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In Reply to: Studio components best for Hi Fi - here's why posted by benhen on February 15, 2007 at 14:55:48:
Most of my studio days were jingles, horn tracks for singers I never met, demos. Never thought that my horn parts sounded like me. Poor choice in mikes for brass for the most part. Only once in a while, my trumpet would sound 'correct'. Time is money, they don't sweat the details once the mix sounds close. Studio monitors are not really for home use. Thought they always sounded too hot. The best time I had in a studio was waiting for the string section to 'get it'(they never did), and we(the brass) were getting paid sitting and doing nothing but getting smashed.
Theprieb
Follow Ups:
It's physically impossible to play your horn and hear exactly what you sound like (live) to the audience at the same time!When I was a kid, I tried to learn how to play the trumpet.
When I asked my parents what I sounded like on their end of the horn I was told: "You don't want to know". So I'll never know, but the sound was pretty bad on my side of the trumpet so I soon quit playing and became an audiophile so I could hear GOOD musicians play.Comparing what you imagine you sound like to the audience (live) with what your ears actually hear in a recording, and then criticizing the recording = well ... does that comparison make sense?
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Richard BassNut Greene
Subjective Audiophile 2007
Very funny anecdote about how music really gets made.Peace,
Tom E
Yup, and this is, of course, what we get to play on our audiophile systems. So the joke may be on us.
ya had to go and say that. (-:
It is a wonder that a large part of recorded music has any good sonic signature at all, considering the typical attitude of many in the studio
I only use my gun whenever kindness fails
By virtue of the fact of the the typical A&R weenie actuall is an A&R weenie, - he is going to think that he's "creative" and is going to want to influence the product. Many times, a band manager has to work pretty hard to keep the record company OUT of the studio. A producer and engineer and band have a lot to worry about, and often, sound quality takes a real back seat to content. Besides the fact that musicians and songwriters are MOST concerned with content, - they get into the bad habit of not listening for fidelity. Does that horn part work with the rest of the song?Then there're engineers, who have to worry about the details.
I remember spending hours and hours tracking down some hiss that one of the drum mics was picking up.
An engineer or producer who has been taught to throw some crappy compressor on during the final mix to insure that there're no quiet parts in the song to eliminate "dead air" for the radio is a huge problem. The band is not paying the engineer and producer, the record company is. The producer and engineer have to walk an incredibly fine line between what the band wants and what the record company wants: in can be an insanely stressful and tense situation when the band and the record company butt heads with the producer and engineer smack in the middle of it all.....There's a tremendous amount of pressure to do what everybody else does, which can lead to a poor recording. Look at U2s the "Unforgettable Fire." A great batch of songs, with some amazing talent, - Brian Eno, - doing the recording and the band's playing of the music. Some amazing performances, - IMO. But hampered by one of the WORST sounding recordings ever. You gotta wonder who messed up that recording. How could they have done such an amazing job on the content and overlooked the sound quality of the recording?
Watching the reel as it comes to a close,
Brutally taking it's time,
People who change for no reason at all,
It's happening all of the time.
that there are so many hands/minds/egos involved in the process, it's a wonder it comes out as good as it does
I only use my gun whenever kindness fails
But you forgot one big part of the chain that is many times, another part of the problem. That is, the band / recording engineer can get things where they want it to be only to have it ruined by the ( many times ) outside party doing the mastering. I think that you'll find some artists are quite concerned about what their products sound like and have commented on this subject publicly. I remember reading one performers comments to the effect of "what we got back from mastering and what we sent in were two different things". In many cases, the person doing the mastering has the final say as to how the recording sounds prior to "pressing". Sean
>
But, - I didn't mention the evil of what occurs in the mastering process due to the fact that the original poster was taling about what happens in the recording studio.The mastering process is a whole other headache!! :-)
:-)
Watching the reel as it comes to a close,
Brutally taking it's time,
People who change for no reason at all,
It's happening all of the time.
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