Repercussions of a failed music industry

He doubled his offer. $800 for 10 songs...and he needs them done by Friday. I declined.

Even if I was still doing this full time, I wouldn't be able to pull this thing out of the toilet in less than two weeks. Working 50+ hours a week at a day job, it would take months.
 
Not to take this the wrong way.... there are so many people who would jump at the chance to do this. It's nice you can afford the opportunity to walk away. In my day job, I get pressure all the time from customers to get things done yesterday and for free. A lot of people out there don't understand the value of service.
 
Thr bottom line is, there is no way for me to get it done on time. I'm also not convinced that there is any way to turn this into something that I would want anyone to hear.

The reason I can walk away from work paying about 1/3 of what I would have to charge for the work that needs to be put into this, is because I closed my studio down last year and have a day job.

when I had the studio, I would have done the work because some money is better than none. But all that attitude got me was a closed business.

Now, I do projects that I want to do, for a price that makes it worth my while. ( working around my job schedule.
 
It appears like it could be worth "jumping at the chance"...but based on Jay's comments that the MP3 tracks suck and it would need to be all redone from scratch...that's a lot of work for 10 songs by Friday. :eek:
I think if you had the entire week (as in all day/every day)....then maybe...but still, that's $80/song for lousy tracks to mix.

For pure mixing of finished tracks...yeah, $800 would be OK for 10 songs, but still a good deal of work by Friday.
 
Farview said:
... I closed my studio down last year and have a day job.

when I had the studio, I would have done the work because some money is better than none. But all that attitude got me was a closed business.
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Oh wow....I didn't know you closed her down.
But hey....it's kinda the same reasons I never went forward to open mine up for recording sessions.

I got the sweet day gig, really good pay and a compressed work week....so the studio has no financial pressures.
It's all me-for-me, with the rare outside bit of stuff purely for friends.

Been wondering though about a pure mixing gig. I mean, with no one coming over.
All done over the interwebs...etc.
 
If it were decent tracks I would have done it for the money he had. The $800 would have been the good guy discount, if the tracks were in decent shape. The only reason I would charge 3 times that is because all the drums need to be teiggered, none of the guitar sounds are consistent (not even in the same ballpark), the bass tones are really bright on some songs, dead strings and distorted on others, vocals need tuning, etc...

It would take about 40 hours of editing/ fixing before I could even begin to start trying to mix anything
 
Im scratching my head as to why you have to tone match the guitars and basses. As for drum retriggering, Reaper makes that a snap.
 
CFox said:
Im scratching my head as to why you have to tone match the guitars and basses. As for drum retriggering, Reaper makes that a snap.
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+
Depending on how different the sounds really are, it could make the album sound like a "Best of" rather than a coherant album.
 
CFox said:
Im scratching my head as to why you have to tone match the guitars and basses. As for drum retriggering, Reaper makes that a snap.
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I don't recall him saying anything about 'tone match' of anything.

I completely understand this situation as I have been there a few times. To mix a record with completely different 'poor' recordings on each track takes way more time than one that was recorded with some sort of consistency. Especially when recorded elsewhere and everything is out of place and out of context.

Drum retriggering a snap? Huh... That is only a reasonable statement if the tracks one is triggering from are clear and isolated from each other. Maybe easy if only a kick drum. If that kick is played shitty, then that becomes another issue. Have you ever tried just getting triggered samples to work with a poorly recorded track? In some cases it ends up better to just program the shit manually. And that is not a 'snap' effort. More like a grueling task that is not worth the time unless the client is willing to pay for it.

I perform drum 'enhancement' more than I would care to. I also have the best software I know of to perform the task as efficiently as possible. It does not happen in a snap. In fact to do it without any hint of the final product showing that it was enhanced with samples is not an easy task at all.



I am not sure why you would make such a statement other than to antagonize...

If you had ever been in a situation like Fairview has, you would completely understand.

Since you obviously have not, please STFU dood.

Thanks. :D
 
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jimmys69 said:
I don't recall him saying anything about 'tone match' of anything.

I completely understand this situation as I have been there a few times. To mix a record with completely different 'poor' recordings on each track takes way more time than one that was recorded with some sort of consistency. Especially when recorded elsewhere and everything is out of place and out of context.

Drum retriggering a snap? Huh... That is only a reasonable statement if the tracks one is triggering from are clear and isolated from each other. Maybe easy if only a kick drum. If that kick is played shitty, then that becomes another issue. Have you ever tried just getting triggered samples to work with a poorly recorded track? In some cases it ends up better to just program the shit manually. And that is not a 'snap' effort. More like a grueling task that is not worth the time unless the client is willing to pay for it.

I perform drum 'enhancement' more than I would care to. I also have the best software I know of to perform the task as efficiently as possible. It does not happen in a snap. In fact to do it without any hint of the final product showing that it was enhanced with samples is not an easy task at all.



I am not sure why you would make such a statement other than to antagonize...

If you had ever been in a situation like Fairview has, you would completely understand.

Since you obviously have not, please STFU dood.

Thanks. :D
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Truth x 10000000000000000000

Clearly some of these guys don't know how to mix for a pro result. Fucking n00bs. Yeah, just Reaper trigger it. :laughings:
 
Greg_L said:
Truth x 10000000000000000000

Clearly some of these guys don't know how to mix for a pro result. Fucking n00bs. Yeah, just Reaper trigger it. :laughings:
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The worst part is the way too often client that thinks he can get it 'fixed'. The misunderstanding of those persons/'n00bs' is that it really takes their shit being performed/recorded right from the beginning.

Sadly, I have had to fix a bunch of shit. It seems to be something I am kinda good at... Ugh...

I completely understand and commend Fairview's putting his foot down.
 
Because it was recorded on a 2480, there are only 8 mics on a 9 piece drum set. 3 mics for 6 toms. In order to trigger whem, you have to go into the tom tracks and separate the two toms coming into the mic into two separate tracks before you trigger anything. Having the mic between the toms also makes bleed more of an issue than it normally is. It is also neoclassical progressive metal, so there are alot of toms on the record. I would be surprised if I could get the toms to trigger properly in less than 10 hours, because of the way it was recorded.

The rhythm guitar tones have to t least be in the same ball park for the album to sound like all the songs were meant to be together. These tracks were done over several years with severalcompletely different setups. The sounds will never match, because the distortions are different from each other, but in order to have a coherent album, the tonal content needs to be somewhat in the same ballpark.

The last album I did for him sounded great, I get a lot of my mixing business overseas based off of that album. There is no way I can pull this up to that level, so I really don't want my name associated with it. I will get blamed for the shockingly bad sound. It's not worth the hit to what little reputation I have.
 
Farview said:
Because it was recorded on a 2480, there are only 8 mics on a 9 piece drum set. 3 mics for 6 toms. In order to trigger whem, you have to go into the tom tracks and separate the two toms coming into the mic into two separate tracks before you trigger anything. Having the mic between the toms also makes bleed more of an issue than it normally is. It is also neoclassical progressive metal, so there are alot of toms on the record. I would be surprised if I could get the toms to trigger properly in less than 10 hours, because of the way it was recorded.

The rhythm guitar tones have to t least be in the same ball park for the album to sound like all the songs were meant to be together. These tracks were done over several years with severalcompletely different setups. The sounds will never match, because the distortions are different from each other, but in order to have a coherent album, the tonal content needs to be somewhat in the same ballpark.

The last album I did for him sounded great, I get a lot of my mixing business overseas based off of that album. There is no way I can pull this up to that level, so I really don't want my name associated with it. I will get blamed for the shockingly bad sound. It's not worth the hit to what little reputation I have.
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I understand completely. Been there. Sucks.

Good to hear you said no man.

:D
 
Yup, I understand too. For me personally, I hate an album that sounds like a bunch of singles stuck together. The thing needs to sound coherent. Like it was done in one time and place.

And I too know about trying to fix shitty tracks. It sucks, and it's extremely time consuming. But now that I know I can just fix it with Reaper, I'm back in business baby!
 
jimmys69 said:
I am not sure why you would make such a statement other than to antagonize...


Thanks. :D
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Can you "School Crossing Lollypop People"* stop jumping out on the road with the STOP/GO stick at the first sign of a young, potent hybrid SuperCar that just happens to be driving near your "Special Needs School" ?


*Not the most in demand worker in the employment market.


Thanks :D
 
CFox said:
Can you "School Crossing Lollypop People"* stop jumping out on the road with the STOP/GO stick at the first sign of a young, potent hybrid SuperCar that just happens to be driving near your "Special Needs School" ?


*Not the most in demand worker in the employment market.


Thanks :D
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Can you stop portraying the role of a complete dick?

And maybe read the topic that the OP was talking about?
 
jimmys69 said:
Can you stop portraying the role of a complete dick?
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Mod meltdown and attacking members ? That's why you ppl maybe shouldnt be allowed to post.

jimmys69 said:
And maybe read the topic that the OP was talking about?
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Yes. How about take the cash but under an alias agreement.

"i'll do the best i can for $800 but I dont want my name on it"

Farview has responded about the stems and the tone, why are you answering for him ?
 
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