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jayecho

said: Hmmm....In response to some remarks about not a lot of people willing to pay for mixing...


I'm going to just leave this


You are paying your engineer to record your voice through a high end mic, preamp, compressor, and eq ($20k~) in an acoustically treated room ($1k-$100k~) through a low to high tier recording console ($10k-$100k~) and mix with state of the art licensed plugins ($10k~), monitored via two, three sets of near-field speakers ($2k-$10k), to make sure that your voice sounds great on mono, stereo, in a car, in a bar...


So yeah. Pay your engineers. And don't bootleg your sounds. 

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jayecho said: Hmmm....In response to some remarks about not a lot of people willing to pay for mixing...
I'm going to just leave this


You are paying your engineer to record your voice through a high end mic, preamp, compressor, and eq ($20k~) in an acoustically treated room ($1k-$100k~) through a low to high tier recording console ($10k-$100k~) and mix with state of the art licensed plugins ($10k~), monitored via two, three sets of near-field speakers ($2k-$10k), to make sure that your voice sounds great on mono, stereo, in a car, in a bar...
So yeah. Pay your engineers. And don't bootleg your sounds. 

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Actually, Brooklynj, Scott Bradlee uses multiple $3700 Neumann U87s for their recordings, with strategic placement of various ribbon mics for instrumentals. When they have like ten tracks coming in, they can get an engineer to make that sound smooth like butter. Much respect to Postmodern Jukebox.

Gracified, while I agree that the engineer is the most important piece of the puzzle to get the best recording, the in-the-box approach will get you only so far. Years ago when I got my first little M Audio $200 interface, I had to get really creative to get a decent sound. The quality of sound on my next purchase, which was a jump from a $200 to a $800 interface, was enormous. Next jump to a $2500 unit was equally impressive. It's a tool...yes, but you still need good tools, no matter how skilled you are. A plumber can't do jack with a plastic wrench.  

You're welcome to join me at one of my commercial spaces to do a comparison. Without any mixing, we can do a shoot-out. An M Box Pro, my Apollo Quad, Pro Tools HD, and a Symphony. While we're at it, we can do a shoot-out between a C414, an AT2020, AT4060, a Manley, and a U87, through various combinations of preamps and compressors. The point of analog is to give that sound depth and color. There are times I reach into my locker for an SM58 to use over the AT4060 when I think it'll work better for the mix. It's not uncommon for artists to use two, three different mics for ONE song. 

And yes, the better gear you have, the better your room has to be. :P And that's why my studios are floating.

While I agree that production is important, and getting the sound right before reaching the engineer is also very important, saying that a song's success is 10% on the engineer is quite insulting. I guess Maserati, Manny Marroquin, Jaycen Joshua and them are buffoons for insisting on running everything analog? 

Edited by jayecho

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May be in need of a mixer for our LA recording label. We're casually browsing right now but please feel free to P us samples and rates! We'll be recording our first album in August this year.

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