MIKA the better one wrote:
The problem with pro recording in this country is that 90% of the pro's you hire are pretty much oblivious as to how a good record sounds.
This is partly because of the advent of the DAW and home studio. The technology is now easily accessible and all of the real pros have been lost in the fray. Partly, though. The other side of it is that we don't have a mentor system or an age old passing on of knowledge like they do in the States and the UK but instead sterile audio academies who don't give their pupils enough hands on experience. Our industry is very much based on emulation as opposed to innovation. There are always exceptions, however.
MIKA the better one wrote:For example you show up, and the engineer says, he wants to use drum triggers for a cleaner sound, he wants to run the guitars into a POD for effects and modelling, he wants to pitch correct every vocal :/
Those are all shortcuts and blanket processing. A serious engineer would find out more about your sound and try match that sound with a vision. That vision involves the creative blend of the right instrument with the right mic in the right position, combined with whatever other production technique (and he should know quite a few!) he may think contributes artistically to your sound. However, things like pitch correcting vocals and triggering drums are fine, provided they are employed to get a certain "sound". Truth be told most of the modern rock/metal albums out there are completely triggered and pitch corrected, but done in such a way that it fits the production style. To do that also requires immense skill and not just the prerequisite of owning drumagog and autotune plugins.
MIKA the better one wrote:This may work for some bands, but most guys/ engineers lack the skill to adapt..... They have one sound they apply to all. I know this as I have heard bands go with some different material and the engineer does minimal effort ☹ And gives you a lifeless (yet clean) product.
Well, I am not surprised you have experienced this type of lackadaisical attitude. It is indeed rife in SA. But it's getting better.
MIKA the better one wrote:Personally I prefer a Dirty record full of mistakes, but has attitude.
Personally, me too. But capturing that dirt and having it sound exceptional is just as difficult as making a slick sounding pop record. It takes vision and a broad palette of experience. That is why a real pro costs the money he/she does, IMO.
MIKA the better one wrote:
BTW to record with Steve albini is cheaper still than recording woth the all famous in south africa Daryl Tour (Dear Reader, Harris Tweed, Zebra and Giraffe, Soweto Gospel choir) Its cheaper to fly to USA stay there, and record for 2 weeks, than to live here at home and record at SABC for 2 weeks!!! Thats the situation most SA bands are in, its to much.
Sorry MIKA, I don't know who's giving you this information, but this is definitely not true. If you can illustrate for me how this is in fact true, please do. For two tickets to the US you could get a pretty good album in SA. You don't have to go to SABC for two weeks to do it, either. I promise.
MIKA the better one wrote:Aside from that, there is no need for albums anymore unless you are a "big band" and even then its just a point to show off on.............
Sadly, yes, the album format is dying. This is once again because of technology, the internet, the mp3, and our one-use, instant-gratification culture. It is a sad state of affairs indeed.
MIKA the better one wrote:Rolling Stones, Led Zepplin, RHCP, Incubus, The Mars Volta, Sonic youth, Arctic Monkeys, QOTSA... and more recorded some of their BEST work in home studios, with under par gear, it was time and a bit of experience that the yused
Under par gear in the US is not the same under par gear here, believe me. But no one is saying you can't get a decent recording on prosumer gear. I just think you can get a better one with a pro you trust and the right knowledge.
Cheers ?
