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Old 28th January 2020
  #34
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Quote:
Originally Posted by Brent Hahn View Post
Really interesting thread.



This, to me, is what most of the "Nevermind" album sounds like. That record did pretty okay.

And if my producer suggested that I fake a double by nudging a clone a few ms and panning it, I'd probably stop asking for suggestions.



So what it comes down to is, you're putting your interests ahead of the band's. They want a record that pleases them and sounds like them and their music, while you want a record that sounds slick enough that other people will want to make slick records with you. If a record company hires you to turn a sow's ear into a silk purse that's one thing; if a band hires you to realize their own vision that's something else. Pros do the job they're hired to do, not the job they wish it was.
Brent makes a great point... it’s worth reading the history of the Nevermind recording process

That being said, most acts recording their first demos suck at something... often they suck at multiple things. And usually they suck at everything.

So, if it bothers you so much artistically you can burn an hour of your time and tune the double... or, comp a new double with bits from one of the tales not used on the main vocal... and pretty it up and present it alongside the version you don’t like to the band.

It’s a good lesson to pack in a little extra $$ into the budget... so, if you don’t need to do this extra work you can give the band a little cash back at the end (which they will adore).