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DAW Editing: Where does the music stop and the frankenstein start?


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Originally posted by Angelo Clematide:

"If there is anything even remotely resembling "the line", Bob Ohlsson probably has it right: "It happens when the quest for repairing what's wrong tramples over what's right.

 

yes, but Bob Ohlsson work in the department where the first restauration is made of the s--t we all produce, also called mastering

But I think he's addressing the problem in general, and besides, whether Bob Olhsson is a veteran in pro audio or a CPA doesn't matter if his opinion contains wisdom and insight.
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Originally posted by Bob Olhsson:

It happens when the quest for repairing what's wrong tramples over what's right.

I gotta agree with Bob too...still, it's hard to pull the plug on it sometimes. We all hate to deliver a less-than-stellar project.

-Steve

-----------------------------------

Sometimes ya gotta find out what it ain't, to find out what it is...

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Originally posted by 2:

A band is no more a band when the final result sucks.

Anything is allowed, even barbaric editing.

The only thing the user will know is i like it or i dislike it.

So don't stop creativity (which is IMO in the storical low)

Is Walters back??
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Originally posted by Angelo Clematide:

Ken,

 

i'm also a veteran, i understand the disscussion here as:

 

"to edit or not to edit"

That wasn't a slam or anything against you in any respect. I was just commenting that the guy has a great deal of insight, no matter what he's coming from. And he's done so much stuff, I'm sure he's done a lot of multi-tracking and mixing anyway.
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i'm also a veteran, i understand the disscussion here as:

 

"to edit or not to edit"

Actually, the question was not whether one should or not edit, it was rather the following:

 

At what point is the band no longer a band? Is it after an entire drum track has been spliced and diced to be in time or after the drums have been triggered from a sampler for a "better" sound? Where does the music stop and the frankenstein begin?

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That is the relevant question. I, for one, feel cheated if I pay $$$ for a ticket to a live performance and don't get to hear musicians actually performing that music. I could spend $15 and play the CD on my stereo... if I'm going out of my way to catch a band's live performance, please make it LIVE! Warts'n'all.

 

Take the damn risk. THAT is what I'm paying you to do.

Yes, absolutely! I was watching an Aimme Mann concert on Direct TV last weekend and though I enjoyed her concert there was a song where the strings kicked in and I was like what the?

 

I didn`t see a keyboard player playing those parts so maybe it was taped...? I don`t know. Anyway, it kind of cheapened it a bit for me but it was nice to know she sang every note and the band played every note (with the exception of the strings?).

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Only real if can be played live?

 

I may have agreed in the past but... The recorded masterpiece will live forever, after the artists dies. So what if the tech was just not there to reproduce it live. It should not inhibit your creativity or vision.

 

Led Zep - Jimmy was never ever gonna have his "guitar army" on stage yet he went on to multitracking like he just don't care, maybe just cuz he felt like it. I never saw them live, for all I could care, they may have sucked, yet his records will live for ever.

 

Queen - Ever hear Bohemian live with full orchestra? Or heard it just the 4 of them playing it. Too young to ever seen them. Yet the album version is the one I'll ever hear.

 

Yep, it is a very gray area. You all have very valid points. Not even I know where I stand on this.

 

How bout "I'll know it when I see (hear) it!" (Mocking that sexy cheerleading bill...)

 

Yes, I am against all the "turd polishing" out there. And I still blame the public for buying it. My opinion, you can sort of judge a culture by what they consume.

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TeleCarlos, see, that's very valid. But with the examples that you are giving (Led Zep and Queen), they aren't "repairing" but creating art. Sure, there's a lot of editing and overdubbing, particularly with the Queen example, but it's not for repairing. That to me is one of the things that Bob Ohlsson hits on, and the reason why there's not an absolute threshold of when one crosses the line, but rather, a continuum based on what sort of music one is doing, the reasons why, yadda yadda.
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