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“It’s not the gear, it’s the ear!” - can we stop this?
Old 20th June 2019
  #31
Quote:
Originally Posted by swafford View Post
It's not the gear, it's the weird.
Could be a little of both...
Old 2nd July 2019
  #32
Gear Maniac
Psycho is about a singer with a really unique tone, into a c800g/uad apollo, then modulated to one of the preamp plugins, possibly 1073. Lots of work on the songwriting, then lots of vocal takes, tons of editing with melodyne and autotune efx 3 to get everything sounding really tight. uad reverbs and delays. The instrumental doesnt have anything groundbreaking, it's all about the vocal performance and lyrics. Then the last chorus is the chorus again but with a formanted part, octave down and inserted with the chorus. A few small automated effects here and there for delays and reverbs.
Old 3rd July 2019
  #33
Quote:
Originally Posted by Brent Hahn View Post
I feel compelled to add a bit to what I said earlier. I'm probably gonna get one of the dynamic EQ plugs pretty soon. I'm starting to realize that I'm doing a lot of checkerboarding of vocal tracks, dividing them up into "edgy" and "not edgy" and sometimes a third category like "too close to the mic," and I'm wondering if a dynamic EQ might do that job faster and better.

Thoughts from anyone who uses them?
Missed this at the time - download tdr nova and have a play - totally free. Gentleman’s edition if you like it is cheap

I find it invaluable for taming proximity effect and harshness (still split vocals up sometimes though!).

Object eq in pro tools ultimate also good for the occasional word that’s booming..
Old 4th July 2019
  #34
Gear Guru
 
Brent Hahn's Avatar
 

Quote:
Originally Posted by psycho_monkey View Post
Missed this at the time - download tdr nova and have a play - totally free. Gentleman’s edition if you like it is cheap

I find it invaluable for taming proximity effect and harshness (still split vocals up sometimes though!).

Object eq in pro tools ultimate also good for the occasional word that’s booming..
Been doing some research and demoing since then. Was mixing on someone else's rig a couple weeks ago and put the free Tokyo Dawn one on his. Really interesting, but didn't want to spend the time on his dime to get good with it.

If I were still doing the live-streaming radio show I'd use it for that in a heartbeat, providing the latency wasn't too bad (which I bet it would be).
Old 4th December 2019
  #35
Gear Head
 
Proverbalizer's Avatar
 

Quote:
Originally Posted by amirgelman View Post
Hey all,
While looking for some good mixing/mastering plugins and searching non-stop for comparisons, like “UAD vs Waves” or “FabFilter vs Waves” etc..... there seems to be a pattern.

Lots of people seem to state that it’s not the tools - it’s the person using the tools.

Well, that’s a valid and logical thing to say.

But some people take it to extremes and say “your daw’s stock plugins are enough to produce in top production levels”.

Now that sounds weird to me.

After trying Waves, UAD plugins, FabFilter and some other companies - for sure each of them bring different flavor.

But even Logic Pro’s stock plugins which are praised by many (because they are indeed good) - it seems impossible to reach top level sound with them.

Can someone name me one hit song (a fairly new one) that was made using only stock plugins for its mixing and mastering?

I’m having trouble believing such thing exists.

To be clear, I’m talking about top charting songs like “me!” By Taylor Swift Or “Psycho” by Post Malone, “Taki Taki” by DJ Snake and more.

Thanks!
"Dumebi" by Rema, which was produced in FL studio and then the artist just wnet and released it before the producer or anyone even had a chance to really mix it...
https://youtu.be/zUU1bIWpH5c
(you probably don't know his name if you're not into Afrobeats, but this hit Jumpstarted his career in a big way)


now of course big-name artists, with big budgets / major label support go to big-name studios where of course the big-name engineers have access to a ton of big-name plug-ins again because they have the budget for them...not because they NEED them to get good sound.

FWIW Etta James with ZERO "plug-ins" would sound infinitely better than Taylor Swift with $1,000,000 worth of plug-ins...but that's another story

"Back to the Matter" by Wizkid, was produced, "written", recorded, edited, mixed, mastered and released all in the same night by Maleek Berry (in his living room or bedroom) ...and was a hit that helped jumpstart his career as a producer before he became a successful singer himself (I don't know what plugins Berry had at that time before stardom, but I'm saying it's more about the inspiration sometimes that having the perfect tools or taking the time to get the perfect mix...could it have been mixed and mastered better...I'm sure, did that stop people from loving it and dancing to it...NOPE)
https://youtu.be/JrhyYcSrQkY
Old 5th December 2019
  #36
Lives for gear
 
swafford's Avatar
 

It's not the gear, it's the time of year.
Old 6th December 2019
  #37
To summarize. Controversial to Gearslutz but... Long live the saying!

I could think of some others.

Why did our recording sound bad?

It's not the gear, the studio was 420 friendly so that we'd be too stoned to hear.

It's not the gear, the mother fuc**ing engineer was drunk on beer

It's not the gear, famous people have been up in here. Look at all their pics on the wall. Now where is the person who mixed them all?

The answer is... in his own smaller studio now, with minimal gear.

Lol
Old 6th December 2019
  #38
On a more serious post...

Almost all independent artists at some point have gone into a flashy studio with all the gear in the world and wondered why their song doesn't sound good.

Here in Los Angeles, most of the big recording studios and even mid sized recording studios aren't owned by those that work in them. The average person doesn't understand this and thinks that if they can afford all this gear, they must be good and their song will sound amazing when in reality, they could end up with a ****ty engineer who just did a sound engineering degree where he learnt nothing.

Musicians also think that the gear will magically make them sound good. They compare it to buying a better guitar or guitar amp. What they forget is, they don't know how to mix. When you buy a new guitar or guitar amp, yes the sound is better but... it could still sound like **** on stage if your live sound guy sucks. The quality of the end product from the recording studio is closer to hiring a guitarist who has his own guitar. Jimmy Hendrix would sound amazing on a $100 dollar guitar but a kid who just bought his first guitar will sound like **** even if it's a 10k guitar. People underestimate the value of the skill set of the engineer and producer. A good producer and engineer can improve the musicality and performance of an artist. It doesn't matter how well your vocal is recorded if it's all out of pitch and lacking emotion. It doesn't matter how well you play if the song is arranged poorly and people get bored.

Music is to be enjoyed. If the engineer helps everyone hear each element and connect with the song and the producer helps present the song in a new way that makes it more marketable people will enjoy it. My goal is always to work out how to make people enjoy the song more but do it in a way that the client and artist is still happy. I could do the same thing with very minimal gear or a room full of the best gear. A bad engineer though, well he could have all the gear in the world and it's not going to help him and the client will still be pissed off.

So long live the saying! Live on!
Old 9th December 2019
  #39
Gear Maniac
Quote:
Originally Posted by tomwatson View Post
On a more serious post...

Almost all independent artists at some point have gone into a flashy studio with all the gear in the world and wondered why their song doesn't sound good.

Here in Los Angeles, most of the big recording studios and even mid sized recording studios aren't owned by those that work in them. The average person doesn't understand this and thinks that if they can afford all this gear, they must be good and their song will sound amazing when in reality, they could end up with a ****ty engineer who just did a sound engineering degree where he learnt nothing.

Musicians also think that the gear will magically make them sound good. They compare it to buying a better guitar or guitar amp. What they forget is, they don't know how to mix. When you buy a new guitar or guitar amp, yes the sound is better but... it could still sound like **** on stage if your live sound guy sucks. The quality of the end product from the recording studio is closer to hiring a guitarist who has his own guitar. Jimmy Hendrix would sound amazing on a $100 dollar guitar but a kid who just bought his first guitar will sound like **** even if it's a 10k guitar. People underestimate the value of the skill set of the engineer and producer. A good producer and engineer can improve the musicality and performance of an artist. It doesn't matter how well your vocal is recorded if it's all out of pitch and lacking emotion. It doesn't matter how well you play if the song is arranged poorly and people get bored.

Music is to be enjoyed. If the engineer helps everyone hear each element and connect with the song and the producer helps present the song in a new way that makes it more marketable people will enjoy it. My goal is always to work out how to make people enjoy the song more but do it in a way that the client and artist is still happy. I could do the same thing with very minimal gear or a room full of the best gear. A bad engineer though, well he could have all the gear in the world and it's not going to help him and the client will still be pissed off.

So long live the saying! Live on!
You're right, I remember finishing a remix in my house's bathroom, because my studio was being built, and the remix played on the radio a bit, did well on Spotify. I had my mouse, my monitor, computer keyboard and headphones, and just went all out. That being said, the rooms at Paramount studios are so well tuned, I went in there and my mix sat really well right away, I can't really get that at home, but it's fairly close these days, with a few upgrades, a few acoustic panel here and there, Weiss Dac (yeah I know, I've been saying this in so many post, but damn that DAC2 is amazing! I can only imagine how better the other Weiss DACs are). If you're good, you'll do well anywhere you go.
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