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Old 4 weeks ago
  #3
Lives for gear
Quote:
Originally Posted by theblue1 View Post
I suppose those are kind of grunt work, once you know how to do them (and they're not exactly rocket science), it's just a matter of, you know, doing it. So paying for them is just paying for grunt work, if you think of it that way. (Not that there's any shame in paying for stuff that's actually hard to figure out or do, for that matter.)

But if one doesn't have the money to pay someone else for such things, they are generally quite easy to create on one's own (many DAWs have built in tools to help offset the drudgery).

And there might well be some benefit to the musician in hashing out the basics on his own -- he can still use bots and libraries for grunt work, of course -- but now he will know what's going on inside the 'black box' and won't be afraid to tinker to get the little things right (when the bots don't, or the library clips don't quite fit).

Addendum: for instance, starting out with drum machines in the 80s, I had to teach myself the rudiments (pardon the expression) of drum part writing/creation. As the decade wore on, I became more interested in the various break beats that were showing up under hip hop and emerging trip hop/downtempo tracks. For some reason, it seemed to take me forever (or at least a couple days) to figure out how to create the classic syncopations under so many tracks on (or at least near) the grid. When I finally got things sensibly lined up on the grid (with and without triplet syncopations for various beats), I found myself far more comfortable writing beats as well as modifying prefab or skeleton beats to feel more like what I wanted. [NOT to say I necessarily kept things on the grid -- I like playing with time, monkeying with the length of rests by tiny amounts of time or slices of beats to build anticipation, swing beats at times, having creative fun.]
That's how I've been doing it, but I can't bother on a deadline, sometimes.