Ever sent someone home to practice?

  • Thread starter Thread starter Steve Henningsgard
  • Start date Start date
steve.h said:
Because my name's on the CD/EP/Demo and producers/engineers are judged mostly by our previous work...

Or maybe you should fuck yourself and stop trying to act like an expert on said "hack home recording board". I know how to use a damn compressor. If you'd read the post (which almost nobody responding actually did) you'd notice I suggested every solution to said problem from the get-go (parallel compression, 2nd compressor/limiter, turning everything else down), and was simply asking what other peoples' preferred methods were. Somehow it turned into a "steve.h doesn't know shit" fest, which is what I was trying to avoid. Those who have heard some of my work wouldn't give me such a hard time. (https://homerecording.com/bbs/showthread.php?t=249161)

(*EDIT: I saw you're commenting on SouthSideGlen's post, and thus removed this comment)

I've put up with your unnecessary pokes and suggestions that I'm not a very good engineer/producer for longer than strictly necessary, and now I'm done with it. All I wanted was to hear other peoples' opinions on sending bands home to practice before recording them, and somehow it turned into a "no, and you suck at being an engineer, and you'll never make it, and my mom says you suck" fest.

Eat a dick.
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there are definitely too many egomaniacal wannabe audio gods on here. Just think, why would they be so hostile if they were so amazing? It's kind of like those 20 year old pimple faced trolls sitting in their mom's basement all day ripping on people on the internet, to prove what? They're like gods amongst men in their own minds... much more talented, insightful, and intelligent than everyone else... oh to see THAT bubble burst is something I'd love to see.
 
DavidK said:
Then you should get out of the biz. Seriously, I am not joking.:( If you actually think that you should or would be judged because the band who is PAYING you is shitty, than this biz is not going to be for you. You are not their mother, nor their morality or musical overseer. You are hired to do a job.

If a quartet hires me and 3 of them stink, then 3 of them stink. Its way beyond my control, and its really none of my business. What IS my business, literally, is to see that shiny check when I am leaving the gig. If its not there ( and it always is there) then we have a serious problem. Other than that, I do my job and go home with my check and pay my rent as a musician.


The only time I ever hear "well, my name has to be on it" as from amateurs, seriously. Why they are so concerned with their precious name I have no clue, since they dont HAVE a name to speak of. :confused: Unless you have a name to begin with, who would possibly care? You cannot go around questioning every product to see if it is up to your standards, if you do then you will die of starvation.

I'm 43. I have no idea how many gigs I have done. Thousands and thousands of thousands. Some have been with the best artists in history, some have been with the worst.:D I dont care. I cant, or else I wouldnt be working in music. If people have a job for me and it pays good, I take the job. It could be with a satanic lesbian polka Marching band, I dont care. Put my name on it, or dont. The people who KNOW me will say " Aaaah, Dave needed some money".:D Its MONEY, your reputation doesnt hang on some high school kid playing shitty on his lil demo, trust me. Nobody cares.
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David... you do have to realize, there are different styles of production. I don't know what the OP's rep is based on, but my rep is based on my creativity, and ability to bring out the best in players/singers. In my case, which I'm assuming is also the case of the OP, I'm very much judged on even the musicality of the projects I take on. Just ignoring genuine talent because it needs some nurturing seems a bit silly, as all of the best talent I've ever worked with needed some coaching, creative input, etc.. to get to the golden takes.

I don't think you're (or most of the responding posters) quite getting this. I didn't take it that he was talking about some high school kids doing a demo for their mom on mothers day. There are plenty of talented musicians who have great ideas that can get even better with some extra input. It's all about the quality of your results. I have recorded things that I didn't like as much, but I always tried to put my all into it, and I think it turned out better as a result. If you can make those musicians feel like they sound a hell of a lot better with you recording than anyone else, how can that hurt you?

I've known some really big names that have taken either technique as their own. I've known some folks that are VERY hands on with the creative process, and some that aren't at all. It just depends on what you're known for, or what style of production is expected out of you. All that comes from what your working style is. Everyone has their own style that works for them, and that's good. Me? I couldn't sleep at night if I just let a recording go out the door that was way below the quality that I know I COULD do.

Then again, I don't know for a fact, but don't you do mostly jazz/orchestral work? That's a totally different environment, and skill-set. I can understand in those genres, not opening ones mouth as it's entirely against how those styles of music work.
 
Elton Bear said:
I miss Chessrock :(

I also, seriously, miss the days when anybody could ask a question here without being told to go to the Newbie Forum or (more frequently) give up audio / living. :rolleyes:
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hmmm... yeah I'd agree with Daisy... isn't that what Chessrock did 95% of the time?
 
sometimes people don't want your help.

had this band in a few weeks ago.
nightmare.

i had heard their demos and kinda new what i was in for.
questionable timing, out of tune vox, but mostly really super amazingly thin crappy solid state distortion. as bad as it gets really.

what do i do? borrow a friends soldano (very nice tube amp) thinking that they'd be siked to use a nice tube amp and my life would be better if i didn't have to try to record thier super crappy tone.

they don't want to use it, not only that but we listen to them side by side and they love the sound of this tinny mega distorted crap
court-metal zone- solid state ibanez. ouch, bad.

record with their stuff cause i can't force them use the amp, ya know?

i did my best, but it sounded like do-do.
like i wanna hide from it bad.
they loved it.......... so what ever i guess. but i really don't want my name near it.

the kit too...... ugh. he had 2 kik drums and 8 toms.

no bottom heads on any of the toms, top heads old and dead.
only cheap brass. has to have all of these drums, because he cant play the parts he plays on a smaller kit (like my tuned one), ya know.
so i mike up this monster, and th hits the second kik maybe a total of 10 times in 5 songs, and never does more then one or two small tom rolls per song. barely uses more then 2 toms in a single roll ever.

i do my best but the kit sounds less then ideal in the end.
good reasons to own drumagog i guess......


singer actually, can sing. sounded like crap on the demos they had, but really impresses in the studio.
ya never know i guess.
(again, they were happy)

they wanna come back. wonder if they'll listen this time?


any way [/bitch]

you just can't help some people.
 
Haha, yaay my thread's going to shit! :D

TerraMortim - Thanks for actually understanding where I'm coming from :) Most of the bands I record have come to me specifically because of my previous work/reputation, and because I was in a well-respected local band of similar genre. They come to me because I love their genre (aggressive metal/rock) and it shows in my work and my attitude.
 
Julian, you're just going to have to wait in line.

Terra Mortim has a few more posts to respond to yet.

:D
 
steve.h said:
Haha, yaay my thread's going to shit! :D

TerraMortim - Thanks for actually understanding where I'm coming from :) Most of the bands I record have come to me specifically because of my previous work/reputation, and because I was in a well-respected local band of similar genre. They come to me because I love their genre (aggressive metal/rock) and it shows in my work and my attitude.
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np. Even some of the best players on earth won't know the best thing to do all the time. I think that it's a very good skill to get as an audio professional, to be able to nurture the songs as well as the recordings..after all, if you get the takes right, it mixes a lot better than it would by using any mixing techniques.

You and I are a bit more in a niche market, so I guess that's a good reason why we often have creative input be a part of the process. I'm more known for heavy and/or really dark stuff. Metal, industrial, dark rock, orchestral stuff, experimental synth stuff, etc... I could definitely record a jazz trio if I was asked to, and it would be very enjoyable, but my preferred "sound" is more along the lines of the darker stuff.
 
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