Rokket said:
And what exactly are they referring to when they state that? Please, you mastering house guys, keep it in layman's terms for this dumbass!
Thanks!
Well I think the technical aspect was covered well by Glen.
I suppose another spin on it can be something I learned in the process of working with a studio design firm a while ago to get a studio up and running.
In one of the many conversations we had, the concept of "proven gear" was brought up. In lamiens terms, Mark was refering to proven gear as gear that has shown it's worth time and time again. Just like when you buy a honda, or toyta, or mercedes for the functionality, practically and track record.
Occasionally you're have these new brands of car that come out and people will try them, but it would have to be such a good car at such a good value to begin to enter the long journey against its competitors. So it either tanks or becomes lucky enough to be another household name. So the practice of buying subcontractor type gear is also common, but you kinda have to be in the know to know of the shops that make such equipment.
For example, not too many know about
the SPL transient designer and how amazing that piece of gear is, but it's becoming accepted and changing the way we compress and dynamically alter things in today's music. So in a few years, that'll get it's rep alongside unique and custom items.
So let's say you're paying 3+ grand for either a Neve, API, SSL, Cranesong, whatever preamp, you're usually paying for a product a majority of people don't know anything about, but will immediately identify a certain familiar and pleasant sound. A sound that delivers results immediately and very easily. I think more importantly, you're paying for something you've worked with before and can use to your advantage. After all, you're trying to create the sound ahead of the trend, meaning that the manner of how the public will listen depends on your work.
That will always remain the same. The idea of a human being getting the chills when they hear something that sounds *good*. In the end, that's all where looking for.
So it's the age old thing, "sure, so and so could of engineered that famous album on a beringer or something like it, but why didn't they do just that?"
Especially when the idea of a production is to do it as cheaply as possible, I guarantee you that you'll always have your top engineers favoring things like million dollar consoles and fancy vintage and/or top of the line "cutting edge" gear to help create these emotionally unique and inspiring projects that one can never replicate at home with home quality gear.
A great engineer can do great things in any setting, but a great engineer will usually be at such a technical standard, that it would blow our minds to understand it.
It's never immediately apparent why the costs and names matter, but when you get into it enough and you've seen enough things, it starts to make a lot of sense.
Just my spin on it.
