Stitch on 21/10/2006 at 20:17
Quote Posted by Para?noid
picked up a 10 in 10 out interface for £195 last month which technically offers me the opportunity to record a mini orchestra.
Yeah, good luck with that.
Talent, ambition, and skill win out over good gear every time, but there is a wall you hit unless you're willing to drop some cash (or settle for a low-fi sound). Call it The Clean Drums Divide.
Also: Holy shit, OB,
that's a song I'd vote for.
OnionBob on 22/10/2006 at 00:51
Quote Posted by Stitch
Yeah, good luck with that.
Talent, ambition, and skill win out over good gear every time, but there is a wall you hit unless you're willing to drop some cash (or settle for a low-fi sound). Call it The Clean Drums Divide.
Also: Holy shit, OB,
that's a song I'd vote for.
you think those bay root hitz wrote themselves? B-U i know my way around the 2 guitars bass and drums setup :cool:
Para?noid on 22/10/2006 at 21:09
Quote Posted by Stitch
Yeah, good luck with that.
Getting 10 microphones together and running into a sequencer is primary school, trust me
There simply are very little restrictions on quality considering the availablity of tools; and to be honest a lot of bedroom mixes I listen to on a regular basis usually sound better than studio work because experience and skill simply is the only barrier.
Lucky Hand of Glory on 22/10/2006 at 23:42
very nice work OB
you have my support:thumb:
ps: I still listen to your onionbob-industrial2 [3,022 kb] (at least this is what its called on my computer, plus pirates which you and Noid did together if I am not mistake). anyway, keep up the good work.
Stitch on 23/10/2006 at 01:23
Quote Posted by Para?noid
There simply are very little restrictions on quality considering the availablity of tools; and to be honest a lot of bedroom mixes I listen to on a regular basis usually sound better than studio work because experience and skill simply is the only barrier.
I almost wish I could be there when your heart gets broken. Jesus, it's as if analog equipment and high-end microphones don't even exist in your world.
I'm not saying that you can't get a decent sound with a laptop and a pair of SM-58s, but unless your aim is modest, you
will at some point reach the point where you have to compromise due to the limitations of your gear and resources.
Para?noid on 23/10/2006 at 02:01
The only thing you're almost right about is the analogue equipment. Pretty much everything in our studios is digital. But I can tell you now that it was only Thursday that we were exploring specific stereo widths with a pair of M260NC's in a kind of weird modified ORTF technique so I can guarantee you that high-end microphones do exist in my world and they are an expensive luxury. Compromises are usually where talent begins to show
Stitch on 23/10/2006 at 05:49
Well it appears we're at an impasse, son. You keep arguing that a car is as good as a plane BUT WHAT IF YOU HIT AN OCEAN?!
Besides, dismissing expensive studio gear like high-end microphones as "an expensive luxury" is rather telling.
Vigil on 23/10/2006 at 08:41
As is dismissing music made without expensive studio gear as doomed to being unambitious and "insular bedroom electro".
ITT we defend our exclusive interests from dilettantes who haven't reached an arbitrary barrier to entry.
PigLick on 23/10/2006 at 10:17
neither of these guys is gonna be backing down anytime soon. My take on it is, if you have at least decent gear, bedroom bandit mixes can still sound really good, its just when you get to recording live drums that things start getting harder. Having said that, I have done some live recording with just a kick and snare mic, and an overhead to pick up cymbals and toms. And it turned out nice.
Para?noid on 23/10/2006 at 12:22
Actually in my last point I deliberately strayed from the original argument to defend the point that apparently "high-end microphones don't even exist" in my world.
If you honestly think that every recording this year was made on £3000 capacitors or ribbon mics and that's the reason there's a professional sound then truly we are going nowhere. I'm talking about those kinds of things being an "expensive luxury" from MY standpoint at least, but I tell you what I'll do: I'll trawl through some recent Sound On Sound editions and find the section where they interview a producer over the production of a recent album and we can see what's up.
