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It Really is the performance Single-Channel Preamps
Old 8th September 2007
  #1
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bexarametric's Avatar
 

It Really is the performance

I had a studio guitar player come in yesterday and lay some tracks down. I have great gear, but wasn't happy about the results I was getting with the so called "bands" that are coming in. Well, I set up a 57 and 421, into a Germanium and 610 and it sounded amazing. The only thing that I did differently is that I hired a session musician. I am getting a lot of great compliments. It's funny how a great performance makes the engineer look like a genius.
Old 8th September 2007
  #2
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nathanvacha's Avatar
 

tell me about it. we've all had horror stories of trying to fix things that sound terrible, but i've had bands that practically mix themselves.
Old 8th September 2007
  #3
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RCM - Ronan's Avatar
This is soooooooo true. The real secret of great production/engineer is getting great performances and trying not to screw it up.
Old 8th September 2007
  #4
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Absolutely. I encourage any engineer who is frustrated with the sounds they've been getting to seek out great talent and record it. It's actually hard to get a bad sound out of a great player who knows their instrument. You can tune and beat detective anything, but it'll sound...tuned and beat detectived. Good is good, no matter how hard we may try to screw it up.
Old 8th September 2007
  #5
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When I had a small project studio I would always be frustrated with cats who thought they could come in and bang out a few tunes and then have me use some 'puter magic to make them superstars. In a few cases I REFUSED to fix horrible performances. F*CK them and let 'em practice.
Old 8th September 2007
  #6
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bcgood's Avatar
 

Quote:
Originally Posted by rcm View Post
This is soooooooo true. The real secret of great production/engineer is getting great performances and trying not to screw it up.
Amen brothers!thumbsup

P.S. Check this out...

Old 8th September 2007
  #7
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I said the exact same thing one time
and everyone jumped down my throat


I guess it was the way I said it.
Mabye I should just hire a session poster for me
and my threads will come across better..............

I like the info on wiki about jimmy page

"Page has stated that, as producer, he deliberately changed the audio engineers on Led Zeppelin albums, from Glyn Johns for the first album, to Eddie Kramer for Led Zeppelin II, to Andy Johns for Led Zeppelin III and later albums. He explained that "I consciously kept changing engineers because I didn't want people to think that they were responsible for our sound. I wanted people to know it was me."


engineers take way too much credit sometimes. It really is the musicians
that 'sound good'
Old 8th September 2007
  #8
Gear Maniac
 
chimpleton's Avatar
 

Quote:
Originally Posted by allencollins View Post
engineers take way too much credit sometimes. It really is the musicians
that 'sound good'
Amen. End of thread.
Old 8th September 2007
  #9
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sonicdefault's Avatar
One of the most noticeable things a great musician adds is proper control of dynamics. This in itself can totally change the way your mix sounds.

-SD
Old 9th September 2007
  #10
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5down1up's Avatar
 

Quote:
Originally Posted by allencollins View Post
engineers take way too much credit sometimes. It really is the musicians
that 'sound good'
thats way to black and white for my taste ! good musicians & good eng = good sound, thats how easy it is
Now i wonder what we are doing here, hrhr ?
Old 9th September 2007
  #11
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lowfreq33's Avatar
 

Quote:
Originally Posted by allencollins View Post
Mabye I should just hire a session poster for me
and my threads will come across better..............
Or maybe you can post, and then Jules can have a session poster replace it without telling you!heh
Old 9th September 2007
  #12
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This is no joke and once you start working with great players it is near impossible to go back to messing with inferior players.

I personally feel pretty fortunate that I only have to work with good players.
On the otherhand,, I can well record the days of recording/mixing every band or player that cam ethrough the door of my studio.
I gave the real goofballs to my business partner. : )

I can recall sessions towards the end of my time recording the "general public" were I would use the very same intruments, equipment and techniques that I had used on great players. It was always VERY frustrating because when you got down to it... the music they were creating was just awfull! My input couldn't even make a dent in the proceedings.

Well recorded crap is still crap.

There has to be art or at least something offered up.

Be honest... even the most dedicated gearslut will probebly commment on the performance of a cut well before he comments on the recording techniques used.

It is rare that you'll hear something like, "Man, that is some wonderful use of compression, but that guy is so awfull and out-of-tune!"

Basically, you CAN buy gear, but you CAN'T buy talent.
You can hire talent.
Old 9th September 2007
  #13
Gear Maniac
 
snüzz's Avatar
 

yes! when the bass guitar and the kick are hitting at the exact same time it moves the speaker properly. timing and being able to play "in the pocket" are very important. i still record on a 1680 but i think my recordings sound a lot better than some other bands that pay big bucks in studios. sure each individual track sounds like the 1680 ass sound but it comes together because of the performance.

MySpace.com - Snuzz - Winston Salem, North Carolina - Alternative - www.myspace.com/snuzz
Old 9th September 2007
  #14
Gear Guru
 

Quote:
Originally Posted by dbbubba View Post


Basically, you CAN buy gear, but you CAN'T buy talent.

You can hire talent.
if you go to England, you can hire gear.
Old 9th September 2007
  #15
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.... and let me add this concerning "fixing" inferior performances from inferior musicians...

You can auto-tune, punch in or do comps all you want, but it is very common to hear bad vocalists that sing in tune.

There just isn't software or anything else that can create what a good vocalist can do in one take.

You can use beat detective type software, but it is quite common to hear drummers that keep good time, but still play bad parts.

There isn't software that can hear a piece of music and apply great feel or groove.
Ever hear a drum machine or sequence of drum parts get close to swing or a blues shuffle? A country shuffle? Of course not. A whole new style of music had to be invented!

You can't create a great performance with any amount of hardware.
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