(Rich Wilner) wrote in
om:


listen to the white stripes, the strokes...


I'd rather not...

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NNTP-Posting-Date: Tue, 02 Dec 2003 09:22:01 EST
Date: Tue, 02 Dec 2003 14:22:01 GMT
Xref: intern1.nntp.aus1.giganews.com rec.audio.pro:1015042


On 2003-12-01 (BLCKOUT420) said:
I think the basic problem all boils to a zero production effort.
You practiced the song live, went in and played it just like you do
live, the engineer probably took the perspective that he's just
recording it, not producing it, you were in and out fast, and he
made his money, and you have a demo of the song.
YOu also learned some important things about the studio. wEre you
comfortable working there? That's numero uno.

Can the engineer communicate with you on your wavelength? IF you
decide there's a next time play him samples of works that might have
a similar sound to what you're trying to capture and discuss ways of
achieving it with him or her. I don't do mp3, text only here so
didn't listen to your demo but these are things you should be asking
yourself and then you can answer your own question about whether or
not to use this studio again.

snip
This is why people have producers,
because they hear these things. And self producing yourself when
you are green is usually-well, you just experienced it. Writing and
performing live is one thing;crafting a well produced studio effort
is another. And maybe your engineer would be willing to give you
some ideas if you ask him. Nobody wants to step on any body's toes,
and I know most of the time when people come into my studio for
something really fast in and out, I don't say much unless its a
glaring mistake, an out of tune guitar, or a flat note in the vocal.
When groups come in to do a cd and book a significant amount of
time, I get much more involved in the project, because my name is
going to be on the cd, and I also get to know everyone involved and
what the concept is going to be.When the group is spending a lot of
time in the studio, and I know what they are trying to do, I am
much more comfortable throwing in my two cents. Try listening to
some finished product the studio has turned out.And see what you
think of the studio's work then.

THis is why when we're doing a ufll blown project I like to sit down
with the band at a preproduction conference or two. wE discuss the
tracking of the material, which songs and which instruments do they
intend on using for them. IF they've any rough recordings of the song
I like to give them a listen. wE also listen to commercialproduct
they like. I remind them that this commercial product is mastered and
we're mainly talking production ideas and what they like. THen I can
consider tools and techniques, what kind of amp might sound good in
this room with this guitar; how I should mic up the drums to achieve
the sound we're after. THis isn't an in and out quick process when it
comes to these things.

From waht I've heard from most of them I'd still suggest lose the
pedal board and use a real amp if it's a real studio.

REgards,



Richard Webb
Electric Spider Productions
REplace anything before the @ symbol with elspider for real email

--



remember the seven p's of the studio: "Pre-
production planning prevents **** poor performance". ---Fletcher