Then I think this goes back to the most basic of arguements: exactly what[/] is our job description?
If we are there to capture the truest representation of a performance, then AT, reverb, even EQ should be strictly forbidden...
But if our job is to make the very best product based on the raw materials, then its OK...
I don't remember who, but I asked a question here some time back about how much treatment should we put on tracks and mixes, due to the catchall of "reality." The answer (again, I apologize to whoever replied with this" was that we are not in the business of reproducing reality, we are in the business of creating a "hyper-reality," or a new definiton of that reality.
All that stuff aside, I don't use AT anymore, but can correct very short passages using Samplitude's time/pitch correction...the last few projects, if the singer needed more than that, I had them just sing it over.
More information on just how much stock should be put into my opinion here:
- I don't cost $250 an hour
- I don't have any major (and very few minor) label things (hopefully this will be changing this year) that have bean counters breathing down my throat.
- I don't particularly care for anything that has been commercial radio country anymore (I call it bubblegum country...) so my opinion really doesn't matter (I just wanted to say it all anyway)
- Some of the BEST things ever to come out of Nashville (or anywhere else) had something called vocalist style...George Jones, Vern Gosdin, Moe Bandy all had it - they didn't hit every note right on target, but the getting there is what made the song...I think its called a part of the emotional aspect of the melody (John Lennon was THE master of that 'blue note') I think...)
But there again, what the hell do I know?