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Old 3rd June 2004
  #16
Quote:
Originally posted by shipshape
Thrill you are correct in a way because I get a lot of records like you where the track count is over a hundred , but usually there is method in the madness. Th reason the 120-160 record kinda got to me was that with 60 tracks of electric gtrs alone..in a rock band , that's just plain bad production in my book. I don't really see why Ive gotta sit there for 3 days sifting thru way to many gtr parts and try to eq and find space for them when really a 10 or son tracks for gtrs would have sufficed maybe more but not 60 !!!!
Ship,

In your case(guitar tracks) i totally agree.

Its like they want you to hold their hand and make the choices for them as well.

I've always felt that in this case they should give us the production credit as well(including the pay).

For me what drives me nuts is when i get every synth sound in stereo. I understand if it has a panning type effect, but for a Rhodes or Wurlitzer?

I end up killing one side anyway.

But of course because most of the producers are keyboard players they have to hear everything in stereo. Left and right...WOW!!!

And they want the choruses to be big and the drums to hit hard and everything to be wide. And they give you 8 kicks, 6 snares and 10 hihats.


But unfortunately if people learned what to leave out, they would still find away to add even more useless stuff.