Look at the guy in the Recording forum talking about his dual mic/dual pass problem.
He just came back with some convoluted Band-Aid solution he got off of GS...and his comment was that recording over would probably be best, but the Band-Aid was quicker/easier.
I dunno...WTF is it with quick-n-easy?
Is everyone on some actual deadline...or is it more about ADD and being able to stay on any one thing for too long?
I'll admit that I work slowly, and will try out 10 different things if I'm not happy with a result during tracking...but I don't get the reluctance for some to DO IT OVER if it's not right...?
Everyone's looking for a plugin fix...a Band-Aid.
I also think that's why guitar reamping is such a hot item...everyone is to afraid or not wishing to be bothered with having to actual re-record a track. "Just give me the basic notes, and then I'll reamp it later and try to make it sound right."
It takes little to no skill or intelligence to fire up a guitar sim and drum program and release canned garbage to the world.
The real trick with Robben or any other good known guitar player is getting your hands dialed in. That's the tough one.
As to the itb trickery, that's one reason I love tape. If the part isn't right, do it again. Players dont always like that, but it does improve ones skills.
I have never used this, but I have a friend that really likes it. It looks interesting.
http://www.musiciansfriend.com/drums-percussion/tune-bot-electronic-drum-tuner?cntry=us&source=3WWRWXGP&gclid=CNjlz5_V4cgCFYVqfgodtc0CPw&kwid=productads-plaid^136039602987-sku^H80312000001000@ADL4MF-adType^PLA-device^c-adid^82795616067
Maybe my problem has been that the drummers had worn-ass heads then. I think I have pretty good ears, but I haven't been able to make hide nor hair of the pitch of the thing. It's like information overload---multiple pitches bending up and down and sideways. Actually, now that I'm thinking about it, it's the toms specifically that I'm talking about.
Anyhow, this was the last thing I did (well recorded, not my band or performance) and twas 100% acoustic drums, no samples. Tracked the band all at once and overdubed one of the guitars and the vocals after (bleed in vocals and wanted to use the Mesa DR on both).
While there are certainly times this is true, it's not always the case. I had to record a Robben ford solo for a book I wrote a while back, and I had to do it at night, so an amp sim was my only option. I spent a good three hours dialing in the tone, and, IMHO, I think it shows. For anyone interested, here's the track. I think the tone is fairly close to his original (others may disagree, of course), which was no simple task considering he's Robben and he used a Dumble. (Note that I only recorded the guitar here; everything else was recorded and mixed by someone else at a different studio.)
On the other side of the coin, it really doesn't take any more skill or time to fire up an amp and stick a 57 on it, slightly off-axis a few inches away. Granted, if you really want a specific sound for a song, you have to take your time with it. But that's the same with any process you use. There are always quick "presets" for anyone who doesn't want to put the time in. The 57 trick I mentioned is the hardware version of a preset that gets a decent tone most of the time, but it can certainly be improved upon usually with more effort.
I completely agree that this is the way things are now. But there are still those who wish to have something recorded well that is a value to themselves. Fuck becoming the next 'American Idol' or any of that bullshit.
There are still those who do not have the desire or means to invest thousands/nor have the home/space to build a recording studio, that still wish to have something recorded that gives them something to share and/or be proud of. I tend to cater to those type of musicians who only wish to hear themselves as they envisioned.
I enjoy working with them as long as there is something there that inspires me. If not, then I just ignore them...
I am either lucky or stupid enough to have invested a shitload of money into my basement studio so that I can be able to produce something cool. I lost my desire to play in bands and deal with the individual members personal drama years ago. Now I mostly just record other peoples broken dreams (ha!) and hopefully add some inspiration and direction to the recordings that make them feel like they accomplished something. There is a market for that, though I will never come close to paying off the gear that I purchased to do such. I do not expect to. I just enjoy the experience for the most part. And no, I am no hippy/peace freak. I seem to have an addiction for making the most of a project. I have donated countless hours playing on and producing songs for kids just because I want to. Keeps me sane maybe? I am not even sure myself.
I mostly record local bands that I have been friends with or are friends with someone I have known for decades. Sometimes collaborations with people I met via this site in other countries. I will on occasion program a drum track as basic track for a friend/clients song, but I also have the means and decent room to record 'real' drums myself. I do that for more serious projects but sometimes it just isn't needed or worth the time for some. I could play myself a much better drum track live, but for $20 per hour, at 4 am, for a pop tune,...it is much easier to just program a beat. It is really fucking easy if you have drumming experience and are familiar with the drum software.
After my rant/bio here I suppose I should say that I also get really sick of hearing threads about fake drums. Nothing beats a real drummer ever, but nothing makes a mockery of what drums are all about than a completely redundant/repetitive drum track programmed by someone who has no clue as to what playing drums even means. Shitty programmed drums sound like shit when done shittily.
Did I just type all of that? Ugh...
I agree with the part about helping people out. I also agree with the personal problems line. I stopped gigging years ago for the same reason. The reason I built the studio is two fold, for me to have fun and to help the garage band types that want a demo. when I was coming up and still believed I was going to be a rock star, we did not have the money to shell out to a studio to cut a 3 song demo. some people tell me I am a fool because I usually do it for free. well my take is this, I am still learning this craft, I just enjoy doing it. I have a real job and work sometimes 70 hours a week. the studio is my stress free zone. it is my fun time. plus it is really cool to see the look on a teenagers face the when they hear something they recorded for the 1st time. I will never make enough to pay off what I have spent, but then again I know people who have a 40,000 boat they use a few times a year. just my two cents.
I agree with the part about helping people out. I also agree with the personal problems line. I stopped gigging years ago for the same reason. The reason I built the studio is two fold, for me to have fun and to help the garage band types that want a demo. when I was coming up and still believed I was going to be a rock star, we did not have the money to shell out to a studio to cut a 3 song demo. some people tell me I am a fool because I usually do it for free.
I don't understand hatred of programmed drums. Some people simply have no other option. They don't know a drummer or they live in apartments. It's a fantastic tool and has been for like 50 years, yet there is so much rage about them here. Hitting a drum doesn't make you cooler, more pure, or any other fake ethos. It sounds better, but the gap is closing fast.
Programmed drums can sound very good now and human if done right. Music progresses and always moves forward, despite the fact that some people want to get stuck in their era and ethos. After humans on computers, robots themselves will be making music, so you better brace for it. There are way more important problems with modern music than drum machines, namely limiters/loudness and brittleness/lack of warmth to the sound.
Didn't seem to bother Jim Morrison. Fast forward to the 1:15 mark (the entire thing is good) where he discusses the future of music.
https://www.youtube.com/watch?v=vHJ3jhg-pdg
I don't understand hatred of programmed drums. Some people simply have no other option. They don't know a drummer or they live in apartments. It's a fantastic tool and has been for like 50 years, yet there is so much rage about them here. Hitting a drum doesn't make you cooler, more pure, or any other fake ethos. It sounds better, but the gap is closing fast.
Programmed drums can sound very good now and human if done right. Music progresses and always moves forward, despite the fact that some people want to get stuck in their era and ethos. After humans on computers, robots themselves will be making music, so you better brace for it. There are way more important problems with modern music than drum machines, namely limiters/loudness and brittleness/lack of warmth to the sound.
Didn't seem to bother Jim Morrison. Fast forward to the 1:15 mark (the entire thing is good) where he discusses the future of music.
https://www.youtube.com/watch?v=vHJ3jhg-pdg