sean.boyer wrote:Yeah, I can totally get behind that. It's just not for me, for my projects (now CLIENT projects are a whole different story. If someone else is paying me, I'll stand on the desk covered in coco powder weeping into a cereal bowl of wet news paper strips and banana slices while playing a keytar that's been glued to the wall with my nose, if it's what they really want. That said, I'll sure as hell try to talk them into instead simply getting someone who can play piano to sit down and play the piano, but hey, they're holding the $$gun$$, so what ev'.)
sean.boyer wrote:Lucky for me, I get to do almost all the recording for my own bands, and I have the pleasure of setting them up however I want, and using whatever methods and practices I deem appropriate during tracking and mixing. The other band members will give me their input, and I will consider it, discuss, and when applicable, concede to their direction.
sean.boyer wrote:I've heard a few recordings where the snare had been sampled, through out the whole song even, and I never noticed, and still can't hear it when I listen even though I know, so I guess it can be done, and done transparently.
sean.boyer wrote:That's me though. I don't begrudge anyone else for whatever things they do, as long as they sound good.
Malcolm Boyce wrote:Other than for obvious "electronic" or heavily edited stuff, I don't recall ever sample replacing or even augmenting my own drums on my own drum tracks. I make it sound right, play it right, and record it right. Unfortunately, that kind of control doesn't exist for most of what I record, and not just for drums.
sean.boyer wrote:I guess I'm lucky in that I haven't worked with any clients who felt they knew better than me, and demanded me to preform incredibly crazy demented sac-religious jargle. I am EXTREMELY lucky for this.
sean.boyer wrote:I guess I'm lucky in that I haven't worked with any clients who felt they knew better than me, and demanded me to preform incredibly crazy demented sac-religious jargle. I am EXTREMELY lucky for this.
I try to make sure that when I'm working on the clock, that the musicians are focused on their tones and performances, and not so much on my technique.
sean.boyer wrote:Yeah, now we're getting somewhere. I've had a few situations where I've been handed drum tracks that were recorded in a small drum room, close mic'd, NO ROOM MIC, and I'm asked to "make the drums sound big and open". Well, not really gonna happen guys... There are some filthy tricks to try to "open them up" a bit (verb across the drum buss, compressing OH's, etc) but I've never been able to make that sound "real". You want a big open drum sound, ya gotta track 'em big and OPEN!
I'm sure the same thing happens with guitar all the time. Kid plays a tele into a twin and wants it to sound like a Les Paul through a JCM 800 turned up to 13. Sure.
Mathieu Benoit wrote:So Andrew, speaking of editing, sample enhancements/replacements and such... Nick and I have discovered a very interesting use of that Flux plug-in. I'll let Nick explain the details since he came up with it.
Mathieu Benoit wrote:So Andrew, speaking of editing, sample enhancements/replacements and such... Nick and I have discovered a very interesting use of that Flux plug-in. I'll let Nick explain the details since he came up with it.
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