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#41
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Or hire one.
Phil Brown The thing about a producer is they can enhance or destroy your sessions. Let me tell you a little secret. The producers work starts long before the session starts and ends long after. During the pre production process you will learn if the producer is right for you. If not fire him. After all, you hired him. Then find someone else who may be more sympathetic to your music or what not. The days of Mitch Miller's cold dead hand running all of Columbia's sessions are long gone. Find some one you like and can help you. Maybe even me if you live in the San Francisco Bay Area and Î have some feeling for your music. I can pretty much guarentee you'll come in on budget at a minium. Phil Brown |
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#42
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Or hire one.
Phil Brown The thing about a producer is they can enhance or destroy your sessions. Let me tell you a little secret. The producers work starts long before the session starts and ends long after. During the pre production process you will learn if the producer is right for you. If not fire him. After all, you hired him. Then find someone else who may be more sympathetic to your music or what not. The days of Mitch Miller's cold dead hand running all of Columbia's sessions are long gone. Find some one you like and can help you. Maybe even me if you live in the San Francisco Bay Area and Î have some feeling for your music. I can pretty much guarentee you'll come in on budget at a minium. Phil Brown |
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#43
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Or hire one.
Phil Brown The thing about a producer is they can enhance or destroy your sessions. Let me tell you a little secret. The producers work starts long before the session starts and ends long after. During the pre production process you will learn if the producer is right for you. If not fire him. After all, you hired him. Then find someone else who may be more sympathetic to your music or what not. The days of Mitch Miller's cold dead hand running all of Columbia's sessions are long gone. Find some one you like and can help you. Maybe even me if you live in the San Francisco Bay Area and Î have some feeling for your music. I can pretty much guarentee you'll come in on budget at a minium. Phil Brown |
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#45
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Patrick Covert wrote in message ...
Harvey Gerst's web site www.itrstudio.com has some really good articles on preparing for your sessions. Good info there, thanks. Harvey Gerst's name is mentioned so much on the internet its scary. His posts convinced me to pick up a pair of MXL 603s. The producer thing would no doubt be excellent. I'm applying for a grant from factor.ca to do this thing. If I get it, I'll likely hunt down a producer from Detroit (I live in Windsor, Canada). Any names you can throw at me? (I'm on a budget) (RD Jones) wrote in message . com... Hey if you have that kind of cash why not just get yourself a laptop and some software? Build your project at your convienience. Your musician's will be able to give you the best advice about what they want in tonalities. You can always get someone to help you mix/master it later, probably one of your musicians who has good recording experience (listen to their mixes). This is the 21st century dude. When I lay down the final tracks. I don't want to be thinking about production concerns. Especially when I do the vocals tracks, I'll listen to some Bono/Freddy Mecury and put everything into the performance. I'll be in another world. I don't have a lot of cash, I'm just willing to make some sacrifices. If I go broke and the disc falls flat I'll still feel like the luckiest guy on the planet. |
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#46
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Patrick Covert wrote in message ...
Harvey Gerst's web site www.itrstudio.com has some really good articles on preparing for your sessions. Good info there, thanks. Harvey Gerst's name is mentioned so much on the internet its scary. His posts convinced me to pick up a pair of MXL 603s. The producer thing would no doubt be excellent. I'm applying for a grant from factor.ca to do this thing. If I get it, I'll likely hunt down a producer from Detroit (I live in Windsor, Canada). Any names you can throw at me? (I'm on a budget) (RD Jones) wrote in message . com... Hey if you have that kind of cash why not just get yourself a laptop and some software? Build your project at your convienience. Your musician's will be able to give you the best advice about what they want in tonalities. You can always get someone to help you mix/master it later, probably one of your musicians who has good recording experience (listen to their mixes). This is the 21st century dude. When I lay down the final tracks. I don't want to be thinking about production concerns. Especially when I do the vocals tracks, I'll listen to some Bono/Freddy Mecury and put everything into the performance. I'll be in another world. I don't have a lot of cash, I'm just willing to make some sacrifices. If I go broke and the disc falls flat I'll still feel like the luckiest guy on the planet. |
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#47
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Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. Thanks, Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#48
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Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. Thanks, Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#49
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Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. Thanks, Bob -- "Things should be described as simply as possible, but no simpler." A. Einstein |
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#50
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"Bob Cain" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. |
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#51
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"Bob Cain" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. |
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#52
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"Bob Cain" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. |
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#53
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"Bob Cain" wrote ...
What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. "Ricky W. Hunt" wrote ... I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. And the difference frequently depends on whether people know what they are supposed to do. :-) |
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#54
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"Bob Cain" wrote ...
What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. "Ricky W. Hunt" wrote ... I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. And the difference frequently depends on whether people know what they are supposed to do. :-) |
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#55
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"Bob Cain" wrote ...
What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. "Ricky W. Hunt" wrote ... I used to think they were useless lumps (and some are) but a good one is worth their weight in gold. And the difference frequently depends on whether people know what they are supposed to do. :-) |
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#56
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Bob Cain wrote:
Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. It pays to decide who before anything happens. geoff |
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#57
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Bob Cain wrote:
Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. It pays to decide who before anything happens. geoff |
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#58
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Bob Cain wrote:
Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. It pays to decide who before anything happens. geoff |
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#59
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What does a producer do? I'm serious, I've never been in
the presence of one at work and have no idea. And neither do some producers. Thank you, thank you, here all week, try the veal, tip the waitress. But seriously, there isn't one template for what they do. Some just sit there and direct the session by indirection, making a comment here and there, I like that, don't like that, let's try another take, let's move on, and so on. I call that the Lou Adler approach because that's what Lou does although he doesn't produce many records anymore.Very low key and in Lou's case very effective because he has great taste. BYW, Lou is the tall guy with the beard sitting next to Nicholson at the Laker games. Some producers arrange, write, tell the players what notes to play, very involved in every aspect. Can work just as well. It all depends. As an aside there is a documentary about Tom Dowd coming out about now that should offer some insights on what some of the great producers of R&B do. Phil Brown |
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#60
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What does a producer do? I'm serious, I've never been in
the presence of one at work and have no idea. And neither do some producers. Thank you, thank you, here all week, try the veal, tip the waitress. But seriously, there isn't one template for what they do. Some just sit there and direct the session by indirection, making a comment here and there, I like that, don't like that, let's try another take, let's move on, and so on. I call that the Lou Adler approach because that's what Lou does although he doesn't produce many records anymore.Very low key and in Lou's case very effective because he has great taste. BYW, Lou is the tall guy with the beard sitting next to Nicholson at the Laker games. Some producers arrange, write, tell the players what notes to play, very involved in every aspect. Can work just as well. It all depends. As an aside there is a documentary about Tom Dowd coming out about now that should offer some insights on what some of the great producers of R&B do. Phil Brown |
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#61
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What does a producer do? I'm serious, I've never been in
the presence of one at work and have no idea. And neither do some producers. Thank you, thank you, here all week, try the veal, tip the waitress. But seriously, there isn't one template for what they do. Some just sit there and direct the session by indirection, making a comment here and there, I like that, don't like that, let's try another take, let's move on, and so on. I call that the Lou Adler approach because that's what Lou does although he doesn't produce many records anymore.Very low key and in Lou's case very effective because he has great taste. BYW, Lou is the tall guy with the beard sitting next to Nicholson at the Laker games. Some producers arrange, write, tell the players what notes to play, very involved in every aspect. Can work just as well. It all depends. As an aside there is a documentary about Tom Dowd coming out about now that should offer some insights on what some of the great producers of R&B do. Phil Brown |
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#62
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Geoff Wood wrote:
Bob Cain wrote: Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. And all of that might be after planning where and with whom the tracking and mixing will be done, arranging for any outside gear or instruments that will be needed, lining up extra musos for stuff that might be outside the regular lineup's realm, finding housing, arranging for appropriate nutrition and transportation, seeing that all the appropriate forms are filed and proper payments made if AF of M musicians are involved, making sure licenses are acquired if outside material is used, managing preproduction to the benefit of the material and the performers (arrangements, backing and solo development, proper charts or leadsheets), ensuring the band members have supporting agreements between them in order to maintain control of the product (see _The Musician's Business & Legal Guide_), and more (or less) depending on the specific situation. It pays to decide who before anything happens. Somebody or a recognized team of somebodies, must be in charge. An endless stream of "I dunno; what do you think?" rarely delivers memorable product. It also pays for anyone contemplating shouldering the producer's responsibilities to recognize one's personal limitations to avoid sacrificing perfectly good material at the altar of arrogance. Successful teamwork derives from individuals working from their strong points toward a common goal. -- ha |
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#63
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Geoff Wood wrote:
Bob Cain wrote: Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. And all of that might be after planning where and with whom the tracking and mixing will be done, arranging for any outside gear or instruments that will be needed, lining up extra musos for stuff that might be outside the regular lineup's realm, finding housing, arranging for appropriate nutrition and transportation, seeing that all the appropriate forms are filed and proper payments made if AF of M musicians are involved, making sure licenses are acquired if outside material is used, managing preproduction to the benefit of the material and the performers (arrangements, backing and solo development, proper charts or leadsheets), ensuring the band members have supporting agreements between them in order to maintain control of the product (see _The Musician's Business & Legal Guide_), and more (or less) depending on the specific situation. It pays to decide who before anything happens. Somebody or a recognized team of somebodies, must be in charge. An endless stream of "I dunno; what do you think?" rarely delivers memorable product. It also pays for anyone contemplating shouldering the producer's responsibilities to recognize one's personal limitations to avoid sacrificing perfectly good material at the altar of arrogance. Successful teamwork derives from individuals working from their strong points toward a common goal. -- ha |
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#64
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Geoff Wood wrote:
Bob Cain wrote: Phil Brown wrote: Decide, prior to the session, who exactly is going to act as Producer. Or hire one. Phil Brown What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. The nominated person who makes the final decisions as to what stays, what goes, what directions to follow, what is good enough, what isn't, what the end-product should sound like. Can either be the engineer, a band member, an associate of the band, or an externally hired gun. And all of that might be after planning where and with whom the tracking and mixing will be done, arranging for any outside gear or instruments that will be needed, lining up extra musos for stuff that might be outside the regular lineup's realm, finding housing, arranging for appropriate nutrition and transportation, seeing that all the appropriate forms are filed and proper payments made if AF of M musicians are involved, making sure licenses are acquired if outside material is used, managing preproduction to the benefit of the material and the performers (arrangements, backing and solo development, proper charts or leadsheets), ensuring the band members have supporting agreements between them in order to maintain control of the product (see _The Musician's Business & Legal Guide_), and more (or less) depending on the specific situation. It pays to decide who before anything happens. Somebody or a recognized team of somebodies, must be in charge. An endless stream of "I dunno; what do you think?" rarely delivers memorable product. It also pays for anyone contemplating shouldering the producer's responsibilities to recognize one's personal limitations to avoid sacrificing perfectly good material at the altar of arrogance. Successful teamwork derives from individuals working from their strong points toward a common goal. -- ha |
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#65
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Chuck Rees wrote:
Patrick Covert wrote... Harvey Gerst's web site www.itrstudio.com has some really good articles on preparing for your sessions. Good info there, thanks. Harvey Gerst's name is mentioned so much on the internet its scary. His posts convinced me to pick up a pair of MXL 603s. Harvey is a provider of terrific information, wonderful humor, all delivered concisely. Amen. The producer thing would no doubt be excellent. I'm applying for a grant from factor.ca to do this thing. If I get it, I'll likely hunt down a producer from Detroit (I live in Windsor, Canada). Any names you can throw at me? (I'm on a budget) Why not ask this guy for suggestions: Mark Plancke? g (RD Jones) wrote... Hey if you have that kind of cash why not just get yourself a laptop and some software? Build your project at your convienience. Your musician's will be able to give you the best advice about what they want in tonalities. You can always get someone to help you mix/master it later, probably one of your musicians who has good recording experience (listen to their mixes). This is the 21st century dude. When I lay down the final tracks. I don't want to be thinking about production concerns. Especially when I do the vocals tracks, I'll listen to some Bono/Freddy Mecury and put everything into the performance. I'll be in another world. You're being smart. People want to think they can do it all; nine times out of ten they can, but they can do it all ****tily. 99 times out of 100 memorable music had someone apart from the musos handling production (and engineering) responsibilities. Music that is well tracked almost mixes itself. If it's poorly tracked mixing takes way too much time, which becomes very costly, and the final result rarely satisfies. Thinking one will just buy a laptop and software overlooks what is really involved in making good recrodings, the most important of which is often the room in which the work will be done. Besides that, the mic pres in my laptop are not my favorite... And building your project "at your convenience" often means the project never becomes a product. Distractions intrude, train of thought and focus is lost, and the benefit of full attention to a job is foregone. Lots of folks have squandered an amount of money that could have made them a record, spending it on gear they had little knowledge of to use in an inappropriate space in a process of which they had little or no experience or understanding. I don't have a lot of cash, I'm just willing to make some sacrifices. If I go broke and the disc falls flat I'll still feel like the luckiest guy on the planet. Good for you. Good luck. -- ha |
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#66
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Chuck Rees wrote:
Patrick Covert wrote... Harvey Gerst's web site www.itrstudio.com has some really good articles on preparing for your sessions. Good info there, thanks. Harvey Gerst's name is mentioned so much on the internet its scary. His posts convinced me to pick up a pair of MXL 603s. Harvey is a provider of terrific information, wonderful humor, all delivered concisely. Amen. The producer thing would no doubt be excellent. I'm applying for a grant from factor.ca to do this thing. If I get it, I'll likely hunt down a producer from Detroit (I live in Windsor, Canada). Any names you can throw at me? (I'm on a budget) Why not ask this guy for suggestions: Mark Plancke? g (RD Jones) wrote... Hey if you have that kind of cash why not just get yourself a laptop and some software? Build your project at your convienience. Your musician's will be able to give you the best advice about what they want in tonalities. You can always get someone to help you mix/master it later, probably one of your musicians who has good recording experience (listen to their mixes). This is the 21st century dude. When I lay down the final tracks. I don't want to be thinking about production concerns. Especially when I do the vocals tracks, I'll listen to some Bono/Freddy Mecury and put everything into the performance. I'll be in another world. You're being smart. People want to think they can do it all; nine times out of ten they can, but they can do it all ****tily. 99 times out of 100 memorable music had someone apart from the musos handling production (and engineering) responsibilities. Music that is well tracked almost mixes itself. If it's poorly tracked mixing takes way too much time, which becomes very costly, and the final result rarely satisfies. Thinking one will just buy a laptop and software overlooks what is really involved in making good recrodings, the most important of which is often the room in which the work will be done. Besides that, the mic pres in my laptop are not my favorite... And building your project "at your convenience" often means the project never becomes a product. Distractions intrude, train of thought and focus is lost, and the benefit of full attention to a job is foregone. Lots of folks have squandered an amount of money that could have made them a record, spending it on gear they had little knowledge of to use in an inappropriate space in a process of which they had little or no experience or understanding. I don't have a lot of cash, I'm just willing to make some sacrifices. If I go broke and the disc falls flat I'll still feel like the luckiest guy on the planet. Good for you. Good luck. -- ha |
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#67
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Chuck Rees wrote:
Patrick Covert wrote... Harvey Gerst's web site www.itrstudio.com has some really good articles on preparing for your sessions. Good info there, thanks. Harvey Gerst's name is mentioned so much on the internet its scary. His posts convinced me to pick up a pair of MXL 603s. Harvey is a provider of terrific information, wonderful humor, all delivered concisely. Amen. The producer thing would no doubt be excellent. I'm applying for a grant from factor.ca to do this thing. If I get it, I'll likely hunt down a producer from Detroit (I live in Windsor, Canada). Any names you can throw at me? (I'm on a budget) Why not ask this guy for suggestions: Mark Plancke? g (RD Jones) wrote... Hey if you have that kind of cash why not just get yourself a laptop and some software? Build your project at your convienience. Your musician's will be able to give you the best advice about what they want in tonalities. You can always get someone to help you mix/master it later, probably one of your musicians who has good recording experience (listen to their mixes). This is the 21st century dude. When I lay down the final tracks. I don't want to be thinking about production concerns. Especially when I do the vocals tracks, I'll listen to some Bono/Freddy Mecury and put everything into the performance. I'll be in another world. You're being smart. People want to think they can do it all; nine times out of ten they can, but they can do it all ****tily. 99 times out of 100 memorable music had someone apart from the musos handling production (and engineering) responsibilities. Music that is well tracked almost mixes itself. If it's poorly tracked mixing takes way too much time, which becomes very costly, and the final result rarely satisfies. Thinking one will just buy a laptop and software overlooks what is really involved in making good recrodings, the most important of which is often the room in which the work will be done. Besides that, the mic pres in my laptop are not my favorite... And building your project "at your convenience" often means the project never becomes a product. Distractions intrude, train of thought and focus is lost, and the benefit of full attention to a job is foregone. Lots of folks have squandered an amount of money that could have made them a record, spending it on gear they had little knowledge of to use in an inappropriate space in a process of which they had little or no experience or understanding. I don't have a lot of cash, I'm just willing to make some sacrifices. If I go broke and the disc falls flat I'll still feel like the luckiest guy on the planet. Good for you. Good luck. -- ha |
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#68
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Slight introduction. I'm a singer/songwriter and I've got a solid backing band lined up to record an album. Currently, I'm doing pre-production in my home studio. I've got the songs worked out but I'm hoping for some creative input from the session players, especially the keyboardist. I've been thinking a lot about how I can help make the process run efficiently while not sacrificing creativity by setting too many parameters on both the players and the recordist. This is an independent release so I will be responsible for making production decisions along with the engineer. Mark Plancke (who visits this newsgroup) is currently the engineer I'm going with. Your tips and advice will be of great value to me. Examples of what veteran solo artists have done (right) in your studios would be ideal. Thanks! write me. I will send you a complete list of what not to do. It was written in 1994, so some of the terms (Tape) may be archaic, but you will probably think that it's funny. Richard H. Kuschel "I canna change the law of physics."-----Scotty |
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#69
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Slight introduction. I'm a singer/songwriter and I've got a solid backing band lined up to record an album. Currently, I'm doing pre-production in my home studio. I've got the songs worked out but I'm hoping for some creative input from the session players, especially the keyboardist. I've been thinking a lot about how I can help make the process run efficiently while not sacrificing creativity by setting too many parameters on both the players and the recordist. This is an independent release so I will be responsible for making production decisions along with the engineer. Mark Plancke (who visits this newsgroup) is currently the engineer I'm going with. Your tips and advice will be of great value to me. Examples of what veteran solo artists have done (right) in your studios would be ideal. Thanks! write me. I will send you a complete list of what not to do. It was written in 1994, so some of the terms (Tape) may be archaic, but you will probably think that it's funny. Richard H. Kuschel "I canna change the law of physics."-----Scotty |
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#70
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Slight introduction. I'm a singer/songwriter and I've got a solid backing band lined up to record an album. Currently, I'm doing pre-production in my home studio. I've got the songs worked out but I'm hoping for some creative input from the session players, especially the keyboardist. I've been thinking a lot about how I can help make the process run efficiently while not sacrificing creativity by setting too many parameters on both the players and the recordist. This is an independent release so I will be responsible for making production decisions along with the engineer. Mark Plancke (who visits this newsgroup) is currently the engineer I'm going with. Your tips and advice will be of great value to me. Examples of what veteran solo artists have done (right) in your studios would be ideal. Thanks! write me. I will send you a complete list of what not to do. It was written in 1994, so some of the terms (Tape) may be archaic, but you will probably think that it's funny. Richard H. Kuschel "I canna change the law of physics."-----Scotty |
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#71
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"hank alrich" wrote in message
.. . You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#72
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"hank alrich" wrote in message
.. . You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#73
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"hank alrich" wrote in message
.. . You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#74
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"Phil Brown" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. And neither do some producers. Here's something I wrote up a few years ago that I've recently posted: http://marsh.prosoundweb.com/index.p...d3a4887a136419 ""Record Producer The recording director supervises the engineering, coaches the performers and musicians and finally decides when everybody can go home! Sadly, there are a lot fewer recording directors around today than there were thirty years ago. Instead we now have "engineer-producers," "artist-producers," and other such combinations which often really means there is no producer. That doesn't mean there's anything wrong with producing yourself, just that I think the opportunity to work with a real experienced recording director is well worth the time and expense. I'd also love to see more people become record producers for others. In my experience it gets the job done both faster and better, provided the producer really knows what they are doing"" -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#75
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"Phil Brown" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. And neither do some producers. Here's something I wrote up a few years ago that I've recently posted: http://marsh.prosoundweb.com/index.p...d3a4887a136419 ""Record Producer The recording director supervises the engineering, coaches the performers and musicians and finally decides when everybody can go home! Sadly, there are a lot fewer recording directors around today than there were thirty years ago. Instead we now have "engineer-producers," "artist-producers," and other such combinations which often really means there is no producer. That doesn't mean there's anything wrong with producing yourself, just that I think the opportunity to work with a real experienced recording director is well worth the time and expense. I'd also love to see more people become record producers for others. In my experience it gets the job done both faster and better, provided the producer really knows what they are doing"" -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#76
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"Phil Brown" wrote in message
... What does a producer do? I'm serious, I've never been in the presence of one at work and have no idea. And neither do some producers. Here's something I wrote up a few years ago that I've recently posted: http://marsh.prosoundweb.com/index.p...d3a4887a136419 ""Record Producer The recording director supervises the engineering, coaches the performers and musicians and finally decides when everybody can go home! Sadly, there are a lot fewer recording directors around today than there were thirty years ago. Instead we now have "engineer-producers," "artist-producers," and other such combinations which often really means there is no producer. That doesn't mean there's anything wrong with producing yourself, just that I think the opportunity to work with a real experienced recording director is well worth the time and expense. I'd also love to see more people become record producers for others. In my experience it gets the job done both faster and better, provided the producer really knows what they are doing"" -- Bob Olhsson Audio Mastery, Nashville TN Mastering, Audio for Picture, Mix Evaluation and Quality Control Over 40 years making people sound better than they ever imagined! 615.385.8051 http://www.hyperback.com |
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#77
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Bob Olhsson wrote:
"hank alrich" wrote... You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. Agreed and understood, but one still must be heads-up, IMO, to make sure with whom one works understands the source of the music's appeal and power. I have friends with day jobs now who once spent a small fortune on bigtime producers who insisted the most soulful singer in the band didn't cut it; while his pitch was not perfect his delivery was exactly what had made a large part of many of the band's songs. Nobody remembers their record now, and for good reason. I have tremendous respect for session musicians. I also have great appreciation for intact musical units who have evolved their own thing, sometimes a thing not easily replicated by studio pros. -- ha |
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#78
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Bob Olhsson wrote:
"hank alrich" wrote... You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. Agreed and understood, but one still must be heads-up, IMO, to make sure with whom one works understands the source of the music's appeal and power. I have friends with day jobs now who once spent a small fortune on bigtime producers who insisted the most soulful singer in the band didn't cut it; while his pitch was not perfect his delivery was exactly what had made a large part of many of the band's songs. Nobody remembers their record now, and for good reason. I have tremendous respect for session musicians. I also have great appreciation for intact musical units who have evolved their own thing, sometimes a thing not easily replicated by studio pros. -- ha |
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#79
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Bob Olhsson wrote:
"hank alrich" wrote... You might also want to consider hiring an arranger and session musicians instead of using your live band. The operative word above is "might", IMO. Sometimes it's the obvious and only hopeful route; other times it's a recipe for disaster, robbing all the soul from the material's presentation, achieving near perfection while destroying the soul of the beast. At this point in time Autotune, Beat Detective, sequencing and inexperienced editing are lots more likely to rob the soul than session musicians are. What you are really talking about is overproduction which is what session musicians have frequently ended up taking the blame for. Agreed and understood, but one still must be heads-up, IMO, to make sure with whom one works understands the source of the music's appeal and power. I have friends with day jobs now who once spent a small fortune on bigtime producers who insisted the most soulful singer in the band didn't cut it; while his pitch was not perfect his delivery was exactly what had made a large part of many of the band's songs. Nobody remembers their record now, and for good reason. I have tremendous respect for session musicians. I also have great appreciation for intact musical units who have evolved their own thing, sometimes a thing not easily replicated by studio pros. -- ha |
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#80
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Lines: 30
Message-ID: X-Complaints-To: X-Abuse-Info: Please forward a copy of all headers for proper handling X-Trace: bhmkggakljkaanefdbdpiflmbcekedmfhojhikkbagflhcbofc fpkeolmlnaionkdekajmggfglicjiiajdfhbeonpgipiiddipo ccifmainhjgpghfcdchdbapaaekhopjgekfikcckljngmjnlio hcbdmefphi NNTP-Posting-Date: Fri, 28 May 2004 22:32:11 EDT Organization: BellSouth Internet Group Date: Sat, 29 May 2004 02:32:11 GMT Xref: number1.nntp.dca.giganews.com rec.audio.pro:1075101 On 2004-05-28 (RichardKuschel) said: write me. I will send you a complete list of what not to do. It was written in 1994, so some of the terms (Tape) may be archaic, but you will probably think that it's funny. I've tried over my years doing sessions to put together some comprehensive lists of do's and don'ts for people who are new to the studio. IF your list is in plaintext it might be worthwhile to the group for future reference. IF not appropriate for some reason if it's plaintext only send it at me. I'd like to see it. btw I'm archaic, I still prefer tape and actual hardware g. Richard Webb Electric Spider Productions REplace anything before the @ symbol with elspider for real email -- "Standing in the Glare of Quantization" Watch for it on Empty-Vee.--- Hank Alrich |
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