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Why most recording engineers suck... Effects Pedals, Units & Accessories
Old 13th August 2008
  #391
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DigitMus's Avatar
 

Quote:
Originally Posted by Beyersound View Post
Now that's not an argument!!!
Yes it is!!!
Old 13th August 2008
  #392
Gear Nut
 
winvbass's Avatar
Quote:
Originally Posted by DigitMus View Post
Yes it is!!!
Sorry, is this a five minute argument, or the full half-hour?
Old 13th August 2008
  #393
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Blame SSL and the RIAA for making those gold records everyone can hang up. When your average musician lays their eyes on these things for the first time they forget that

1- They will be working with PEOPLE
2-80% of "people" in ANY field are not great at what they do, by definition...
3=100% of "people" surviving IN any field have been somewhat successful ALSO by definition...

So the concept that people with a big studio and gold records could suck escapes them completely...

Also, i agree that 80% of engineers are OCD wierdos who are just OK at best, but the same goes for most musicians, which means theres a good chance the OP sux as well.

A truly outstanding artist owes it to themselves to find a truly great engineer, and if they dont do the legwork FIRST, then theyre a talented, stupid, lazy musician who deserves to get his money taken from him...
Old 13th August 2008
  #394
Smile

.

i agree.

and other than, "finding a trully great engineer", it may be better to just find someone
you GET ALONG WITH.

chances are, the project isn't going anywhere, so you might as well enjoy the ride heh

...and most of the people with actual careers, are generally too busy to post here...

.
Old 13th August 2008
  #395
I have found that most engineers do suck. Most musicians sucks. Most politicians suck. Most weather men suck. (this is the moan zone after all)

BUT the ones that don't suck are the ones that last, the ones that make a difference, the ones that define an occupation.

Do it if you enjoy it and if others enjoy it too then you're on to something.
Old 13th August 2008
  #396
Gear Maniac
 
Keldog's Avatar
 

hoover sucks...
Old 14th August 2008
  #397
Gear Head
 

Quote:
Originally Posted by smalltownjon View Post
Listen to David Bazan
hell yeah, bazan is the man.
Old 14th August 2008
  #398
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otobianki74's Avatar
 

blackened in the air...
Old 14th August 2008
  #399
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Isn't it "blackened is the end"?
Old 14th August 2008
  #400
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Jaques Beraques's Avatar
 

Quote:
Originally Posted by olivia_nb View Post
blackened on the end?!

snopes.com: Penile Burn from Electric Fence




ouch.

y'all are going to hate me for that link haunting your dreams...
Old 16th August 2008
  #401
Gear Addict
 
boosh's Avatar
 

Hmmmm,.... I don't get this whole frikkin thing,...


Overhere when you're an engineer and working in a studio it don't cost you diddley to track your own band at hours the studio isn't used,....
I've spend a gazillion hours of studio time with bands I was in for nuttn at all during the nights the studio wasn't booked. So why does and engineer in Dallas has to pay $5000 to record **** in the studio he works at??
Old 17th August 2008
  #402
Smile

Quote:
Originally Posted by boosh View Post
Hmmmm,.... I don't get this whole frikkin thing,...

why does and engineer in Dallas has to pay $5000 to record **** in the studio he works at??
myspace hits...

.
Old 9th February 2010
  #403
Registered User
 
audioguynyc's Avatar
 

Quote:
Originally Posted by BLUElightCory View Post
I call troll. Don't feed him you guys.
this
Old 9th February 2010
  #404
Gear Maniac
 
Lvismydad's Avatar
 

Quote:
Originally Posted by Sk106 View Post
I rest my case
That's like a photographer saying that retouching a family photo in photoshop MUST be done, because he thinks the people in the picture are ugly
I don't know, one time I spent twooooo weeeeks tuning a leadsinger on one song.
He just wouldn't try and sing it again!! I went crazy, but worked my ass off and it hit the charts eventually.
Ofcourse I did this because I believed in that song and it is really good, but nobody wants to hear a leadfalsetto that's constantly 30 cents to low.

Sorry this is maybe off topic a bit, but it just crossed my mind. If something is ugly and therefore doesn't fit: delete or fix.

Tim
Old 9th February 2010
  #405
Lives for gear
 

The real reason many studios suck is that they have grown on to the craft learning that equipment is the be all end all, and they never do learn the massive importance of good rooms. The first thing I look for in a studio is how the rooms sound. Proper bass trapping, diffusion, room size--to me these things are 80 percent of the battle. Most low-end studios don't have a clue about this and set their Neve console in a crappy space and think their offering real recording quality. First thing you should do when walking in to a studio is simply listen, clap your hand. I can tell as soon as I walk in to a room whether I'll get a good recoding in it most of the time.

Equipment isn't even close to equaling the importance of a good room. Give me a world class studio room and I could take my Roland VS recorder in and hook up my Chinese mics in a Mackie board and get great results, better results than most home studios (and pro studios who don't know about good rooms) could dream of.
Old 9th February 2010
  #406
Lives for gear
 

Some serious points (maybe)

Most engineers that suck, suck because:

  • The word 'engineer' is not protected like 'Doctor'
  • They call themselves engineers, plug in a mic, push a fader, aimlessly twiddle a gain knob, spend 2 hours wondering why no signal comes up on PTLE and then say ''must not be working?'' and take no regard for mic placement AT ALL
  • Believe most audio myths most of which were started by their guitarist friends ''analog has teh warm creamy tone'' or ''tube is better cus when you crank them they sound good!11!'' etc. all that bull****. Or maybe they'll have some brief knowledge such as ''the outside of teh cone on my amp makes more bass and teh middle more trebles!!!''....again, that's about as far as mic placement goes in this session.
  • They try and mix by sticking random EQs and compressors from their PTLE bundled plugins onto tracks, adjust with no regard that each section is different musicall (verse/chorus/bridge) and the resulting sound is obviously going to be horrendously ****)


On with the lulz>>>?????
Old 9th February 2010
  #407
Lives for gear
 

Just an example of this. A couple years ago A friend of mine wanted to record some of the songs she had written. We go to Knoxville, a good size studio, billed as a great studio. They have racks of Great River, massive passive, Cranesong, Hardy.... I walk in, several room, the glass between the rooms, real pro looking. They are using pro tools. They have the Tannoy monitors, and they are real smug, like their **** don't sting. yet, I walk in and guess what? No corner trapping, only two-inch studio foam on a few of the walls. Not a single corner trap in the whole place. No diffusion. On her guitar tracks they use a line 6 Pod. I was laughing inside the whole day. The rooms sucked and these supposed pros had obviously never learned about low end frequencies and how they gather in corners and such. This is one of the bigger comercial studios in Knoxville, yet I have seen bedrooms that were better in the low end and could turn out far better recordings with much less expensive equipment.

These folks are still in business in Knoxville, doing comercial jingles and everything else. Now, take a band looking for a recording studio and they will have stars in their eyes if they went in there. If more people were aware of how important these rooms are to getting a pro sound, many of these so called studios would be out of business until they figured it out.
Old 9th February 2010
  #408
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Quote:
Originally Posted by Jeffguitar View Post
Just an example of this. A couple years ago A friend of mine wanted to record some of the songs she had written. We go to Knoxville, a good size studio, billed as a great studio. They have racks of Great River, massive passive, Cranesong, Hardy.... I walk in, several room, the glass between the rooms, real pro looking. They are using pro tools. They have the Tannoy monitors, and they are real smug, like their **** don't sting. yet, I walk in and guess what? No corner trapping, only two-inch studio foam on a few of the walls. Not a single corner trap in the whole place. No diffusion. On her guitar tracks they use a line 6 Pod. I was laughing inside the whole day. The rooms sucked and these supposed pros had obviously never learned about low end frequencies and how they gather in corners and such. This is one of the bigger comercial studios in Knoxville, yet I have seen bedrooms that were better in the low end and could turn out far better recordings with much less expensive equipment.

These folks are still in business in Knoxville, doing comercial jingles and everything else. Now, take a band looking for a recording studio and they will have stars in their eyes if they went in there. If more people were aware of how important these rooms are to getting a pro sound, many of these so called studios would be out of business until they figured it out.
And that's why you should be a lawyer/accountant kids!

Again, if it looks pro and mint it's bound to sound mind hasn't it? And those ******s coming in to record won't have a clue!?!?!?!
Old 9th February 2010
  #409
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toneguru's Avatar
Quote:
Originally Posted by T_R_S View Post
Which is better ?
A jack of all trades and a master at none

A specialist at his craft.

The best sessions I have works have included the following...

The Musician
The Producer
The Engineer
The Assistant

If you think one person can do all that tell me,
I have never met one in 30 years of recording.
Todd Rundgren "Something, Anything"

PS. Please don't tell any of my friends that you caught me posting on this absurd thread.
Old 9th February 2010
  #410
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Just those 4?

I can do all them and be the mix and master engineer, the gear tech for when things get ugly or break, plus not only just a musician of one instrument but I can play drums/guitar/piano too!!!
Old 9th February 2010
  #411
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toneguru's Avatar
Quote:
Originally Posted by Chrislpp View Post
Just those 4?

I can do all them and be the mix and master engineer, the gear tech for when things get ugly or break, plus not only just a musician of one instrument but I can play drums/guitar/piano too!!!
If you live in San Fran then contact me and lets get busy.

Me, I am good at brewing coffee.
Old 9th February 2010
  #412
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Quote:
Originally Posted by toneguru View Post
If you live in San Fran then contact me and lets get busy.

Me, I am good at brewing coffee.
fo' real?

I was thinking about getting an electric coffee maker and getting into that game....but some people said I should get a plunger and go the better tasting analog road


Don't have the money so left it!
Old 9th February 2010
  #413
Quote:
Originally Posted by toneguru View Post
Todd Rundgren "Something, Anything"

PS. Please don't tell any of my friends that you caught me posting on this absurd thread.
Better yet, Todd Rundgren "Bat out of Hell", little 30 million seller or so, recorded in his personal studio, where he played a lot of the parts, was the producer and engineer and mixer AFAIK.

BTW, a recent excellent studio proved that, of all people whose names start with the letters "dea", Deans suck the least. I'm kind of proud of that, and maybe that means I should become an engineer.
Old 9th February 2010
  #414
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Kris's Avatar
Harmonica players suck. What's worse it they often blow too...
Old 10th February 2010
  #415
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LeMauce's Avatar
My GF suck.

I think that not that persons at it self "suck", its the lack of good communication in recording projects. If just everybody was open en strait forward about how they thinking about the whole thing it make progress so much easier to get out the full potential of everybody (producer, recording engineer musician and yes even the coffemaking,clean all the ****up assistant).
Old 11th February 2010
  #416
I'm convinced this was someone who really knows what they're doing, made an intentionally bad record at home (claimed to have paid $5k), created a myspace and trolled on here all for a good laugh.

It's something I'd do if I had the spare time. I call performance art!
Old 11th February 2010
  #417
Here for the gear
 

Managing Expectations when Recording Bands

I'm a musician with a mid-sized studio in a commercial building in business for 15 years. I make most of my money composing/recording/mixing for all types of media. I also produce singer/songwriters providing musical arrangement, etc... I play most stringed instruments and hire session drummers and other players when I need to.

I find that when I get talked into recording/producing a band is the only time I potentially have a client that is unhappy with the results. That is usually because a) I can't control the quality of the playing and b) the band has completely UNREALISTIC EXPECTATIONS. They think because they are going into a studio that suddenly they are going to sound like Green Day, or whoever they aspire to sound like. And when the end product is delivered (no matter how hard I have worked to edit and mix the band's substandard playing and singing) they are unhappy.

So my advice to anyone who gets asked to record/produce a band is to have a pre-production rehearsal, make an assesment of where the band is in terms of playing/writing/singing, and then sit down with them and make them realize that the best you can do is create a clean, punchy, professionaly mixed record of WHAT THEY SOUND LIKE. This will avoid any unrealistic expectations and save you from any headaches down the road.
Old 12th February 2010
  #418
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Greg Curtis's Avatar
 

Quote:
Originally Posted by blackened View Post
So, bands need to be very weary of all studios and flakey engineers.
Profound on so many levels.

I am "very weary" of this thread, actually...
Old 12th February 2010
  #419
Gear Nut
 
nicholassss's Avatar
 

lets just say i've laughed...ALOT!!!! in the last 14 pages.


ALOT
Old 12th February 2010
  #420
This thread is priceless

Oh and yeah, I suck at it, why? Dunno, just do
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