Anyone have the feeling that your best productions ever was made with minimal gear?

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mumpcake wrote: Sun Jun 27, 2021 3:13 am Twenty years ago was much more productive for me. This probably has less to do with a more minimal setup and more to do with having more time and energy and fewer distractions.
Related, and if your perspective on this is that it used to be better, we were just less picky about production in the past. When you only had your board EQ and maybe one or two outboards and you were lucky to have more than one compressor, you just recorded stuff and did the best that you could with what you had.

Also, even though you might have had instruments with recall, often the setup for a track itself did not, so you really couldn't work on much else until you wrapped it all up.

How many pages of wasted ink are on KVR about details of mastering for records that few are going to hear, and let's be honest, nobody is going to buy? There's an entire industry setup to sell you some leveling for every bit of nonsense that you're going to upload online. So much anxiety over nothing really.

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ghettosynth wrote: Sat Jul 03, 2021 4:39 am How many pages of wasted ink are on KVR about details of mastering for records that few are going to hear, and let's be honest, nobody is going to buy? There's an entire industry setup to sell you some leveling for every bit of nonsense that you're going to upload online. So much anxiety over nothing really.
I once did a remix for Paul Oakenfold. I was so proud of how stonkingly loud the thing was. It ended up being so loud that it distorted Beatport's player. Zero sales AFAIK and he never hired me again.

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Uncle E wrote: Sat Jul 03, 2021 6:20 am
ghettosynth wrote: Sat Jul 03, 2021 4:39 am How many pages of wasted ink are on KVR about details of mastering for records that few are going to hear, and let's be honest, nobody is going to buy? There's an entire industry setup to sell you some leveling for every bit of nonsense that you're going to upload online. So much anxiety over nothing really.
I once did a remix for Paul Oakenfold. I was so proud of how stonkingly loud the thing was. It ended up being so loud that it distorted Beatport's player. Zero sales AFAIK and he never hired me again.
That's funny. I think that Paul has sold a record or two though. Also, he clearly has the budget to pay for mastering. FWIW that sounds like a great mastering studio name "Stonkingly Loud Mastering." LANDR isn't keeping the lights on by mastering the music that people are buying, there just isn't enough of that and most of that market is likely still paying for human mastering. I'm not even sure there's enough music that people might eventually buy. I don't know, but I suspect that 80% or more of LANDR's business is from the long tail of hopefuls who don't earn enough from streaming to pay for their distribution costs.

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I once considered having things mastered by a professional, considering a CD release of No Location.
I was soon disabused of that notion more than one way, chiefly it wasn't going to be worth printing copies like people will actually buy the thing.
I find the focus on mastering here a bit absurd. A lot of it is avoidance of mixing and magical thinking IME.

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Uncle E wrote: Sat Jul 03, 2021 6:20 am I once did a remix for Paul Oakenfold. I was so proud of how stonkingly loud the thing was. It ended up being so loud that it distorted Beatport's player. Zero sales AFAIK and he never hired me again.
Sounds to me you just invented Dubstep too early. Stonkingly loud :lol:
J60 Heatwave for Omnisphere 3 - Juno-60 Inspired soundbank
HARDWARE SAMPLER FANATIC - Akai S1100/S950/Z8 - Casio FZ20m - Emu Emax I - Ensoniq ASR10/EPS

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art.

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Message from Captain Sensible (9:37)
https://m.youtube.com/watch?v=pidSO1MmZRg

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