ecktronic
Mixing and Mastering.
ps: The (hi) streaming on Soundclick is the same quality as the upload: 128kbps.
Eck
Eck
warble2
Not an expert
ecktronic said:
It doesn't matter if people can't stream audio. I can, so I listened.
I kinda liked what I heard although that's not music I would typically listen to. To me, the vocals get lost here and there and are maybe a bit low in general.
ecktronic
Mixing and Mastering.
Cheers man.warble2 said:
Im trying to keep alot of energy in the guitars, but still want the vocals to be quite clear. I might boost them a tad or use volume automation and EQ.
Eck
warble2
Not an expert
ecktronic said:
Gotcha. I don't think they need to be brought up alot.
C
chessrock
Banned
ecktronic said:
I'm just messin' with ya.
I haven't visited your myspace page, but I will when I get the chance.
Good luck with your thing.
.
SouthSIDE Glen
independentrecording.net
It's just as easy to rip a stream as it is to click on a download. You're not really protecting your music from someone who would truely be interested in grabbing it when you put it on a stream. But that's your choice, I'm not gonna push you. Not like I'm an A&R guy for WOS music styles anyway.ecktronic said:
I could only hear the lo-fi stream, and that frankly sounded like the mix was inside out with the snare almost on top of the listener and the vocals about 40 yards away and unintelligible. But that's lo-fi, impossible to make a proper judgement from there.
G.
I
Ironklad Audio
New member
more or less, yea
it seems like there's a lot of "weak and unguided" acts out there, who have a decent producer on-hand to make up for their lack of vision/focus
i mean, seriously...how else can you explain a group like the pussycat dolls?
ecktronic
Mixing and Mastering.
Yeah I agree.warble2 said:
Cheers,
Eck
ecktronic
Mixing and Mastering.
No probs man.chessrock said:I'm just messin' with ya.
I haven't visited your myspace page, but I will when I get the chance.
Good luck with your thing.
.
Cheers.
Eck
ecktronic
Mixing and Mastering.
I listened to the lo-fi version for the first time.SouthSIDE Glen said:
It stinks real bad! Much worse than even the radio! Im thinking its 64k MP3 conversion. I wouldnt listen to anything below 128k really, although 128k isnt too hot either.
Thanks for listening. I agree the vox are a little burried, and the kick and snare are louder than they will be in the master, as the mastering could bring the kick and snare down, so Im waiting to see what magic the mastering engineer can do before deciding on a level for the kick and snare.
Cheers Glen,
Eck
ecktronic
Mixing and Mastering.
Thats pop music. Its different (although not that big a difference) with more alternative bands/artists.Ironklad Audio said:
Their is a formula for marketing bands, but also there are no rules. Same as mixing I suppose.
Look at Ian Brown, when he markted Sandi Thom. That was a fekin joke really.
How much do you hear about her now?
That song "I wish I was a Punk rocker" as released a year or so before and it totally flopped. But when they made up the story about Sandi Thom doing 3 gigs in 1 day in 3 different countries that was shady. They made it seem like Sandi Thom did web gigs from folks flats live.
Has anyone actually seen these gigs? And how can she prove she did all the gigs in 1 day if it wasnt actually live. It was all pre recorded!
Also, she stole the real life story of a struggling musician and used it as her own! Fekin well dodgy.
Heres an article on this matter. Very interesting read.
http://www.stereoboard.com/content/view/301/9/
At the same time the guy who claims his story was stolen could be making it up. Who can you really trust in the media? Not many!
Eck
ecktronic
Mixing and Mastering.
Or it could even be Sandi Thoms PR company "Quite Great PR" making up a farse about a farse to ge more media attention for Sandi Thom.
I mean when will PR companies draw a line to not wanting to be best PR company and beat the thousands of other PR companies out there?
Eck
I mean when will PR companies draw a line to not wanting to be best PR company and beat the thousands of other PR companies out there?
Eck
I
Ironklad Audio
New member
who in the shit are you talking about?
LeeRosario
New member
ahh...for a second I thought we where talking about real music here...
For the same reason you can explain a group like Nsync or Backstreet boys. But that's a generalization you're making.
In my opinion, those kind of artists are the equivalent to Sprite testing a new flavor. Labels put together these frankenstien bands off the street and put them out there with crossed fingers. It either works, or it dosn't.
But in matter of my personal opinion, that's not music. It's dead weight, empty calories. All it does is take up space and sours eveything it touches. It taints the progression of the art by musicians who do not think for themselves, but rather have a team of people to do all the thinking for them.
Consider that labels are companys, and like any company, they have different goals within the industry. They all have to generate income to survive and seperate themselves from the bunch to continue doing so. That's how bussiness works.
However, not all labels are one in the same. Unfortunately, not all labels are about breaking boundries for the sake of music as much as building a bigger pyramid.
You don't usually hear about the labels who define themselves by the acts they sign rather than the artists they gut out. However they do exsist and they do very well.
You see this more with indie labels, because in the nature of the indie world, you stand out more with your set of buzz worthy artists. You don't nessessarily have tons of money for propoganda and image, so your artist has to stand out.
Then on the other side of the spectrum, you'll see things like the majors keeping an eye on those indie artists. The indies kind of act as a proving grounds for the majors. Like minor league baseball.
Of course, it's when an indie artist signs to a major label that things can become really hazy. The indie label can sign the artist over to the major label with the likelyhood of a return investment on that part. Possibily in percentages of album sales, or in a one time buy out kind of deal. That depends on the contract and situation. But I digress.
The whole point being:
It's a given that we'll always see prefab material (like the pussycat dolls or NSync) because that's how the music bussiness works. But giving credit to the artists that help in the true progression of the art, the music will always set the tone for how the production will be conducted. The vision is the music, while the production is the means to make it tangible.
Even in the major label world, the music still has to work before the production can take place. They understand that better than anyone else.
If the production is thought out before hearing the music, then in my opinion, it's a great misrepresentation, disrespect and lack of sympathy to the music. In my opinion, any artist ignorant enough to allow it to happen is no better for it.
Ironklad Audio said:
For the same reason you can explain a group like Nsync or Backstreet boys. But that's a generalization you're making.
In my opinion, those kind of artists are the equivalent to Sprite testing a new flavor. Labels put together these frankenstien bands off the street and put them out there with crossed fingers. It either works, or it dosn't.
But in matter of my personal opinion, that's not music. It's dead weight, empty calories. All it does is take up space and sours eveything it touches. It taints the progression of the art by musicians who do not think for themselves, but rather have a team of people to do all the thinking for them.
Consider that labels are companys, and like any company, they have different goals within the industry. They all have to generate income to survive and seperate themselves from the bunch to continue doing so. That's how bussiness works.
However, not all labels are one in the same. Unfortunately, not all labels are about breaking boundries for the sake of music as much as building a bigger pyramid.
You don't usually hear about the labels who define themselves by the acts they sign rather than the artists they gut out. However they do exsist and they do very well.
You see this more with indie labels, because in the nature of the indie world, you stand out more with your set of buzz worthy artists. You don't nessessarily have tons of money for propoganda and image, so your artist has to stand out.
Then on the other side of the spectrum, you'll see things like the majors keeping an eye on those indie artists. The indies kind of act as a proving grounds for the majors. Like minor league baseball.
Of course, it's when an indie artist signs to a major label that things can become really hazy. The indie label can sign the artist over to the major label with the likelyhood of a return investment on that part. Possibily in percentages of album sales, or in a one time buy out kind of deal. That depends on the contract and situation. But I digress.
The whole point being:
It's a given that we'll always see prefab material (like the pussycat dolls or NSync) because that's how the music bussiness works. But giving credit to the artists that help in the true progression of the art, the music will always set the tone for how the production will be conducted. The vision is the music, while the production is the means to make it tangible.
Even in the major label world, the music still has to work before the production can take place. They understand that better than anyone else.
If the production is thought out before hearing the music, then in my opinion, it's a great misrepresentation, disrespect and lack of sympathy to the music. In my opinion, any artist ignorant enough to allow it to happen is no better for it.
SouthSIDE Glen
independentrecording.net
That's what I call the performance industry, which is kind of the insurance salesman cousin part of the music industry family.LeeRosario said:
But FWIW, it happens all the time, and has happened regularly throughout the history of modern music, Lee. There are and have been hundreds of productions that are assembled piecemeal, sometimes with the actual music coming last in the equation.
I much prefer actual musicians to singing performers as well, and the performer segment does nothing for me. So Carrie Underwood can sing; very nice. But so can a million other people.
HOWEVER, just think of this; it's this segment that has given us our greatest independent songwriters, songwriting teams and Tin Pan Alley legends. From George Gershwin to Carole King, Neil Diamond to Burt Bacharach, and hundreds of others, these people would have never been able to make a living, let alone (for many) step in front of a tape recorder themselves, if it weren't for Sinatras, Monkees and il Divos of this world.
G.
LeeRosario
New member
SouthSIDE Glen said:
Oh yeah most definitely. Although I may not agree with alot of the practices out there, it's always been important to me to accept that it exsists.
I definitely understand that history. It's essential, right?
I think historically, there's an element of acceptance that needs to happen in terms of assembled acts. Very much so for that Tin Pan Alley era you gracefully brought up.
I've always thought being bitter about it was a waste of time, but it kind of does sting everytime I lose an artist to the heavily pop influenced train of thought. I can't blame a lot of them, money does speak louder than words sometimes.
But then again, it's so intricate, that I think we as professionals can admit to getting caught up from time to time.
SouthSIDE Glen
independentrecording.net
Yeah, I'm with you; it's a gruging, and maybe even sometimes painful acceptance. But it's an acceptance nonetheless.LeeRosario said:
I've told the story here several times about the band that I work with live regularly (back-to-back dates this coming Friday and Saturday, with the Super Bowl on Sunday. Ugh, I as of now disown all responsibility for any ugly posts I make the following Monday
) They do power R&B-stylings of a lot of Black Crowes/Fabulous Thunderbirds/Stones - style stuff, but with a lot of other highly unexpected ecclecticities thrown in from Four Non Blondes to Barry White. Anyway, they do a power stroll version of Britney Spears' "Hit Me Baby One More Time" that just plain rocks. After having to listen to these guys a hundred times, that song is still a highlight of the show, IMHO. Take the silly, synthesized production of a New Mousketeer-ette overdosing on Anatres Autotune out of the song and put some talented musicians with a power arrangement behind it, and it's actually a kinda cool tune.
There's a lot of examples of great tunes that kinda get passed by because the performers that originally record them are from the Don Kirschner/Simon Cowell side of the family. But when those songs do make it to the musician side of the family, it can be a very pleasant suprise.
G.
P.S. Due to events in the Brintey news, the band has changed the lyrics of the final chorus and leadout to "Dropped my baby one more time"
S
SnoboarderX27
New member
I didn't read all three pages of replies so I don't know I'm just reiterating, but my response to the topic is that a rule of thumb for a professional producer to record and mix a CD is a grand per song, then around $700 to master it (but don't let the same guy who mixed it master it too!). If you are unsigned and lucky like my band was then you might be able to strike a deal with a producer who will record your CD for $500 a song with the intent to sign you to a mid-size label, which would then sign you and, by contract, pay the producer for the "other half" of the CD. Realistically, though, you're looking at about 2 grand, not including manufacturing.
T