation. I was there as a kid when midi first came out and my first reaction was "great - now I don't need an orchestra to hear my orchestral compositions" - so I started with a commodore 64, a passport midi interface and steinberg's first sequencer....

For me personally, gear has always been about trying to reach my potential and more than ever recently - it has given me the freedom to realistically achieve my musical aims without relying on anyone else. Many would say that music is ALL about relying on other people, but coming from the perspective of classical composition, I prefer to work alone.

I love gear, but only for what it can do for me. If I think it might make my recordings better, I'm keen to try it but the downside is paralysis by analysis where you have so much gear that you don't know which to use. That's when it becomes counter productive so I limit myself to a few good pieces which I know intimately. I always keep an eye open for new stuff though....
Old 6th September 2005
  #34
Report from the bunker...

I am in a total gear buying shut down, and have been for the last year or so.. No change on the horizon expected either..

I am of the mindset - that - I have 'everything' already.

I have a LOT of nice gear for a small studio recording indie bands...

Productions from the studio hit the top 30 in the UK twice this year.. and A&R bods at majors had some 'big hitter' mixers mix them in large studios (Alan Moulder / Steve Osbourne / Cenzo Townsend). And there is a new batch of freelancers using the place - so wether in house, freelancer or big time mixer - all get high quality audio on their hard drives to work with.

I get lent stuff for evaluation quite often, so there is frequently 'guest' gear we can use on sessions, but I never get to keep it... I beta test plug ins, those I DO get to keep, and these Sony, URS, UA & Cranesong often inspire us and keep us from getting bored.. We get a new one every few months or so.. Overall I count myself as very fortunate..

+ "Moneys too tight to mention" "Aint nothin going on but the rent"
Old 6th September 2005
  #35
member no 666
 
Fletcher's Avatar
Quote:
Originally Posted by jon
Hmm...this being the Gearslutz forum...it got me thinking about our relationship to gear...and one thing I seem to have found over the years...is that the more gear we have, the less my emotional attachment to the gear...the gear becomes merely a means to an end, not an end in itself.
Nail on the head from my perspective... it's just tools. Getting your first set of socket wrenches to putter around in the driveway on a hot rod is one thing... having a professionally set up shop is another. Having one aspect of a professional setup is all well and good but it's still only one aspect [though we feel an emotional attachment to that set of wrenches because it's our only set of professional level tools]... when you have 8 different options to attack a problem then you can kinda look at that problem from a more intellectual level than an emotional level, and from that perspective pick the "best tool for the job" as opposed to the "best tool you own".

The first time I got to play with air driven wrenches I wanted to use them for everything... but sometimes a box wrench is really a hell of a lot better tool for the job. Same with audio hardware. If you have a collection of excellent tools with which to help the artist create the product then you use the tools you find to be most appropriate at any given moment instead of tools you "have" to use for the "vocals" [etc.] because that's your "best" piece [it may not really be the most appropriate tool... but it's the "best" tool in your arsenal so you have to use it for the vocals... right?]
Old 6th September 2005
  #36
Lives for gear
 
Kestral's Avatar
 

Quote:
Originally Posted by Jules
I am in a total gear buying shut down, and have been for the last year or so.. No change on the horizon expected either..

I am of the mindset - that - I have 'everything' already.

I have a LOT of nice gear for a small studio recording indie bands...

Productions from the studio hit the top 30 in the UK twice this year.. and A&R bods at majors had some 'big hitter' mixers mix them in large studios (Alan Moulder / Steve Osbourne / Cenzo Townsend). And there is a new batch of freelancers using the place - so wether in house, freelancer or big time mixer - all get high quality audio on their hard drives to work with.

I get lent stuff for evaluation quite often, so there is frequently 'guest' gear we can use on sessions, but I never get to keep it... I beta test plug ins, those I DO get to keep, and these Sony, URS, UA & Cranesong often inspire us and keep us from getting bored.. We get a new one every few months or so.. Overall I count myself as very fortunate..

+ "Moneys too tight to mention" "Aint nothin going on but the rent"
Great post! But scary at the same time. My takeaway from the above is:

1. The studio is doing wildly successful

2. But money is too tight to mention

Old 6th September 2005
  #37
Our Gear

I can only agree. The wow factor of gear has finally gone over for me, ok still a slut but not as big anymore. Gear are tools, good tools are great to have, great tools are often expensive but you do not need 50 of each. I always try to add "better" to the weakest link in my chain all the time...and do not sell stuff you really know from inside to out. If i would start over now i would start by building a room, then buy a great microphone, but then again i would´nt know jack about building rooms and one learn most from misstakes made by oneself, right? Big up! /Toby
Old 6th September 2005
  #38
Lives for gear
 
max cooper's Avatar
 

Quote:
Originally Posted by alphajerk
true true thrill. tho have instrumentals ever really broke the charts [aside from the obvious classical charts and jazz charts]

really music is over simplified yet run amuck in track counts... which baffles me to no end.
Man, the one that sticks in my mind from that era is Frank Mills' 'Music Box Dancer'. Couldn't get away from it. Now the ice cream van in my 'hood' spews it out for several hours every day.
Old 7th September 2005
  #39
Moderator
 
James Lugo's Avatar
 

I kinda wore myself out with the whole gear thing. I dropped a small fortune (to me anyway) on mics, pres, computer s**t, etc... So lately I've been laying low. I am happy with all the gear, it's made my studio very disirable to people who choose the protools / no console route.
Old 7th September 2005
  #40
Lives for gear
 
jomo1234's Avatar
 

A tool always has value if it's being used....

I once was working with David Kahne on a project when he was the head of A&R at Sony. In his office he had a quote on the wall: "You never really finish a record, you just give up on it". I love this quote because it illustrates the dilemma we all face when trying to make something sound "better". You can spend endless hours trying every permutation of signal chain in your studio, but there comes a time when you need to stop and say it's "good enough". This certainly can be exacerbated by having lots of options.

I'm sure we'd all love racks of great gear and an endless supply of mics in our locker, but if you've got some nice tools and you're happy with the results, I say don't fret over your "limitations".
Old 7th September 2005
  #41
Quote:
Originally Posted by jon
Hmm...this being the Gearslutz forum...it got me thinking about our relationship to gear...and one thing I seem to have found over the years...is that the more gear we have, the less my emotional attachment to the gear...the gear becomes merely a means to an end, not an end in itself.
Right ... the palate

It's like foot pedals, strings, picks and amps for a guitarist ... very costly foot pedals and amps. Sometimes it's something cheap like new strings that does it.

Quote:
Another thing I've found...the more gear, the more it becomes necessary to spend to get to the next level. The gear itself is kind of secondary; it's the next level that's interesting. It seems like it will never end...until death, bankruptcy, or retirement, whichever comes first.

Or does it? Your thoughts?
It gets less necessary and harder to get to the next level of gear the higher up you go.

The next level for me is about the work, not the tools ... but the tools support the sound and the ease of work. Some tools are almost untouchable in their class, others are interchangable.



I used to say "I'll never sell that" ... ha!
Old 7th September 2005
  #42
Lives for gear
 
True North's Avatar
 

I have been in and out of studios for the last 17 years. Early on I dreamt of owning a modest studio and I read everything I could get my hands to learn the basics. Problem was that it was so expensive to get started back then and I had little to no $$$. About two years ago I rekindled my love affair with gear and actually built a fairly nice studio and I continue to buy some fairly nice gear. I am still absolutely infatuated with gear, and I am nowhere near done yet.

On the other hand I have a buddy of mine who I played with in my first band works for one of the larger post studios in the Toronto area. I remember him being the absolute biggest gear head on the planet. He has only been around the Toronto studio scene for the last 10 years and is completely jaded about gear. Go to his home studio now and he is a complete minimalist in every way imaginable. Even his Guitar gear is down to Line 6 Pod and he used to have rack that would have made Steve Stevens blush!

Just like most professions, you hang around this industry long enough and the allure and lustre seems to wear off at some point or another. For now, I am in heaven and I love buying gear - it's my heroin!

Cheers!
Old 7th September 2005
  #43
Lives for gear
 
Bob Ross's Avatar
 

I've said it before & I'll say it again: I would happily trade ALL MY GEAR, every last bit of it, for a good musical idea.
=======================

When I moved out of my parents house at age 17, I had two guitars, an amplifier, and a bag of clothes to my name. It's now 27 years later, & I've been amassing recording gear for most of those 27 years. If hurricane Buttstinka came crashing down on New York City & I had to evacuate with only the stuff I could carry in my car, y' know what I'd grab? Not the Mac G4, not the digital console, not the rack full of analog outboard, not the MIDI rig, not the monitors, not the mic locker, not the sweet sweet Demeter tube preamp, not the tape decks, not the bass traps & absorbers & diffusors...

I'd grab two guitars, an amplifier, and a bag of clothes.

(well, except these days one of those guitars is a bass.)
Old 7th September 2005
  #44
Moderator
 
James Lugo's Avatar
 

Bob Ross YOU ROCK! 5 years ago I moved to LA with zero; a car a strat a fender Blues DeVille a boom box and a set of balls. Now I have 3 studios and 5k in bills a month. Traded in the Ford pick up for a BMW, but sometimes I long for the simple. Whoa! I can really get insane sometimes.
Old 7th September 2005
  #45
Gear Guru
 
RoundBadge's Avatar
I kind of went on a gear buying rampage the last couple of years.
I've been very fortunate to have tried so many cool things old and new..
..some good,some ...

the funny thing is, now the dust has settled a bit...
I've learned a little more about the Hype machine [yeah, and I'm sure guys like Nathan, Fletcher ..etc deal with this on a daily basis]
..especially relating to the newer boutique stuff:
1- when they say it's shipping next month..add another 3 months onto that[and in some cases, 6 months to a year!].
2- they tell you it's the best thing since sliced toast..it probably ain't..
3- new and better version/ of an older proven design ..usually means "new and different"...not always better..often "new and downright dissapointing"
4- clones very rarely are clones ...just bad reinterpretations with sometimes cheaper manufacture/parts..and a lotta of marketing BS to back it.
5- "We're working on it" can often mean that the one guy[designer/builder/ceo/owner/acountant/cook/janitor....etc] is in a tiny little shop desperately trying to fix the problem,and is still waiting for a part/parts to ship from bum fuk,only to find out the part wasn't made to spec[another 4 months]..
6- if you buy some new fancypants comp/eq/pre whatever ..from Joe fancypants boutique designer overseas..take into acount when you need servicing/parts/repairs ..does it need to ship back to Holland or wherever to recalibrate a meter[oh F*ck, they just went outta business??!!}?or can my local tech tweak it here.
7- "He's an ex employee/designer of"... ..... ....B... F'n ..Deal!
Oh yeah? ...well maybe there's a reason for the "Ex" part...

etc... etc... etc....


...Mind you some of these guys really do know their shit and have it completely together and offer great service and support.

There are a few things[newer designs]after the honeymoon, that for me are absolute keepers.
but I find it harder to get excited about new stuff lately..
My new motto is.. Yeah,oh really? ... I'll believe it when I hear/see it.
everybody reinventing the wheel..
and a lotta the time, the older stuff IS just plain better and doesn't need improvement.

Yep ...just really fun tools
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