Tiny G Posted December 8, 2000 Share Posted December 8, 2000 Being good at recording and mixing music doesn't make you a good ENGINEER, IMHO. People chops are just as important. Some of the best engineers in the world have posted on these forums and I almost always get the same vibe from all of them. Professional, nice, and willing to bend over backwards to make sure everyone is happy with their experience in the studio. Once you can fake that, you're in big. . http://www.musicplayer.com/ubb/smile.gif ------------------ Tiny G Tiny G Link to comment Share on other sites More sharing options...
Anderton Posted December 9, 2000 Share Posted December 9, 2000 >>Some of the best engineers in the world have posted on these forums and I almost always get the same vibe from all of them. Professional, nice, and willing to bend over backwards to make sure everyone is happy with their experience in the studio.<< As a rule, I find that the more truly successful people are, the cooler they are. I have to tell you a George Martin story. This guy is a total class act. When I was a struggling author writing "Home Recording for Musicians," I needed someone to write a foreward. Guitar Player asked George Martin if he'd be willing to do it. He asked for some advances of the text, liked what he saw, and -- without any compensation, other than a thank you note from me that I don't even know if he recieved -- wrote a beautiful and intelligent foreword. It totally blew my mind. Fast forward about 15 years. I saw George Martin at a TEC Awards dinner, and screwed up all courage necessary to go up to him and say, "I'm sure you don't remember me, but you were kind enough to write a foreword for a book of mine, and it was really appreciated and you helped me out more than you could ever know..." And instead of blowing me off, with a glad-to-help-the-little-people attitude, he said "Oh yes, the Home Recording book, I remember it, glad to have helped" etc. Absolutely blew my mind, for the second time. Craig Anderton Educational site: http://www.craiganderton.org Music: http://www.youtube.com/thecraiganderton Twitter: http://www.twitter.com/craig_anderton Link to comment Share on other sites More sharing options...
Guest Posted December 9, 2000 Share Posted December 9, 2000 Tonemonkey, Ozbass and myself never once questioned his ability to record, that wasn't our issue here, except the assistant who didn't have his PT chops together at all. He made out to us that he was very cool with ProTools and knew everything (Not very cool when the work depends on it) Music prevailed in the end and that's how it should be. However peoples attitudes are also very important in the recording studio in my humble opinion. I never ever lie in my studio about my abilities, If I don't know something I make it clear and then bend over backwards myself to get it happening and also never let it happen again. If you're wondering, I didn't bother too much about the initial 3348 transfer of my ProTools tracks because everything was coming back to my studio for overdubs and mixing so we had the original 24 bit files here, everything was time code resolved to my studio. We'll be using the studio again as we'll be doing a lot of orchestra tracking next year so hopefully the assistant will have his shit together, and if not i'll definately be speaking to the manager about this. Also I would hope that the engineer will be a little more opening minded about ProTools. Cheers http://www.musicplayer.com/ubb/smile.gif Link to comment Share on other sites More sharing options...
earfatigue Posted December 9, 2000 Share Posted December 9, 2000 tiny g said: "some of those older, potbellied, coffee swilling guys have made the best sounding recordings that WILL EVER BE MADE!" HELL NO THEY DIDN'T. they (meaning the upper eschilon of experienced engineers) have made stuff that stands out in this creatively bankrupt era we're in now. no, i didn't sit in on syd-barrett-era pink floyd sessions. i wasn't even a glimmer in my father's eye then. but better records are going to be made. if i didn't feel that way, why would anyone still do it? we have benchmarks now. albums that have immense feel, or such incredibly lush production that you hear it on a boombox and your jaw still drops. so, in a roundabout way, what i'm trying to say is that nobody who's trying everything including the kitchen sink now is going to get accolades for it. better to just keep your head down and putting out mixes that make everybody elses' look like a box of thin mints and keep your grammy week for 2010 open. and i, for one, am going to continue doing just that. judson judson snell slang music group chicago, il Link to comment Share on other sites More sharing options...
Fletcher Posted December 9, 2000 Share Posted December 9, 2000 Originally posted by kent_powell@palmercay.com: Fletch, for the record, Chris was right. "Affect" was the correct usage. Sorry, it just brought out the English major in me. I feel your pain. I want to strangle people when they say 'the point is "mute".' Actually...that one could go either way...it may indeed 'affect' the outward appearance/reputation of the studio...but in context, it will be of more harm to the facility if it effects the reputation. 6 of one...half a dozen of the other...I was being a bit of a bitch about it...sorry. Originally posted by nhcomp45@aol.com: Hey Fletch, I'm from Brooklyn, You from Brooklyn? Flatbush; 43rd & Lenox Avenue...also Sunnyside, Woodside, born at St. Vincents; and lived at 'Avenue A & Houston' for a while...can you guess what I did for a living when I lived there? Originally posted by Anderton: Now, if the post starts off "Hey you jerk, sure I'll tell you what DC offset is, and I'll give a really comprehensive explanation that is factually correct. But jeez, you're such a loser for having to post something like this on a bulletin board. Hey can't you read a manual? Anyway, dumbass, here's what DC offset is all about..." Craig...that's my schtick...I'm workin' that side of the street...back off. ---and finally--- Originally posted by musow@hotmail.com: I never ever lie in my studio about my abilities, If I don't know something I make it clear and then bend over backwards myself to get it happening and also never let it happen again. Well Musow...I lie every time I walk into one of those rooms. My dumbass clients actually think I have a freakin' clue of what I'm doing!! Dumb bastards. Ya gotta love them...they put their music in my hands...and keep doing it...and I'm clueless. The only difference between me and your 'assistant' is, I know how to cover my cluelessness better, and never let anyone know there's a problem...or have found a convenient scapegoat by the time I let anyone know that there actually is a problem...that's called professionalism. Sorry to have lumped 4 responses into one post...but we have to keep Craig's "numbers" down...just because he's running a "quality" forum doesn't mean it should excel in the "quanitity" department as well...that would be too much to bear...quality & quantity all under one roof. You'd think this forum were both entertaining *and* informative...it would go to his head...there'd be no stopping the man. He might start hanging out with guys like George Martin and not have time for little shit's like us!! ----- Fletcher Mercenary Audio http://www.mercenary.com Fletcher Mercenary Audio Roscoe Ambel once said: Pro-Tools is to audio what fluorescent is to light Link to comment Share on other sites More sharing options...
Guest Posted December 9, 2000 Share Posted December 9, 2000 >>We'll be using the studio again as we'll be doing a lot of orchestra tracking next year so hopefully the assistant will have his shit together, and if not i'll definately be speaking to the manager about this.<< I _strongly_ suggest you be certain of the assistant's abilities well before you show up for an orchestral date. Assisting on large dates is an art in and of itself, mastered by a precious few individuals. If you have even 5% of the lameness you just described, you can just about write off the considerable expense of having a few dozen musicians sitting in chairs reading newspapers and watching CNN. No kidding, be absolutely certain you have the cream of the crop for those sessions! JW Link to comment Share on other sites More sharing options...
Guest Posted December 9, 2000 Share Posted December 9, 2000 Fletch, You're a classic!! http://www.musicplayer.com/ubb/smile.gif Link to comment Share on other sites More sharing options...
ST.Morigeaugte.net Posted December 9, 2000 Share Posted December 9, 2000 Originally posted by musow@hotmail.com: Fletch, You're a classic!! http://www.musicplayer.com/ubb/smile.gif Hey.......... he's the fu*k'in 'Billy Quan' of all music forums!! Really... If and when I'm ready to put a project into final production.. I'm flyin cross country man. Anybody that can talk smack like this has gotta be able to back it up!! You da Man!! Dumbass Mo http://www.musicplayer.com/ubb/cool.gif Link to comment Share on other sites More sharing options...
Anderton Posted December 9, 2000 Share Posted December 9, 2000 <<. no, i didn't sit in on syd-barrett-era pink floyd sessions.>> That's probably a good thing. From what I understand it was engineered by Norman Smith, who was basically a staff engineer used to doing skiffle and other forms of British pop music. Not that he didn't do a great job on Pink Floyd for the time, mind you -- I just like the irony of some guy punching the clock, trying to do a good job, and a classic comes out. BTW he didn't have 24-bit converters... Craig Anderton Educational site: http://www.craiganderton.org Music: http://www.youtube.com/thecraiganderton Twitter: http://www.twitter.com/craig_anderton Link to comment Share on other sites More sharing options...
alphajerk Posted December 9, 2000 Share Posted December 9, 2000 he didnt even have 24 track either did he? alphajerk FATcompilation "if god is truly just, i tremble for the fate of my country" -thomas jefferson Link to comment Share on other sites More sharing options...
earfatigue Posted December 9, 2000 Share Posted December 9, 2000 quote:he didnt even have 24 track either did he? they only had 8 mix farms for mixdown. I USED TO WALK TO SCHOOL 7 MILES IN THE SNOW. UPHILL!. i don't even know why i've name dropped the first pink floyd album in the past week except for the fact that it's had a resurgence in my drive-time. i've got a bike, you can ride it if you like. it's one of those records that's so laced with acid that you have to handle the cd by the edges or you're going to be calling in sick for a week. (if you can dial the phone, let alone find it). from what i can see, psychedelic bands of that era were trying to essentially fuck with people with the sounds they were gunning for. 30 years later anybody playing fun-with-the-pan is going to look a bit silly (unless they do it stealth) but at the time it was insane. i can think of plenty of techno/drum+bass producers who have carried on the tradition pretty well, though. i just got a great 12" in the mail that was done on an amiga. no joke. judson judson snell slang music group chicago, il Link to comment Share on other sites More sharing options...
nhcomp45aol.com Posted December 9, 2000 Share Posted December 9, 2000 Hey Fletch,Im born Jewish Hostpital,Lived 3310 Avenue H Flatbush. Moved out to West Islip in the early 60s. Lived in NY 33 years, moved to NH in 88. Heading back to NY soon NH sucks. Link to comment Share on other sites More sharing options...
alphajerk Posted December 9, 2000 Share Posted December 9, 2000 live free or die! i dunno, ive gotten pretty far out there and did pretty well on the phone if i could keep from laughing. but pink floyd just doesnt do it for me with alice. its kinda boring. give me jimi or give me death! ive been into outer space with the dead though. alphajerk FATcompilation "if god is truly just, i tremble for the fate of my country" -thomas jefferson Link to comment Share on other sites More sharing options...
nhcomp45aol.com Posted December 9, 2000 Share Posted December 9, 2000 I think it should be Live Freeze and Die.Im cold here even in the summer. Link to comment Share on other sites More sharing options...
Fletcher Posted December 9, 2000 Share Posted December 9, 2000 Originally posted by alphajerk: live free or die! The irony of that being on the licence plates is where they make the licence plates... I like New England...but frankly would prefer to live in any other state in New England than Massachusetts or Vermont [no helmet laws in the other states]. The wife is from MA, so here we stay. While I still find myself in NYC on a regular basis, and my parents still live out on the Island...there ain't no fucking way in hell I'd ever move there again, or move my kids there. Not even the 'suburbs'...good luck with your return to the 'rotten apple'... ----- Fletcher Mercenary Audio http://www.mercenary.com Fletcher Mercenary Audio Roscoe Ambel once said: Pro-Tools is to audio what fluorescent is to light Link to comment Share on other sites More sharing options...
Anderton Posted December 10, 2000 Share Posted December 10, 2000 >>30 years later anybody playing fun-with-the-pan is going to look a bit silly (unless they do it stealth) but at the time it was insane. i can think of plenty of techno/drum+bass producers who have carried on the tradition pretty well, though.<< Actually I like a lot of new dance/techno/whateverthehellit'scalledtoday music because it does have some of that "let's mess with the sound" adventurism. Craig Anderton Educational site: http://www.craiganderton.org Music: http://www.youtube.com/thecraiganderton Twitter: http://www.twitter.com/craig_anderton Link to comment Share on other sites More sharing options...
ozbassyahoo.com Posted December 11, 2000 Share Posted December 11, 2000 Tonemaster... "I dunno, man. It seems like they did their job very well. You ended up with "best work that we had ever achieved." Forgive me for saying so, but your grousing about the process kind of makes you look like the amateur." I get what you are trying to say, but in comparison to a lot of the guys that get around on this forum, I AM an amateur! Our original whinge is still the same - we went to the best, with the expense and planning that is involved with that, and in a super critical deadline situation (boy that's a bit dramatic!), we were let down. The end result of that is that I had to do a 24 hour mixdown. I was happy to learn from the experience, and proud to have delivered the product. The mistakes they made were interesting enough to the professionals here that Craig's numbers of posts have benefited dramatically, so we're all happy! Link to comment Share on other sites More sharing options...
jprecengearthlink.net Posted December 12, 2000 Share Posted December 12, 2000 Originally posted by Anderton: <<. no, i didn't sit in on syd-barrett-era pink floyd sessions.>> ...engineered by Norman Smith, who was basically a staff engineer used to doing skiffle and other forms of British pop music. Not that he didn't do a great job on Pink Floyd for the time, mind you -- I just like the irony of some guy punching the clock, trying to do a good job, and a classic comes out. BTW he didn't have 24-bit converters... Norman Smith also did a little record called Rubber Soul, and all the other Beatles records leading up to it... Link to comment Share on other sites More sharing options...
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