gecko zzed
Grumpy Mod
Without revealing clients names....do you get a lot of those kind in the project/commercial recording scene like yours?
I often wondered where the talent percentage split was generally speaking in te majority of smaller project/commercial situations. Do you get like seven lousy wannabe artists for every three really good recording projects, or do most sound at least decent with only the occasional clunker?
One of my own reservations in opening the doors, so to speak, to outside recording was not wanting to deal with twenty awful garage bands for every 2-3 decent acts. Do you have days when you wish you were somewhere else in the middle of any sessions because the "artists" suck that bad?
Or...do you just pick projects that you know will be enjoyable to do?
I am by no means a commercial studio, and most of the people who come to be recorded are those who are doing it for fun or want to make a demo, or similar reasons. Because I am not dependent on it as a business, I have some freedom to pick and choose, and I tend to pick and choose according to (a) whether I can manage the complexity of the recording and (b) whether I can cope with the music to be recorded.
For all that freedom of choice, I still get a variety of skills and abilities walking through the door. Some are exceptionally talented, some are just fine, and others have their distinctly unmusical quirks. Nevertheless, for all their diverse talents, they all deserve, and get, my full attention. I endeavour to do the best possible job I can for them. As Greg L so eloquently puts it: "If you're accepting money to record/mix a band, just STFU and do it".
But as for judging? I'm of the "It is what it is" school, and I don't really care whether they are ok or not . . . unless they ask. And if they ask, then I'll be as constructive as I can. But I'm not going to tell them lies just to make them feel good.