| thermionic wrote on Thu, 26 May 2005 04:57 |
<snip> didn't get too "enthusiastic" in the studio, in the same way that a gynaecologist shouldn't get excited by his work...
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An interesting analogy to be sure. However, I think you should LOVE your job, as I am certain Steve does.
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I guess this begs the question: should you always use an engineer who's passionate about that style, or should you find someone with a level of "detachment"?
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There is a good question that may even be a function of the original question about "music" or "tech". How many times do you hear music mixed by guitarists and are able to tell by ear? Bassist? Drummers?
I do not envy the performing recordist.
My degree is in music but I do not play any instruments any better than I play, oh let's say, tennis <which I do not>. I can read a score and know who's outta tune but my function is recordist (mastering-without-a-budget, and a bit too much of that live sound, too.)
My "detachment" is purely from the musical side - I don't care what sounds come at me - I try to treat 'em all with due respect. I LOVE music in every form.
But I think that "emotional detachment" is what is most required. I observe musicians having a very difficult time determining which parts to keep, when to "try it again" or "let it go" - especially now that they have infinitely many choices plus cut and pastes, nudges, etc.
I ask y'all... if you are a bass player and you listen to music that is not your own for enjoyment - do you only listen to the bass line? Drummers? Guitarists?
Then I do wonder why they only listen to their own parts in their own music - or so it seems - this is just 20 years of watching it happen here. No offense to any musician who has made this leap of listening understanding
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How should the objective engineer cut a balance?
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By rolling up his or her sleeves and getting to it. Like the OBGYN mentioned above. "Let's get to work!" or some such.
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Can you be totally detached and still obtain "authentic" results for a given format?
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I feel it makes you capable of working in ANY format - so, yes, absolutely.
I had no idea how much fun folk music could be - until I worked on it. I had no idea how house music was created - until I worked on it. Jazz, well, I've liked jazz since childhood - thanks Dad. Point being, the more you "get yourself into" the more you must remove "particular" ways of thinking about things. Like bass drums, which play a different role and consequently sound very different in jazz than they do in rock than they do in country than they do...
There's been a lot of comparison to video lately, so think about it:
a portrait photographer -
would he turn down a gig to take a picture of the family pet? As in, "I only photograph people!" (or persons, I guess) I would bet most would at least "see how it goes" and maybe even "give it a few tries" before determining it is "not for me".
Now are there pet portrait specialist? I would imagine so. Are they better at it? Quite possibly.
Not having favorite styles can allow you to be free to work with (or at least be interested in
) any type of genre. This starts with just pulling an album off the wall and listening to it - a random pick, if you will - don't try to like or dislike what is there, musically - just listen and try to understand what the heck were they trying to do here?
Sometimes its obvious, other times - when its not so apparent - you gotta listen to it a few times to see if you "get it". Not to see if you "like it".
The ideal job would be to do only the gigs you "like". But how many folks have that kinda gig? Perhaps the project studios or private studios are a way to fulfill that ideal. I wonder how green the grass really is over there, though.
So, technical versus musical... difficult to answer.
I've seen folks proficient in one, the other, both or none have success in one, the other, both or none.
I personally prefer to work with those that will simply "play their part" - comes from recording jingles I guess - where if you can't get it out in 60 seconds you're not the right player.
I enjoy the challenge of working "with" the visionary in groups, but have found when two or more of these "cooks" show up in the kitchen the soup can end up bland. Do I do what they ask regardless of my personal opinion? You betcha'. Do I make suggestions? When appropriate. Does it ever work out to my liking? Nobody cares about that but me - so its easier for me to say "it doesn't matter" and do what the client wants.
And I also take the role of "producer' when working with groups that don't really know what they are trying to do, but it goes a little somethin' like this...
I think if you want the music to be great, work with great musicians. If great musicians want great recordings, they should go to someone who makes great recordings - instead of doing it themselves. If they have a great recording that should be mastered in great way - go to a great ME - instead of the mixguy trying his hand at it. And so on.
If the music sucks, don't blame the recordist. If the mix sucks, don't blame the band. And if the master sucks, it probably never should have even made it that far. If the musican, recordist and ME are the same person - somebody is in big trouble, right?
Ramble off.
Good discussion, so far.
Warm analog regards,
Thom "Fig" Fiegle
