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Old 24th January 2018
  #7
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The idea that a record made today MUST be cut to a click and then micr-edited to the grid drives me bananas. Both is concept and in sound. I don't mind using a click, I'm more than happy to work with players to get better tracks while using a click. BUT, that doesn't mean, by manner of course that I will then edit ever note to said click, or that I demand it on every project. When I'm in the control room and we are using a click, I don't monitor the click. I listen to the band play. I think of the click like the lines on the highway. There's a little leeway, but they keep things generally in line. If things sound together and grooving, I'm not ever comparing it to the click. If it gets too out of whack, I'll hear it and we'll do another take.

In the modern world of non linear editing, I will move a note here and there if a player goes a little south. In the past that player would need to play the section so I could punch over the mistake. I did a lot of that, and sometimes still will, even when working digitally. And that some thing can be done even if there wasn't a click. If a bass note is a little off, or a guitar chord is a little late, I can still slide it into place.

Automatically going into grid and fix mode turns an aural art into a visual sensation, and I don't believe that to be the best idea. LISTEN to what is in front of you. If something is problematic, you and/or the artists will notice and then you can take a number of courses to make it better. Re-track the song, punch a part, edit, rearrange etc.

BTW, Shine is not only tracked to a drum machine, the drum machine is what you're hearing on the final release.