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Looking For L.A. Area Mixing Engineer for Digital Performer project
Old 11th August 2005
  #61
Quote:
Originally Posted by DirkB
Thrill, that all makes sense and I understand that, but you missed my point (I'm sure my explanation skills have to do with that heh ).

The fact that you feel you are worth $50 is because YOU live in NYC one of the most expensice places in the world to live.
If you lived in Amsterdam for example, you'd feel worth about $30 or so I guess, which would put you at the top of the ranks over here.

Point is: people have to pay more in NYC or LA because live (overhead, whatever you want to call it) is more expensive. A substantial part of your salary is not because of what you bring to the party...

Greetings,
Dirk
No Dirk i understood your point.

I feel i am worth $150 per hr and been paid as such in the past.

Am i making that now?

No.

But that's what i feel about myself.

I don't look around at what people are making around me because it wouldn't be fair.

I let others do that and they determine what they can afford accordingly.

Studios have been using that for leverage for years.

Hey so and so down the block is paying this so this is what i can afford to pay.

And then i say no.

Now clients are doing this.

So again i say no and good luck in your search.
Old 11th August 2005
  #62
Here for the gear
 

Wow, I really stirred up a hornet's nest, didn't I? I'm the guy who started this thread. By the way, someone said I edited my original post, but that's not true.

I have gotten a lot of PM's and will be checking some places out. I didn't mean to offend anyone or ruin the whole recording studio industry, just looking to get some stuff mixed that sounds good!

I've recorded at some mid-level studios over the years but was wondering what it would take to get someone with a track record I'm familiar with to do some work. I really had (have) no idea what that would require dollar-wise.

I totally respect you guys (engineers with experience) and like I said, the deeper I've gotten into recording the more I realize my limitations.

Carry on!

Option
Old 11th August 2005
  #63
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally Posted by DirkB
The fact that you feel you are worth $50 is because YOU live in NYC one of the most expensice places in the world to live.
If you lived in Amsterdam for example, you'd feel worth about $30 or so I guess, which would put you at the top of the ranks over here.

Point is: people have to pay more in NYC or LA because live (overhead, whatever you want to call it) is more expensive. A substantial part of your salary is not because of what you bring to the party...
IMHO Dirk, you're missing the point. Unlike a studio, what an engineer can charge has little or nothing to do with where they live and practice their craft. They set the rate based on the skill level and what the market will bear for their skills. If you stuck Bob Clearmountain, the Alge brothers and Mutt Lange in West Bumfunk Idaho should they drop their rates or will they continue to charge and receive the same amount for their services?

This might be a newsflash, but they'll continue to make the same amount that they would if they lived in LA or NYC or London or wherever. The overhead will affect their bottom line, net vs. gross and what the accountants say at the end of the fiscal year. Overhead doesn't really determine rate, but it might be a factor in calculating it.

We get paid what we do BECAUSE of what we bring to the party...our ears and our skills.
Old 11th August 2005
  #64
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Jay Kahrs's Avatar
Quote:
Originally Posted by Option
I've recorded at some mid-level studios over the years but was wondering what it would take to get someone with a track record I'm familiar with to do some work. I really had (have) no idea what that would require dollar-wise.
Keep in mind you'll also need to factor in the cost of mastering and then duplication...
Old 11th August 2005
  #65
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jjblair's Avatar
Option, you just started a conversation that need sto take place. It's kick ass for you, because you got the attention of some really great engineers who might not have otherwised had you on their radar. I hope that your mixes come out great.

And Rodney, just so you know, the only part of my rant that was directed towards you was about whether or not I'm grateful. The rest was stuff I'm getting off my chest. I don't have any axe to grind with you.

As far as whether or not I'm having a hard time competing with somebody who has a ProTools rig ... we ALL are. Even bands on major labels take half their budget, buy a ProTools rig and think they can do the same job at home that they can in a real studio with a real engineer. It's not a question of me educating my clients. People come to me because they already know the difference. However, the majority of musicians and people at record labels do not know the difference. It's going to take a few years for people to figure this out, when they realize they have a CD rack full of shiitty sounding records. They're just barely starting to figure out that brickwall limiting and CDs printed too hot sound like ass. They'll get wise, the dilletantes will have to get real jobs, and people will start to figure out again that prosumer gear, and fixing badly recirded tracks with plug-ins is great for demos, but there's no substitute for a real studio and a real engineer.
Old 11th August 2005
  #66
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alphajerk's Avatar
 

god i couldnt even bother to read past page 2.... thrill is making more and more idiotic statements daily. i think the jadedness of his life is consuming him currently.

$1k is more money than $0, WHY would you do it for FREE? that is just STUPID. id rather have the $1k in my pocket than nothing.

plus, skimming the posts... seems like a LOT of people here are jumping for that $1k [i read $2k as well ]... id do it for $2k for 8 songs but the turnaround time isnt gonna be quick and i would REALLY have to like the music, and a point [i do retain a monetary hiearchy on work importance... he who pays me the most gets their stuff done the quikest]

i honestly dont think anyone is gonna do 8 songs for $2k on a large format console [unless they own the studio and are STRUGGLING, which could be the cases these days and do it CLA style running the mix through the same chain 1,2,3,4,5,6,7,8...done]... but if you are paying $2k for someones experience, and done via more modest means in someones private mix setup, i think its doable. maybe toss em a point.

either way, we know thrill wouldnt touch this job... why is he posting then? its beneath him.

and jon anton [from what i have seen on his show] hires people to cut hair and expects them to bring in their clients. i wouldnt pay him $25 to cut my hair.... hell, i wouldnt pay him NOTHING to cut my hair. i got a girl who cuts mine just fine for $30 AND i get a killer massage beforehand [not THAT kinda massage preverts]... and by thrills logic, she shouldnt be charging me $30 but should be doing it for free?!?

hard time imagining a retort to this, but if one comes.... i doubt it will burn. stupidity never does.
Old 11th August 2005
  #67
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alphajerk's Avatar
 

Quote:
Originally Posted by Jay Kahrs
Overhead doesn't really determine rate, but it might be a factor in calculating it..

what?!? yes it does... its one of the biggest factors IN DETERMINING your rates... you HAVE to make your overhead, or you wont HAVE anything OVERYOURHEAD. now how far above you go over that is how much you can get away with and if your clients perceive your worth to get said rate.
Old 11th August 2005
  #68
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally Posted by jjblair
As far as whether or not I'm having a hard time competing with somebody who has a ProTools rig ... we ALL are.
And you know what the ironic thing is?

There's a WHOLE bunch of us that own PT rigs
Old 11th August 2005
  #69
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jjblair's Avatar
But here's the thing about PT, and I think I mentioned this early on, when you have big time guys mixing in the box, anybody who owns PT thinks they can do what mixer X,Y and Z are doing. They are forgetting the equation of what went into recording the pro guy's tracks, having a professionally designed control room as a mixing environment, and years of experience.

BTW, I went through this mentality with a client on another subject recently. I had Keith Albright come tune the piano that day. Keith is pretty much THE studio piano tuner in LA. He is amazing. He shows up with his tools and a tuning fork and that's it. The client just refused to believe that Keith knew something or could hear stuff that anybody with a computer based tuner couldn't do. I tried to explain that first off, every piano has different tuning needs, and different people like different stretches, etc. and that while a computer can tell you what note to tune each string to, it can't tell you whether or not that actually sounds good, or how mixed intervals are working. The client just didn't buy my argument and continued his skepticism.

So this is the mentality we are dealing with. Anybody with a computer can bypass years of knowledge and experience and become an instant expert. Or to quote Matt and Trey: "In anything, if you want to go from a beginner to a pro, you need a montage."

heh
Old 11th August 2005
  #70
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alphajerk's Avatar
 

there are lots and lots of people i am hearing all the time with DAWs putting out some killer sounding music...

i think it just "threatens" the bigger names because suddenly the curtain has been taken off and the wizard of oz has been exposed.
Old 12th August 2005
  #71
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally Posted by jjblair
But here's the thing about PT, and I think I mentioned this early on, when you have big time guys mixing in the box, anybody who owns PT thinks they can do what mixer X,Y and Z are doing. They are forgetting the equation of what went into recording the pro guy's tracks, having a professionally designed control room as a mixing environment, and years of experience.
At it's core...PT is just a DAW.

Digital Audio Workstation.

Having PT doesn't make someone an expert just like having Cubase or Sonar doesn't make the other cat a hack. They're all just tools, a means to an end. You still need to feed information (audio) to the computer and tell it what to do.

I saw a show on Jay Leno's car collection a few weeks ago and he made an interesting comment when talking about the old cars from the 40's and earlier, like the ones that run on steam engines. He made the point that years ago technology was expensive and labor was cheap. Now it's the opposite, we have cheap technology but labor is expensive.

It still takes labor to make a record, from the planning of the team and notes of the musicians to the final tweaks of the mastering engineer.
Old 12th August 2005
  #72
Lives for gear
 

Quote:
Originally Posted by jjblair
And Rodney, just so you know, the only part of my rant that was directed towards you was about whether or not I'm grateful. The rest was stuff I'm getting off my chest. I don't have any axe to grind with you.
Of course...I didn't feel any bad vibes in the least.

Quote:
Originally Posted by jjblair
As far as whether or not I'm having a hard time competing with somebody who has a ProTools rig ... we ALL are. Even bands on major labels take half their budget, buy a ProTools rig and think they can do the same job at home that they can in a real studio with a real engineer. It's not a question of me educating my clients. People come to me because they already know the difference. However, the majority of musicians and people at record labels do not know the difference. It's going to take a few years for people to figure this out, when they realize they have a CD rack full of shiitty sounding records. They're just barely starting to figure out that brickwall limiting and CDs printed too hot sound like ass. They'll get wise, the dilletantes will have to get real jobs, and people will start to figure out again that prosumer gear, and fixing badly recirded tracks with plug-ins is great for demos, but there's no substitute for a real studio and a real engineer.
I think that is the most thoughtful and lucid comment I have heard from you..and I agree completely.

Now...the one element missing IMO is the professional 'Project Studio'...And it can't be dismissed.
There are a few cat's here (on this board) and abroad doing excellent work from thier small rig. Great pres, mics, and the savvy to record a great record.

This is becoming more and more common.

This is the X factor that many larger 'name' studios or engineers like to pretend don't exist (or simply blame)...but that is the FUTURE of the recording Industry....These folks care about good sound, good non-smashed mastering, good performance...and they possess the skill to use thier PT or Nuendo (or Cubase) rig....I know I am amongst them.

I have friends back home who are no longer on major labels but still put out records because they need to survive as professional musicians...They have familys to support....They use the professional project studios or thier own out of need.

The trouble is there is no definite way to 'generalize' without stepping on the toes of those who do care and those in the middle of this transition...cause like it or not...we are in transition.

Peace and respect,
Old 12th August 2005
  #73
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Quote:
Originally Posted by alphajerk
there are lots and lots of people i am hearing all the time with DAWs putting out some killer sounding music...

i think it just "threatens" the bigger names because suddenly the curtain has been taken off and the wizard of oz has been exposed.

Huh??? I don't even know where to begin with that statement.

Quote:
Originally Posted by rodneygene
Now...the one element missing IMO is the professional 'Project Studio'...And it can't be dismissed.
There are a few cat's here (on this board) and abroad doing excellent work from thier small rig. Great pres, mics, and the savvy to record a great record.
Rodney, my room, for all intents and purposes, is a project studio. Eleven years ago, Buddy Brundo and HARP would have had my ass shut down. The only difference between my home studio and others is that I used Clearmountain's architect, real studio electricians, and sunk a few hundred grand into the room. That, and I'm a great ******* engineer who knows his shiit. I see a lot of people who have the gear, and their recordings sound like ass, which leads me back to the point that we both agree on: At some point, people will realize that you get what you pay for, when it comes to skilled, technical labor.

You think Jim Keltner would come and work for $15/hour? Or even a lesser known guy who is a full time session cat? I don't know why mixers and engineers are expected to.

BTW, I don't think that the professional project studio has hurt the big studios as badly as the fact that everybody and their brother has a format that is compatible with pro studios. That wasn't the case when 2 track was the king. ADAT was where that threat started. And don't even get me started on the state of record labels, decimated rosters and budgets that labels can't spend anymore, in order to pay for the next guy to fail at A&R's contract. Can you believe that I have had major labels ask me to do work on spec? Are you ******* kidding me? Some guy is gonna spend twice my day rate on blow that is going to last one night, and I need to work on spec? A$sholes.
Old 12th August 2005
  #74
Quote:
Originally Posted by alphajerk
god i couldnt even bother to read past page 2.... thrill is making more and more idiotic statements daily. i think the jadedness of his life is consuming him currently.

Wow looks who's arrived...

the all knowing, expert on everything the Grand Wazzoo.

Have you finshed making your sweep of the forumns telling everyone and their mother how they are stupid for having opinions that are contrary to your own?

Let's see you've managed to piss off-Jon Attack,Lucey,Fletcher,Mike Shipley and i am sure there are countles others.

So now its my turn...

Wow i should consider myself honored then. heh
Quote:
Originally Posted by alphajerk
$1k is more money than $0, WHY would you do it for FREE? that is just STUPID. id rather have the $1k in my pocket than nothing.
If you are that desperate and hard up for cash for than lets please post a banner for the Alphajerk relief fund(the problem is you've pissed just about everyone off so no one would volunteer to design it).


Quote:
Originally Posted by alphajerk
plus, skimming the posts... seems like a LOT of people here are jumping for that $1k [i read $2k as well ]... id do it for $2k for 8 songs but the turnaround time isnt gonna be quick and i would REALLY have to like the music, and a point [i do retain a monetary hiearchy on work importance... he who pays me the most gets their stuff done the quikest]

You totally lost me here.

Quote:
Originally Posted by alphajerk

i honestly dont think anyone is gonna do 8 songs for $2k on a large format console [unless they own the studio and are STRUGGLING, which could be the cases these days and do it CLA style running the mix through the same chain 1,2,3,4,5,6,7,8...done]... but if you are paying $2k for someones experience, and done via more modest means in someones private mix setup, i think its doable. maybe toss em a point.

This is all i was trying to tell the guy in the first place.

Quote:
Originally Posted by alphajerk

either way, we know thrill wouldnt touch this job... why is he posting then? its beneath him.
Again classless low blow.

I never said i wouldn't do it for the finances.

I said i wouldn't do it because its music i feel i can't give something to.

I would pass it to someone else that could.

Quote:
Originally Posted by alphajerk

and jon anton [from what i have seen on his show] hires people to cut hair and expects them to bring in their clients. i wouldnt pay him $25 to cut my hair.... hell, i wouldnt pay him NOTHING to cut my hair. i got a girl who cuts mine just fine for $30 AND i get a killer massage beforehand [not THAT kinda massage preverts]... and by thrills logic, she shouldnt be charging me $30 but should be doing it for free?!?

hard time imagining a retort to this, but if one comes.... i doubt it will burn. stupidity never does.

Again you lost me.

Jonathan Anton is not a dumb guy.

He is a great salesman and business man.

But first of all he is a hairstylist and that's his true passion.

If you ever met the guy you would know.

And he does charge alot for a haircuy because he feels he is worth that.

As long as one person pays for it it legitimizes his belief in himself.

Case closed.
Old 12th August 2005
  #75
There is only one
 
alphajerk's Avatar
 

[retracted reply send via pm]

back on topic...
there are TONS of talented people out there [and from this thread] will jump to help you out... if they are willing to mix it for $1k, i would bet they would test mix a song for free... compare some guys and see if any work for you and go with them. best of luck finding someone.
Old 12th August 2005
  #76
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jjblair's Avatar
I know Jonathan. Even though he's not my favorite person, he definitely is NOT gay. This thread is getting a little gay, though.
Old 12th August 2005
  #77
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alphajerk's Avatar
 

Quote:
Originally Posted by jjblair
Huh??? I don't even know where to begin with that statement.


i was just pointing out there are new guys out there whose work is every bit as good as anything out there who are jumping on this job evident from posts [and im sure in his PM box]...

$1k/8= $125 a song. two songs a day, $250 a day. $25 an hour. definately not the best pay rate out there... but for those who want to do it... more power to them and if it works out for both parties involved, all the better. if you could get 4 songs in a day, thats $50/hr. depends on how much in depth you want to get into the project. i can get a song quite a ways into the mix in 30 minutes and have mixed songs before in about as much time. depends on the material, how well it was track and a slew of other factors.

the guy has a small budget for someone else but doesnt have confidence in himself to do it justice.
Old 12th August 2005
  #78
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jjblair's Avatar
What the fukc does that have to do with saying that the old guys are scared because DAWs have shown young guys who is behind Oz's curtain?
Old 12th August 2005
  #79
One with big hooves
 
Jay Kahrs's Avatar
Hey AJ, no disrespect here but this IS the "high end" forum and we're talking about rates and working at that level.

If all you're gonna’ do is troll and turn the thread into a flame war and talk about making $100 a day like it's some amazing thing, please get the funk out. If you have anything intelligent to add to the discussion then go for it.

Seriously.

Old 12th August 2005
  #80
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stealthbalance's Avatar
 

nope ...just cant bring myself to jump in here....................na... cant do it.

s
Old 12th August 2005
  #81
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alphajerk's Avatar
 

then maybe the thread should be moved to low end with a $1k rate dont ya think jay?!? besides "high end" is a fallacy... and the concept of forums like this is elitist and snobbish.

im not trolling here... just pointing out some serious defects in logic.
Old 12th August 2005
  #82
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alphajerk's Avatar
 

Quote:
Originally Posted by jjblair
What the fukc does that have to do with saying that the old guys are scared because DAWs have shown young guys who is behind Oz's curtain?
didnt know the metaphor was that difficult to understand... recording isnt rocket surgery, and the "control/secrecy" that was so heavily maintained for so long is coming apart. hell, its in your 'about us' page to an extent.... but taken even further.
Old 12th August 2005
  #83
One with big hooves
 
Jay Kahrs's Avatar
Quote:
Originally Posted by alphajerk
then maybe the thread should be moved to low end with a $1k rate dont ya think jay?!? besides "high end" is a fallacy... and the concept of forums like this is elitist and snobbish.

im not trolling here... just pointing out some serious defects in logic.
Fair enough, I'll bite.

We kinda covered this a page or two ago. The original poster said he wanted a mix AE with credits and a name...but only wanted to pay $1000 for 8 songs. Most of us pointed out that anyone with real label credits and real skills can't and most likely won't work for that little money for various reasons that have been covered. From there it kinda turned into a discussion about why the real guys charge what we do. I'm pretty sure a couple of us (myself included) said that if all he could afford was $1000 for 8 songs, he'd be better off mixing on his own. More realistly, for someone with a proven track record he's looking at least $2-3K for 8 songs and that's just for mixing, mastering will run another $1000 or so for a cat.

"High end" isn't a fallacy, elitest or snobbish. Well, maybe it is...but what's wrong with that? Elite social clubs always have and always will exist. And elite social clubs always take in new members. This forum, and others are no different.

"High end" is a state of mind. It's about service and skills. It's something for the low end guys to aspire to. Without "high end" there wouldn't be a low end and the standards of record making would drop farther then they already have in the last few years. If someone is really happy with their DAW in the spare bedroom that's cool...but they should know that better things exist.

Think of us as the keepers of the flame.

Old 12th August 2005
  #84
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This has been bandied about a bunch, but I think it's accurate and bears repeating.

Back in the 80s when the first laser printers and desktop publishing software came out, everybody and his brother became a graphic designer. The established typeset/print shops took a bath, the old timers were outraged, and tremendous amounts of crap was produced (how many fonts can you put on a page?) Eventually the market sorted itself out, the posers went away, and the folks that emerged had a somewhat different skill set and a whole bunch of different tools, and the good ones can get good money for it. The old timers that were flexible (and fortunate) survived the downturn, but a lot of them didn't.

The heart of the issue seems to be that DAWs and prosumer gear are disruptive technologies, in both capability and cost, much as desktop publishing was. Combined with the cratering economic model of the music biz, the next few years are going to be pretty ugly, particularly for folks making payments on a million bucks worth of gear. I fear that they are the folks left standing when the music stops, as it were.

Out of the rubble will appear something recognizable, but different, I think. The market will stabilize, the pretenders will produce a bunch of records that sound like ass and then go away, and money will be made again. It'll be made a different way, and perhaps not as lavishly.

It reminds me of when economists talk about shifting markets and job training. On the whole the economy becomes more productive, but that guy with 25 years at the factory and no other skills is not going to become a tech support guy named Rajiv.

I'm afraid that this business is going to be eating its young for a few years, and I have a lot of sympathy for those who are trying to make a living at it.
Old 12th August 2005
  #85
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jjblair's Avatar
Quote:
Originally Posted by alphajerk
didnt know the metaphor was that difficult to understand... recording isnt rocket surgery, and the "control/secrecy" that was so heavily maintained for so long is coming apart. hell, its in your 'about us' page to an extent.... but taken even further.
OMFG. OK, that is funny. There's hardly a conspiracy. Maybe you need to double up on your meds. BTW, if it's hardly rocket science and it's so simple, then why are people always asking how do do things that to me are so basic? How come 95% of the stuff I hear sounds like crap? I'm dying to hear some of your stuff. Please post something that you have done soup to nuts that you are super proud of. I'm really curious what this "not rocket surgery" (nice mixed metaphor) sounds like. Please.
Old 12th August 2005
  #86
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jjblair's Avatar
dkatz, thanks for that. It's a perfect example. Hopefully, the past is indeed prologue.
Old 12th August 2005
  #87
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alphajerk's Avatar
 

Quote:
Originally Posted by Jay Kahrs
"High end" is a state of mind. It's about service and skills. It's something for the low end guys to aspire to. Without "high end" there wouldn't be a low end and the standards of record making would drop farther then they already have in the last few years.

well that i agree with... but i would call "low end" people simply inexperienced, or untrained.... instead of low end.... entry level? **** i dunno.

BUT what IF some guy with name and credits simply wanted to take this guys project simply as a challenge? what if right now they are so far in teh black they COULD do it w/o justification.... just hypothetical.

the conundrum i see however [especially in TODAYS enviroment] is having name and credit certainly doesnt justify any talent other than marketing and bull**** for the most part... and propogating crappy music most should be shot, and NONE are worth the inflated prices they charge. maybe that is because the guys i respect through time arent the ones who marketed themselves taking advantage of the willingness to put bands heavily into debt.... i have heard too many great albums done by meager means to argue against that way being the only way towards success. of course, there are many more reasons...

but "high end" aside from being a state of mind has little to do with what they charge people. nor does simply owning "high end" [which i see more as no compromise] gear mean anything really. or tchad blake would be out of a career of driving costs of low end gear through the roof.
Old 12th August 2005
  #88
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alphajerk's Avatar
 

Quote:
Originally Posted by dkatz42
Back in the 80s when the first laser printers and desktop publishing software came out, everybody and his brother became a graphic designer. The established typeset/print shops took a bath, the old timers were outraged, and tremendous amounts of crap was produced (how many fonts can you put on a page?) Eventually the market sorted itself out, the posers went away, and the folks that emerged had a somewhat different skill set and a whole bunch of different tools, and the good ones can get good money for it. The old timers that were flexible (and fortunate) survived the downturn, but a lot of them didn't..
i have already been through this change in that business, and i believe i have mentioned it a few dozen times before... i saw what happened [and is still occuring]... and its exactly the same thing happening here. there were people like me who saw the power in desktop publishing and took advantage of it.... lots of others did to, but some got in that lacked design skills. i steal jobs from those people all the time... instead of getting irritated at them i just went in and took the clients who would pay more [and didnt bother with the ones who couldnt, cause that is just a headache you dont want regardless], and people pay my rates [which are MUCH higher than the one who hosed it in the first place].... but its simply a matter of taste. SOME clients cant tell they are getting bad design in the first place. some can once they see good design. some simply cant afford good design. some clients have no taste at all and simply like bad design all together and wouldnt know something good if it hit em in the head.
Old 12th August 2005
  #89
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alphajerk's Avatar
 

Quote:
Originally Posted by jjblair
OMFG. OK, that is funny. There's hardly a conspiracy..
i didnt say it was a conspiracy... although with edison, it surely was. he was the original propagator of this "gatekeeper" mentality. early on, labels did search for talent, created some "manufactured" artists... but modern major label music for the most part is entirely manufactured, at least pop is. and now we are seeing the payola scandals once again, and they sit on a weak catalog that has little long term investment/payoff.

and their spaghetti business model isnt exactly a great one to work off of.... hardly ANY businesses outside the music world use it, or they fail from trying to use it.
Old 12th August 2005
  #90
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jjblair's Avatar
Alpha, you are on crack. First off, if there is a 'gatekeeper mentality' with audio professionals, I have yet to see it. Hell, Wagener teaches people his stuff all the time. I give away my secrets for free in my forum and in others. Ross Hogarth, George Massenberg, etc all do, too. I remember JJP showing me the 'secret' tyo his bass sound 14 years ago. Have you even ever worked with a big name producer or engineer? Do you even know what the fukc you are talking about?

And you dodged the important point. If this isn't "rocket surgery", let me hear your brilliant work that will be on par with anything a real engineer has done in a real studio. Please.
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