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Profesional sounding. DAW Software
Old 31st July 2009
  #31
Lives for gear
But still it's all about the music, so even though this is gearslutz,
recording a magic moment is the most professional and difficult part of this process and that is what touches the heart of the audience after all
Old 31st July 2009
  #32
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by Parkstudio View Post
....I wonder what it is that defines a 'professional' record to the rest of the sluts?
Strange one, this.....in a way it's just a record where people got payed to work on it. By definition. lol. Doesn't guarantee anything about quality necessarily, although to call a record "professional sounding" would to me imply that you can hear that someone spent some money on making it. On gear used and or expertise rented. Whether it therefore amounts to quality.....? Still no guarantee for tastyness. Or meaning anyone would therefore enjoy listening to it. I don't regard whether I can "hear all the parts clearly" anything to do with how well a record works. In fact, more likely if so it leaves no mystery in there. So many "professional" sounding records around. Kind of becoming a byword for "****-polished-to-the-degree-it-fools-fools-to-think-it-has-worth". Everyone is so worried about sounding "professional".........should worry more about "engaging", "goosey" "magical" ........regardless if the thing smells of Prism and SSL or stinks of tape , hiss and sweat.......sorry, slipped from a mumble to a rant.....
Old 1st August 2009
  #33
Gear Head
 

Quote:
Originally Posted by Karloff70 View Post
Strange one, this.....in a way it's just a record where people got payed to work on it. By definition. lol. Doesn't guarantee anything about quality necessarily, although to call a record "professional sounding" would to me imply that you can hear that someone spent some money on making it. On gear used and or expertise rented. Whether it therefore amounts to quality.....? Still no guarantee for tastyness. Or meaning anyone would therefore enjoy listening to it. I don't regard whether I can "hear all the parts clearly" anything to do with how well a record works. In fact, more likely if so it leaves no mystery in there. So many "professional" sounding records around. Kind of becoming a byword for "****-polished-to-the-degree-it-fools-fools-to-think-it-has-worth". Everyone is so worried about sounding "professional".........should worry more about "engaging", "goosey" "magical" ........regardless if the thing smells of Prism and SSL or stinks of tape , hiss and sweat.......sorry, slipped from a mumble to a rant.....
A dam good rant though. May be the only reason people start caring about those magical things ('goosey, magical etc') is when they have already made what the people paying the bills defines as a 'professional sounding ' record and therefore trusts the producer/engineer even if they think that its not polished enough....
The problem is half the time that the people who seem to have the final say don't know their arse from their elbow!
Old 1st August 2009
  #34
Gear Guru
 
Karloff70's Avatar
 

Quote:
Originally Posted by Parkstudio View Post
A dam good rant though. May be the only reason people start caring about those magical things ('goosey, magical etc') is when they have already made what the people paying the bills defines as a 'professional sounding ' record and therefore trusts the producer/engineer even if they think that its not polished enough....
The problem is half the time that the people who seem to have the final say don't know their arse from their elbow!

Sometimes I wonder how many people actually have the capacity to feasibly "go for" that magical, goosey thing........and actually have any chance of reaching it......even once........even if everyone was actually trying. Much easier (and more solid pay....) to just go for 'professional'.
Old 3rd August 2009
  #35
Gear Guru
 
u b k's Avatar
 

Quote:
Originally Posted by Karloff70 View Post
Everyone is so worried about sounding "professional".........should worry more about "engaging", "goosey" "magical"...

My sentiments exactly.

Is it interesting? Am I hooked? Does it engage? Am I compelled to sing and dance, or maybe to be completely still and absorb utterly?

Clear, murky, dry, soaked, polished, rough... whatever. Just make it work.


Gregory Scott - ubk
.
Old 19th August 2009
  #36
Quote:
Originally Posted by psycho_monkey View Post

FWIW the reason the Enemy album (or any other record) sounds "pro" is because of quality throughput. It had a reasonable budget for a start which means quality:

instruments
rooms
producer
engineer
recording equipment (including a budget for tape)
mastering (did Robin Schmidt do this one?)
Howie Weinberg mastered this one, not me. The album still sounds good though
Old 19th August 2009
  #37
Lives for gear
 
K. Osborne's Avatar
Hey. Just throwing in my input about this "great" chain theory.

Overall...I think--after the song, arrangement, and musicians--that the mix is the most important factor. There have been plenty of great records recorded with 57s and API 512s.

Also...you have to have a great engineer, mix engineer, and mastering engineer. That's not even in the chain...that's just...that's the job description. You've gotta have great ears. And the recording engineer should be making decisions based on the direction of the song as well...placing mics for depth and space, for tonality and color.

One big problem with the project studio environment is good tracking and mixing rooms. Having a poorly treated room can make recorded sound much more nasaly, boxy, honky, or boomy. People try to put mics six inches away from acoustic instruments, and they wonder why they have no depth. Would you put your ear six inches from the drum? No! It will sound like that in the mix--too close--awkwardly close, and having no depth.

If a room is treated properly, mics can be backed up a bit more, adding natural depth by letting the sound from the instrument develop in a real space. That is one of the most IMPORTANT things of engineering.

This is how I look at it (in order of importance):

Great Song / Arrangement > Great Musicians > Great Room > Great Mics > Great Preamps > Great Converters (or ATR).

As far as what makes a record professional...I think there's a certain point when you can tell your mix is comparable to other pro mixes in the genre...when you can listen to it and say "that sounds like a record." It's got depth, it's got tone, it's got space, it's got punch and vibe.

Thanks all.
K
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