The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Reviews  Search Gear Database  Search Gear for sale  Search Gearslutz Go Advanced
What a mess... Live Jazz Recording. Recorders, Players & Tape Machines
Old 23rd March 2019
  #31
Will you share the final product?
Old 23rd March 2019
  #32
Quote:
Originally Posted by hughshouse View Post
Rule #1 ) deal only with the decider. Rule #2 ) Get it all in writing that also codifies the possibilities of "change orders" and the additional expense for same.
Hugh
GREAT ADVICE

Problem was the parents were on the Left Coast and I was dealing with them via EMAIL and PHONE. Their daughter was the decider and could not be reached by me. Breakdown in communications...YES INDEEDY! Anyone's fault, probably mine trying to do this remotely with someone (her parents) who were relaying non accurate information from their daughter.

Initially she did NOT want the performance recorded and only "gave her permission" at the last possible moment.

The parents are happy with what we did for them, and the price we charged them. They have already told us we will be doing other things for them. I think I learned my lesson and will be more careful in the future with this person.
Thanks for your thoughts.
Old 23rd March 2019
  #33
Quote:
Originally Posted by studer58 View Post
What's going to happen to prevent the same FOH mix fiasco happening again in future: is there written or other anecdotal feedback from family, audience, musicians to the person doing the mix (or more correctly, to those in charge of the event who hired/appointed him) ?

If not, all possible learnings and reflections and wisdom about how the mix was created and carried out are lost...and perhaps the same person gets appointed again next time, clean slate fashion.

History tends to repeat itself, unless the chain is interrupted by a log of rude, pertinent and clear facts brought to the attention of the 'right people'
When I trained my concert sound student staff they were fully trained up to actually doing some basic and advanced trouble shooting of the audio system and knew when to call in the experts. Since there was no "adult" supervisor around I assume that the student just walked in, turned on the console, set up the microphones and ran the show using what the last operator had setup. He may not have even known that the trims were set wrong if he did not go to that menu level. Digital consoles are GREAT but they also are a lot more complex and the operators need a lot more training to use them properly.

It is a different world here today at the local college where most of the students working equipment seem to be not trained and have only minimal supervision. It is like handing a high powered race car to someone who has only driven a Prius, they may think they KNOW what they are doing but very early on they should learn that a Prius and a 500 HP race car are two different cars and handle much differently.

FWIW
Old 24th March 2019
  #34
Back in the Sunset Strip days if we had an @sshole house mixer the crew would take him out back for some re-education.
Old 24th March 2019
  #35
Lives for gear
 

Quote:
Originally Posted by Jim Williams View Post
Back in the Sunset Strip days if we had an @sshole house mixer the crew would take him out back for some re-education.
I really hate this kind of bull**** gangsta talk...gang bashing someone because you didn't like his mix. Did you tough guys kill a member of his family every time there was feedback...it is so silly and oftentimes not even true.
Old 24th March 2019
  #36
Lives for gear
 
12ax7's Avatar
 

Quote:
Originally Posted by Samc View Post
I really hate this kind of bull**** gangsta talk...gang bashing someone because you didn't like his mix. Did you tough guys kill a member of his family every time there was feedback...it is so silly and oftentimes not even true.
I am so envious of Jim Williams!

He has worn so many damn labels that I just can't count them all!

...And now he's a "gang basher" and purveyor of "bull**** gangsta talk" (who just might be expected to "kill a member of his family every time there was feedback").

Good thing he's semi-retired, doesn't have a hit TV show, and didn't say that on his Twitter account!
.
Old 24th March 2019
  #37
Gear Nut
 
rezident's Avatar
If it's any consolation, I think most people will look at the video and go like yep that's good and then just listen to the audio intermittently (not paying attention). I don't think a lot of people would be critically listening. And plus the musicians that do I find who are actually in to jazz are actually listening to the harmonic movement, melodies, etc. and not really listening for sound quality. Might want to Jon Doe yourself in the credits though for your professional reputation!
Old 24th March 2019
  #38
Lives for gear
 

Quote:
Originally Posted by Thomas W. Bethe View Post
People lately seem to leave out a lot of information and what the do say seems to be not well informed. I still say communication is the name of the game.
You did the job that the people who hired you asked you to do...you didn't have control over the playing, the sound or the weather.

It was a collage gig run by collage kids who were not considering a recording in their plans, you were hired by the parents of one of the students who did not have a clue. They liked what you did under the circumstances and paid you...take it for what it was and walk away. You can't reasonably be expected to be prepared for every possible eventuality with these types of jobs, what you need is a disclaimer in your contract for non professional customers and nonprofessional situations. Make it clear that your fee and the result is based and depends on the information you were supplied and the level of access you were given to setup and work.

If you were hired to produce a two-track, do that, don't bring a recording truck and record 64 tracks of audio that will have to be mixed later. If you were hired to produce a documentary recording, do that and don't tune or mess with it after the fact...do what you were hired to do to the best of your ability. The more you meddle is the more you open yourself up to all kinds of foolishness from unreasonable customers, and once you start adding work to the job where does it stop....
Old 24th March 2019
  #39
Lives for gear
 

Quote:
Originally Posted by 12ax7 View Post
[INDENT]I am so envious of Jim Williams!

He has worn so many damn labels that I just can't count them all!

...And now he's a "gang basher" and purveyor of "bull**** gangsta talk" (who just might be expected to "kill a member of his family every time there was feedback").

Good thing he's semi-retired, doesn't have a hit TV show, and didn't say that on his Twitter account!
Good thing its just silly internet chatter, or he may well have been arrested for assault and battery, or worse, shot in self defense.
Old 25th March 2019
  #40
Lives for gear
Quote:
Originally Posted by Thomas W. Bethe View Post
Last night we did a remote audio and video recording of a Jazz concert held at the local college. This was a last minute request for both Audio and Video recording. We went to the club (it is in a hotel) and scoped out the venue. We also talked to the parents of the main student who was performing and who were paying us. They told us the concert would consist of a three piece combo plus their offspring and a piano. So we went to the dress rehearsal and it was not as described. The line up was a vocalist, a bass player a complete drum kit, an electric guitar, three trombones, three backup singers and a trumpet. Still no real problem. When we got to the venue to setup there was a complete concert sound system with floor monitors and about 8 flown speakers. It was being "operated" by a student who must have had dreams of being the Grateful Dead's engineer. It was super loud, and unlike the GD system, had a lot of distortion in it.

I was planning to do this with one stereo microphone.
FWIW
I'm going to suggest the 'one stereo microphone'...was both overly optimistic and naive. Given that there was a singer you would have known that there was a vocal PA (at least) involved, and you know that all conditions have to be nigh on perfect (quietish, well-balanced, experienced and aware mixer at the helm) for that to work with a stereo mic alone.

Plan B could have been an 8 or 12 way loom to take an aux or direct outs or at least a master/tape-out/ headphone/FOH stereo mix from the desk, to supplement your stereo mic. Tell me if I'm over-generalizing, but I think you went out unprepared and reaped the results of that.

An additional loom or splitter (note I'm not saying mic up every instrument yourself, as that would have been overkill and not within budget) would not have taken long to patch in, and instead of a train wreck you might have leveraged a lot of the wheels back onto the track. You have decades of experience under your belt...don't do it again !

In the absence of sufficient consultation and dialogue about the changed conditions, that experience should have given you sufficient information about possible glitches 'n hitches to have informed your gear choices ( ie plans B and maybe C)

Not all the factors against you and blame were "out there, out of your hands"....so I put a lot of it down to a failure of imagination, a failure to imagine the worst....
Old 25th March 2019
  #41
Lives for gear
 
12ax7's Avatar
 

Quote:
Originally Posted by Samc View Post
Good thing its just silly internet chatter, or he may well have been arrested for assault and battery, or worse, shot in self defense.
Well, sure!

I mean, 'Assault and Battery' is something that is pretty much clearly defined in law (and is a very different thing indeed than some silly stupid sh!t like that on a thread like this).

...Also, I think that before I ever actually shot anybody "in self defense", I'd kinda like to have a little more to go on than just a quote of 'em saying "take him out back for some re-education".

But that's just me. (Perhaps I'm a little bit more tolerant of my fellow man than most folks.)
(Take two; they're small.)
.
Old 25th March 2019
  #42
Gear Addict
Quote:
Originally Posted by studer58 View Post
I'm going to suggest the 'one stereo microphone'...was both overly optimistic and naive. Given that there was a singer you would have known that there was a vocal PA (at least) involved, and you know that all conditions have to be nigh on perfect (quietish, well-balanced, experienced and aware mixer at the helm) for that to work with a stereo mic alone.
I have to agree.

Sometimes I'll roll location recording into my gigs, where I'll put up a stereo mic and multi-track all the inputs and the FOH mix.

I do that because I know for a fact that my own FOH mixes aren't perfect. I've been told they're pretty darn good, but when you're working live, you only get one attempt at mixing each song. You can't go back and bring up the vocal by 3dB because they got drowned out by GTR2 hitting a pedal, and sometimes you're battling feedback and genuinely can't make a channel as loud as it should be in the live mix.
My point is that even with a perfect sound engineer behind the desk, the mix can't ever be studio-quality.

Now, the OP was relying on an unknown live sound engineer. They could be anywhere from "student who usually knows which fader is for which channel" up to "music teacher with 20 years of live sound experience".

Even if you get someone mid-way between the two, I'd argue it's a huge risk to rely on their mixing ability (and the quality of the FOH signal chain, inc room) to be the sole feed into your recording system.


Hindsight is obviously 20-20. It's easy to see now why the results might not have good as good as they could've been.

So, let's hope it's a learning experience. If there is a live PA system there, either mic everything yourself or get a split. Direct control over the live PA system is Plan B, and Plan C is to talk to the in-house engineer and explain what you're hoping to do. Plan D is just to hope everything is perfect for a stereo mic.

Chris
Old 25th March 2019
  #43
Lives for gear
 

Quote:
Originally Posted by chris661 View Post
...If there is a live PA system there, either mic everything yourself or get a split. Direct control over the live PA system is Plan B, and Plan C is to talk to the in-house engineer and explain what you're hoping to do. Plan D is just to hope everything is perfect for a stereo mic...
that's pretty much what i'm doing - with a strong emphasis on Plan A: i bring a split, a bunch of mics and my desk/stagebox to almost every remote recording i do 'cause i got a little bit too often into the situation the op experienced but was less lucky with the results i got...

of course one cannot do this on every job! i lost/gave up some smaller jobs yet got some new/larger jobs - i'm currently thinking of shrinking my desk into a 2he unit to keep gear size reasonable; not sure this will be economical though...
Old 25th March 2019
  #44
Lives for gear
Quote:
Originally Posted by deedeeyeah View Post
that's pretty much what i'm doing - with a strong emphasis on Plan A: i bring a split, a bunch of mics and my desk/stagebox to almost every remote recording i do 'cause i got a little bit too often into the situation the op experienced but was less lucky with the results i got...

of course one cannot do this on every job! i lost/gave up some smaller jobs yet got some new/larger jobs - i'm currently thinking of shrinking my desk into a 2he unit to keep gear size reasonable; not sure this will be economical though...
Hey deedeeyeah...I was just wondering if this is your organization in Basel ?: Sound Engineer | Daniel Dettwiler
Impressive credentials, studio and mic collection...whether it's yours or not !
Old 25th March 2019
  #45
Lives for gear
 

Quote:
Originally Posted by studer58 View Post
Hey deedeeyeah...I was just wondering if this is your organization in Basel ?: Sound Engineer | Daniel Dettwiler
Impressive credentials, studio and mic collection...whether it's yours or not !
thx but no: although i do have some nice gear as well, daniel is in another league (not only regarding his gear: he's a brilliant engineer) - he's mainly into studio recording/mixing, i'm mainly into live and some remote and broadcast work.

[and since i do some work for the osce and the un (blue helmets), you will NOT find any information on me/my work/under my real name on the net: threats became a bit too much to bear...]
Old 25th March 2019
  #46
Lives for gear
Quote:
Originally Posted by deedeeyeah View Post
thx but no: although i do have some nice gear as well, daniel is in another league (not only regarding gear: he's a brilliant engineer) - he's mainly into studio recording/mixing, i'm mainly into live and some remote and broadcast work.

[and since i do some work for the osce and the un (blue helmets), you will NOT find any information on me/my work/under my real name on the net: threats became a bit too much to bear...]
That's ok, we promise not to blow your cover your secrets are safe with us ....looks like a great city to work and live in, the sort of place to seek an internship (before old age disqualifies one for such adventures) !

[BTW the 'other guy' has just pulled together a conference of considerable mix talent in your city, namely: Come to my Seminar / Conference with AL SCHMITT & GEORGE MASSENBURG .....yet another reason to be jealous of your little village
Old 25th March 2019
  #47
Lives for gear
 

Quote:
Originally Posted by studer58 View Post


That's ok, we promise not to blow your cover your secrets are safe with us ....looks like a great city to work and live in, the sort of place to seek an internship (before old age disqualifies one for such adventures) !

[BTW the 'other guy' has just pulled together a conference of considerable mix talent in your city, namely: Come to my Seminar / Conference with AL SCHMITT & GEORGE MASSENBURG .....yet another reason to be jealous of your little village
yeppp, i'll attend the seminar on one day!

basel is a bit small for the kinda work i'm doing (and as anywhere else, there are way too many folks trying to get involved into our business), so i'm (still) doing some touring; it is definitely a nice place to live in! - you're welcome anytime to join me on a few jobs (bluesfestival coming up in april and a jazz festival in april/may): i rather have another oldie to work with me than a newbie (at least some of them). cannot offer an internship though.

and sorry to the op for some off-topic chatting.
Old 25th March 2019
  #48
Lives for gear
 

Quote:
Originally Posted by studer58 View Post
I'm going to suggest the 'one stereo microphone'...was both overly optimistic and naive. Given that there was a singer you would have known that there was a vocal PA (at least) involved, and you know that all conditions have to be nigh on perfect (quietish, well-balanced, experienced and aware mixer at the helm) for that to work with a stereo mic alone.

Plan B could have been an 8 or 12 way loom to take an aux or direct outs or at least a master/tape-out/ headphone/FOH stereo mix from the desk, to supplement your stereo mic. Tell me if I'm over-generalizing, but I think you went out unprepared and reaped the results of that.

An additional loom or splitter (note I'm not saying mic up every instrument yourself, as that would have been overkill and not within budget) would not have taken long to patch in, and instead of a train wreck you might have leveraged a lot of the wheels back onto the track. You have decades of experience under your belt...don't do it again !

In the absence of sufficient consultation and dialogue about the changed conditions, that experience should have given you sufficient information about possible glitches 'n hitches to have informed your gear choices ( ie plans B and maybe C)

Not all the factors against you and blame were "out there, out of your hands"....so I put a lot of it down to a failure of imagination, a failure to imagine the worst....
Keep in mind that he was hired by the parents of a performer who didn't give permission for the gig to be recorded until the last minute. He was not hired by the event organizer/promoter/producer and probably had no official authorization to connect anything to the console or add any equipment to the stage. If I was the sound mixer for the show I would not allow anybody to just connect to the console or add/put additional gear on the stage without express authorization from the promoters/organizers.

I'd say he was lucky to have been allowed to record the event at all, given that his clients were not really involved...anybody could have raised an objection and killed the project. Thomas, if you haven't already done so, I suggest that you stipulate in your contract that the client is responsible for acquiring all necessary permits and authorizations (in writing) to record the event.

All arguments about connecting to the console and bringing splits, or using autotune to correct mistakes etc are unreasonable, unrealistic and outside the scope of his duties given the circumstances. Suppose the parents of 10 students had decided to do the same thing...or what would happen if there were technical problems during the show, who would be responsible etc? He honored the contract, the fact that the house mixer was no good is not his fault or his business.
Old 25th March 2019
  #49
Lives for gear
 

Quote:
Originally Posted by Samc View Post
Keep in mind that he was hired by the parents of a performer who didn't give permission for the gig to be recorded until the last minute. He was not hired by the event organizer/promoter/producer and probably had no official authorization to connect anything to the console or add any equipment to the stage. If I was the sound mixer for the show I would not allow anybody to just connect to the console or add/put additional gear on the stage without express authorization from the promoters/organizers.

I'd say he was lucky to have been allowed to record the event at all, given that his clients were not really involved...anybody could have raised an objection and killed the project. Thomas, if you haven't already done so, I suggest that you stipulate in your contract that the client is responsible for acquiring all necessary permits and authorizations (in writing) to record the event.

All arguments about connecting to the console and bringing splits, or using autotune to correct mistakes etc are unreasonable, unrealistic and outside the scope of his duties given the circumstances. Suppose the parents of 10 students had decided to do the same thing...or what would happen if there were technical problems during the show, who would be responsible etc? He honored the contract, the fact that the house mixer was no good is not his fault or his business.
nothing to argue with that - except that i have almost never been working on a contract in the last 35 years... (and on one of those two occasions i can remember, things went terribly wrong!)


Quote:
Originally Posted by Thomas W. Bethe View Post
...I did not want to do a multi-track recording of the event. First problem is that I do not have a mobile multi-track recorder (I got out of the multi-track business when I sold my DA-88 a long long time ago) and secondly for what we were charging I did not want to do a multichannel mix-down on a 1 hour concert along with the video editing. Too much work for very little reward.

To all you guys that have large mobile multi-track rigs and hours and hours to set everything up and do a tear down and then do a multi hour mix down my hat is off to you.(I hope you are well compensated for your efforts).

I am basically a mastering/restoration engineer who does some on location recording work direct to two track.

This venue was in a Hotel and the access to the space was limited (they could not even find the key when we went to to a pre concert checkout). The whole thing was rushed from the beginning and I did the best I could.

I take full responsibility for any problems that might have occurred. It was ultimately my gig and yes I should have been talking to the daughter and not the parents and yes I should have had some long discussions with the concert sound board operator but I did not.

I learned my lesson. I was thinking in my head that this was what I was going to be doing YouTube and instead I got what I got.

If others here are looking for someone to blame then blame me. If you would have done it a different way I understand but I did not have a remote truck, a multi-track setup and loads of setup time and I was given some wrong information which I should have checked out more thoroughly...

one cannot ask for more than maxing out options under given circumstances; this situation nevertheless turned into a rather unpleasant experience - thx for sharing though!

Last edited by deedeeyeah; 25th March 2019 at 02:21 PM.. Reason: edited
Old 25th March 2019
  #50
Lives for gear
 

Quote:
Originally Posted by Thomas W. Bethe View Post
If you are looking for someone to blame blame me.
Your clients already like what you did and paid...the rest of us are just Monday morning quarterbacking what happened and we were neither involved or there.
Old 25th March 2019
  #51
Quote:
Originally Posted by Samc View Post
Keep in mind that he was hired by the parents of a performer who didn't give permission for the gig to be recorded until the last minute. He was not hired by the event organizer/promoter/producer and probably had no official authorization to connect anything to the console or add any equipment to the stage. If I was the sound mixer for the show I would not allow anybody to just connect to the console or add/put additional gear on the stage without express authorization from the promoters/organizers.

I'd say he was lucky to have been allowed to record the event at all, given that his clients were not really involved...anybody could have raised an objection and killed the project. Thomas, if you haven't already done so, I suggest that you stipulate in your contract that the client is responsible for acquiring all necessary permits and authorizations (in writing) to record the event.

All arguments about connecting to the console and bringing splits, or using autotune to correct mistakes etc are unreasonable, unrealistic and outside the scope of his duties given the circumstances. Suppose the parents of 10 students had decided to do the same thing...or what would happen if there were technical problems during the show, who would be responsible etc? He honored the contract, the fact that the house mixer was no good is not his fault or his business.
Thank you!

I did not want to do a multi-track recording of the event. First problem is that I do not have a mobile multi-track recorder (I got out of the multi-track business when I sold my DA-88 a long long time ago) and secondly for what we were charging I did not want to do a multichannel mix-down on a 1 hour concert along with the video editing. Too much work for very little reward.

To all you guys that have large mobile multi-track rigs and hours and hours to set everything up and do a tear down and then do a multi hour mix down my hat is off to you.(I hope you are well compensated for your efforts).

I am basically a mastering/restoration engineer who does some on location recording work direct to two track.

This venue was in a Hotel and the access to the space was limited (they could not even find the key when we went to to a pre concert checkout). The whole thing was rushed from the beginning and I did the best I could.

I take full responsibility for any problems that might have occurred. It was ultimately my gig and yes I should have been talking to the daughter and not the parents and yes I should have had some long discussions with the concert sound board operator but I did not.

I learned my lesson. I was thinking in my head that this was what I was going to be doing YouTube and instead I got what I got.

If others here are looking for someone to blame then blame me. If you would have done it a different way I understand but I did not have a remote truck, a multi-track setup and loads of setup time and I was given some wrong information which I should have checked out more thoroughly. Completely my fault.

Be safe and have a GREAT week!
Old 25th March 2019
  #52
Quote:
Originally Posted by NorseHorse View Post
Will you share the final product?
PM sent.

No I will not be sharing.

Last edited by Thomas W. Bethe; 25th March 2019 at 03:30 PM.. Reason: Took out a sentence
Old 25th March 2019
  #53
Quote:
Originally Posted by Samc View Post
Good thing its just silly internet chatter, or he may well have been arrested for assault and battery, or worse, shot in self defense.
It was tough on the Strip in the mid seventies. Keep in mind we were just kids and Political Correctness and "1984" had not been created yet so folks tended to live "out loud" compared to today when you can get fired (or banned) for saying an insensitive thing.

You should hear some of the Crue, Van Halen and G+R stories from their Sunset Strip days. Oh, the horror!
Old 25th March 2019
  #54
Lives for gear
Now all the social bullying is done via internet.
Old 25th March 2019
  #55
Lives for gear
 
12ax7's Avatar
 

Quote:
Originally Posted by 2manyrocks View Post
Now all the social bullying is done via internet.
Sticks and stones.
Old 27th March 2019
  #56
Here for the gear
 

Hey Thomas,
I can really feel your problem. I have one question:
How do you tell your customer, that it wasn't your fault, that the result isn't 100% perfect? I always think, it sounds like a cheap excuse.
Or do you simply don't tell them, that you are unhappy with the result and hope, that they don't notice something?

Greetings from Germany!
Old 28th March 2019
  #57
Quote:
Originally Posted by mucken11 View Post
Hey Thomas,
I can really feel your problem. I have one question:
How do you tell your customer, that it wasn't your fault, that the result isn't 100% perfect? I always think, it sounds like a cheap excuse.
Or do you simply don't tell them, that you are unhappy with the result and hope, that they don't notice something?

Greetings from Germany!
In this case I just let them tell me what was wrong and they had already complained to me of the excessive SPL in the venue. They were pleased with what we were able to provide them, given the circumstances.

In other situations I am always truthful with the client. If it is my fault I take full responsibility for the problem and if it is something beyond my control I also let them know what the facts of the matter are. Honesty is, IMHO, the best policy.
Old 15th April 2019
  #58
We did another Jazz recording for one of my interns. It was his senior recital. The hall was a new one in the local conservatory and is less than 5 years old. It was built in a converted class room and they added an extra story to the building in order to give the concert hall more vertical space. The hall is all glass, wood and aluminum and is very live. This was a small jazz concert with a maximum of about 20 people performing and about 50 people in the audience. We had a lot of time to setup and we did both an audio and video recording of the concert. We ran into no real problems with the recording and it came off well. We used a pair of AKG Blueline cardioid microphones in an ORTF setup and it worked well. The recorder was a Sound Devices MixPre 3. The only real glitch was that the stage crew person decided that our microphones were messing with his room setup and we would have to strike them and move them to the back of the hall so he could set up the chairs. I had a short talk with him and told him that the microphone were staying exactly where they were. Good recording GREAT concert with a lot of new music just written by my intern. Gratifying experience.

Last edited by Thomas W. Bethe; 15th April 2019 at 02:46 PM..
Old 15th April 2019
  #59
Gear Nut
 
rezident's Avatar
Quote:
Originally Posted by Thomas W. Bethe View Post
We did another Jazz recording for one of my interns. It was his senior recital. The hall was a new one in the local conservatory and is less than 5 years old. It was built in a converted class room and they added an extra story to the building in order to give the concert hall more vertical space. The hall is all glass, wood and aluminum and is very live. This was a small jazz concert with a maximum of about 20 people performing and about 50 people in the audience. We had a lot of time to setup and we did both an audio and video recording of the concert. We ran into no real problems with the recording and it came off well. We used a pair of AKG Blueline cardioid microphones in an ORTF setup and it worked well. The recorder was a Sound Devices MixPre 3. The only real glitch was that the stage crew person decided that our microphones were messing with his room setup and we would have to strike them and move them to the back of the hall so he could set up the chairs. I had a short talk with him and told him that the microphone were staying exactly where they were. Good recording GREAT concert with a lot of new music just written by my intern. Gratifying experience.
It’s amazing when you get to create the music as well as being a part of the recording!
Top Mentioned Products
Topic:
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
Similar Threads
Thread
Thread Starter / Forum
Replies
marcberez / Newbie Audio Engineering + Production Question Zone
6
danieljfox2 / Low End Theory
4
brianwflood / Remote Possibilities in Acoustic Music and Location Recording
11
JoFo / Remote Possibilities in Acoustic Music and Location Recording
24
sharpeleven / Remote Possibilities in Acoustic Music and Location Recording
5

Forum Jump
Forum Jump