yep pro-tools still sucks

Digital, analogue, whatever; if the music is good and moves me, I don't give a fuck how it's recorded or mixed.

And the millions of consumers out there, who are ultimately the ones who're going to BUY the music because of the MUSIC also don't give a rats ass if it was recorded with expensive "vintage" :rolleyes: pre-amps or through a cheap SoundBlaster sound card.

So let's hear those samples eh?
 
NashBackslash said:
And the millions of consumers out there, who are ultimately the ones who're going to BUY the music because of the MUSIC also don't give a rats ass if it was recorded with expensive "vintage" :rolleyes: pre-amps or through a cheap SoundBlaster sound card.
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I am going to disagree here. They'll notice good vrs poor recordings. It may not be enough to make them not purchase the tune (if they purchase it all), but they'll notice.

I do believe that we are training a whole new generation to accept poor quality audio as a norm, though.
 
GOODLAND said:
I'm mainly talking about when tracking.
Of course a plug-in that emulates tape saturation is going to sound nice (sometimes), but when your tracking and are hitting red it is a very unpleasant sound, not professional in the least.
Once you having tracked at a decent level then you can add your PSP Warmer and smash it as much as you see fit.
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oh yeah I see what your saying.. yeah you're right then. lol
 
fraserhutch said:
I am going to disagree here. They'll notice good vrs poor recordings. It may not be enough to make them not purchase the tune (if they purchase it all), but they'll notice.

I do believe that we are training a whole new generation to accept poor quality audio as a norm, though.
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you know... he is a bit right. Most of the ultra ultra high end vintage and analog gear is just for us audio nerds to drool over. You can get passable results with cheap shit for most of the buying public. I try to stay right in the middle of the scale on that one.
 
TerraMortim said:
you know... he is a bit right. Most of the ultra ultra high end vintage and analog gear is just for us audio nerds to drool over. You can get passable results with cheap shit for most of the buying public. I try to stay right in the middle of the scale on that one.
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that's because the public isn't buying albums because of the engineer who worked on it. They're buying it because of who's name is on the front of the cover
 
TerraMortim said:
you know... he is a bit right. Most of the ultra ultra high end vintage and analog gear is just for us audio nerds to drool over. You can get passable results with cheap shit for most of the buying public. I try to stay right in the middle of the scale on that one.
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As I said, it may or may not be enough to tip the scales for them not to purchase, but they'll notice. And I am not talking about high-end gear; I'm talking about cheap crap versus decent gear. There's quite a difference.
 
yeah I know. The difference between shit gear and decent gear is big, but decent gear vs. these overprices monstrosities is very small, and while it's a nice difference, is not in any way required to make it either sound good, or make people buy/enjoy the result...so really what's the point.
 
Oh and for the record; I am not exaggerating when I am comparing high end gear to the Sound Blaster card in my other post - I really mean it.

A few years ago, I loved, LOVED video game tune remixes and was semi-active in the video game music community. There have been some truly great remixes done by various amateur users and to be honest, some of the ones that are still playing in my MP3 player to this day were recorded using nothing but a Sound Blaster and sampled drums.

(Of course, the signal chain before it went into the SB card was decent (good distortion pre-amps, a good guitar, bla bla bla) but that's beside the point)

BTW, I'm not a ProTools user, but I agree with TerraMortim that to say "ya digital sux analog rules" is just ignorant.

Again, samples or thread is pretty much nullified.
 
GOODLAND said:
The ones that use ultra high end gear use it BECAUSE THEY CAN

If there is no need to compromise then why do it? Just buy the best.
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because I'd rather spend my money on other things. ultra high end gear costs just way too much for the advantage if any that it gives you. You might as well take that money and put it back into your business or something instead of wasting it on a 2 trillion dollar compressor/dick sucker.
 
Yeah but if I could afford it I'd still buy a real 1176 just to stick in my rack so I could turn it on and watch the meter glow

Oh yeah and I didn't know they sucked dick as well but I'd be definitely in for one of those
 
Yeah you have to look on the back and there is a solid gold (not gold plated) jack that says DS (Dick Sucker) just plug your official Universal Audio Dick Sucker and you'll be as good as gold.

I wouldn't mind having an 1176, but you can be a little lucky sometimes and get one for a bargain. I know a guy who got one for under 1000 bucks canadian.
 
TerraMortim said:
The difference between shit gear and decent gear is big, but decent gear vs. these overprices monstrosities is very small
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The difference between decent gear and great gear is bigger than you might think. It's the difference between sounding good and sounding great.

If good is good enough, then no problem using decent gear. But if good is not good enough, then you really do have to step it up to some fairly high priced equipment.

What the "public" will buy is really beside the point when talking about recording gear. It's up to the recording artist to set the standards.
 
TerraMortim said:
because I'd rather spend my money on other things. ultra high end gear costs just way too much for the advantage if any that it gives you. You might as well take that money and put it back into your business or something instead of wasting it on a 2 trillion dollar compressor/dick sucker.
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Of course if you don't have the extra money you shouldn't spend it all in one place.
But if you do have the money, then there is no point in compromising.
 
SonicAlbert said:
The difference between decent gear and great gear is bigger than you might think. It's the difference between sounding good and sounding great.

If good is good enough, then no problem using decent gear. But if good is not good enough, then you really do have to step it up to some fairly high priced equipment.

What the "public" will buy is really beside the point when talking about recording gear. It's up to the recording artist to set the standards.
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Couldn't have said it better.
Well put.
 
sweetnubs said:
Ha ha, vintage warmer plug in. Suck it! Later I actually have records to make . . .
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I'm wonderfully glad you have 70s acid rock recordings to record for your friends to smoke hash with and lament the "golden age of music".

Horay for being an ignorant moron who cannot bring their primitive drug riddled brain to understand anything beyond the play and record button on a tape deck... Grow a brain and progress past the last 30 years dipshit... I'll take a piss on your gear and see what chops you have then, huh...biiaaatch!... hahaha
 
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