Brian Kehew wrote on Wed, 30 March 2005 12:00 |
So talent=success is not a true equation in the real world. |
Fibes wrote on Wed, 30 March 2005 06:48 |
FWIW i think some of the most artistic records being made today are under 30 grand. 10 or 12 of those a year would be fine with me... |
cgc wrote on Wed, 30 March 2005 08:56 | ||
Thirty grand is a large sum of money for a record here (and probably anywhere not LA or NYC). Most of the good engineers in town make about that per year and the musicians even less. I'm not aware of any of the local labels putting that kind of money into project either (major label types like Billy Corgan notwithstanding). A lot of the notable records from Chicago in the past 20 years have been made for less than the 'tape' budget of the average major label session. The studios walk a fine line between just breaking even and attracting the artists they want. I'm sure Albini can fill a few pages on this subject as he deals with this everyday. |
zboy2854 wrote on Thu, 31 March 2005 08:08 |
I know a producer/engineer who worked for many years under the thumb of a very successful and famous "producer". My friend in fact came up with the lion's share of the arrangements and ideas responsible for many of the big name producer's successes, yet of course he was never given production credit or royalties, only perhaps an "additional arrangement by" credit. Meanwhile, said big name producer was happy to take all the glory and kudos for the projects and success, which of course led to more clamoring for his "services". Sadly, when my friend finally left this situation, Mr. big name Producer just found other uber-talented producer/engineers to pick up the slack and keep the appearances that he was still the man with all the talent. |
Greg Dixon wrote on Thu, 31 March 2005 04:31 |
I wonder if taking 3 hours to mic a tambourine, as per the Zoolander thread, could be part of the mystique? I can imagine some people going away thinking, wow that guy really cares about our music. |
thedoc wrote on Thu, 31 March 2005 00:38 |
How about a fader connected to nothing...labeled "Balls"! That way you can fade in just a little more as the song progresses... |
Quote: |
BTW, as far as phony faders go, I love when I mispatch something and I'm turning knobs and moving faders and hearing the difference, even when nothing is happening. That's the bummer about ProTools. You don't have fake faders for the producer or the band to play with. |
MB wrote on Wed, 30 March 2005 22:38 |
I'm reading a book right now in which Paul Schrader (writer of Taxi Driver) said "The first thing you wake up and think about in the morning is, Who can I hustle? and the last thing you think of before you go to bed is, Who can I hustle?" |
J.J. wrote on Fri, 01 April 2005 13:20 |
Terry, then how do you explain John Oram's success? |
J.J. wrote on Fri, 01 April 2005 16:51 |
Hmmmm... I wonder how much a lab coat goes for on eBay? |