reamping behind their backs...
- Thread starter AudioPhile777
- Start date
Ermz
¯\(°_o)/¯
Haha, most artists I work with tend to be fairly open about the concept of re-amping. A lot of them are coming to embrace it. They are tracking their guitars on a budget at home, using their PODs to monitor, then reamping come mix time. If re-amping isn't so big on their agenda, I usually namedrop a little (mesa, rectifier, triaxis, XXX, van halen, nevermore, sneap, 5150) and it does the trick.
I think if people involved in a project start working against each other, the working relationships suffer immensely. I would only resort to re-amping something for a band without telling them if they were being entirely unreasonable, and I thought that the product, as is, would be something I wouldn't want my name on. They always have the option to 'ok' the final product. Even if they aren't aware of the processes you've gone through to get to that final point, if they like the end result, what does it really matter? Having said that, practicing honesty is still an important part of not just the business, but maintaining human relationships in general, whether personal or working ones.
I think if people involved in a project start working against each other, the working relationships suffer immensely. I would only resort to re-amping something for a band without telling them if they were being entirely unreasonable, and I thought that the product, as is, would be something I wouldn't want my name on. They always have the option to 'ok' the final product. Even if they aren't aware of the processes you've gone through to get to that final point, if they like the end result, what does it really matter? Having said that, practicing honesty is still an important part of not just the business, but maintaining human relationships in general, whether personal or working ones.
Loren Littlejohn
Lover of all boobage.
I have absolutly no problem recording a shitty band and leave there playing shitty and here is what I have found recently to be why:
#1 People know the band sucks so when I make them sound fantastic it's false advertising (and actually bands thus far DO NOT LIKE IT).
#2 I definitly control guitar tone drum tone etc (and always reamp)... but as far as timing etc. I let that go because the ends has just not justified the means (money wise). Plus it's not my work, if I were to "step in" and re record shit that was tracked crapy IT'S IMPOSSIBLE to hide because of the calibur of bands I am recording (sad but true they know how good they are and when it's not or is them playing).
#3 The average listener that I have run into has always given me a "wow that sounds fantastic" even though to my ears it sounds like a polished turd due to musicians that are new and can't play in time (this is mainly what I am running into).
Now I used to make bands sound absolutly flawless, but it pretty much backfired on me (didn't make any money per hour + the bands knew what I was doing and did not like it). So now I record them how they are and they like that much better and ultimitly at this point (since I am a newb) I am looking for exsperience and when a band is happy more fallow.
Shit I have 3 bands that want to do shit next month so I must be doing somthing right.
#1 People know the band sucks so when I make them sound fantastic it's false advertising (and actually bands thus far DO NOT LIKE IT).
#2 I definitly control guitar tone drum tone etc (and always reamp)... but as far as timing etc. I let that go because the ends has just not justified the means (money wise). Plus it's not my work, if I were to "step in" and re record shit that was tracked crapy IT'S IMPOSSIBLE to hide because of the calibur of bands I am recording (sad but true they know how good they are and when it's not or is them playing).
#3 The average listener that I have run into has always given me a "wow that sounds fantastic" even though to my ears it sounds like a polished turd due to musicians that are new and can't play in time (this is mainly what I am running into).
Now I used to make bands sound absolutly flawless, but it pretty much backfired on me (didn't make any money per hour + the bands knew what I was doing and did not like it). So now I record them how they are and they like that much better and ultimitly at this point (since I am a newb) I am looking for exsperience and when a band is happy more fallow.
Shit I have 3 bands that want to do shit next month so I must be doing somthing right.
Seizure.
Member
sounds like you may have gone too far with it.... too mechanical.... if you apply editing for timing and tuning judiciously and appropriately then what's not to like? any band will respond well to having their timing and tuning dialed in just right... but if you take it too far, most bands won't like it... and since when is "truth in advertising" a credo that should stop one from tightening up a weak performance... just edit in a musical way, don't take it to extremes and everyone will be happy.
i'm bowing out of this one now though... this is one of those subjects that is rife with the possibility of the debate going on forever.... chalk another one up to the power of the magical interweb to transform a simple concept into the perception of some huge moral dilemma.
Radd
Self Portrait
Damn...I don't even record anyone. Just myself for a hobby and you guys talked me into reamping. 
It sounds like amateur bands need to understand in detail exactly everything that it takes/may take to get the best possible recording before going into a studio. From guitar tone & reamping to drum sampling to having an open mind about such things and not limiting themselves because of their lack of knowledge, experience and ear training.
It's almost like they should take a quickie coarse or have to read a theses
that could be provided on studio's web sites or sign a contract of the likes.
Oz could write it up.
This is just what I've noticed since being on this forum. Am I not far off?
It sounds like amateur bands need to understand in detail exactly everything that it takes/may take to get the best possible recording before going into a studio. From guitar tone & reamping to drum sampling to having an open mind about such things and not limiting themselves because of their lack of knowledge, experience and ear training.
It's almost like they should take a quickie coarse or have to read a theses
that could be provided on studio's web sites or sign a contract of the likes.
Oz could write it up.
This is just what I've noticed since being on this forum. Am I not far off?
Loren Littlejohn
Lover of all boobage.
Oh I now have learned a little goes alot further than alot both money, time and quality wise.
Glenn Fricker
Very Metal &Very Bad News
Oz could write it up.
Too busy for the next few months with projects to write anything serious. What can I say?
Glenn Fricker
Very Metal &Very Bad News
Most guys are really cool about this sort of thing anyway. Make a few examples , do a blind test, & say "choose." I've only had to be dishonest once, & the band loved the tone. I figured it would be easier on the guitarist's feelings if he didn't know.
On the other hand, I remember doing a label project a few years back where we had the guitar player re-do all the bass lines because the bass player sucked so bad. It was a case of "shitty guitar player picks up a bass & still can't play, but wants to be in a band real, real bad."
Some six years later, he still doesn't know he didn't play on the record. Again, I thought I'd spare the guy's feelings.
-0z-
Soundlurker
Member
- Nov 19, 2005
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Well, James said pretty much all I wanted to say. I want to stress that I was not talking about subjectivity but pure ignorance. Being that I have a long long way to go as a producer I am boud to face more baffling band decisions.
Imagine a band's bass player spending loads of money to supply the band with equipment and the guitar player insists on having his digitech processor responsible for the drive and going into the clean channel of a Powerball, because the Powerball doesn't sound heavy
Well, that happened to me. I'm obviously not going to do anymore work for the band than mixing (if they take the di), as I don't want my name on that record.
Imagine a band's bass player spending loads of money to supply the band with equipment and the guitar player insists on having his digitech processor responsible for the drive and going into the clean channel of a Powerball, because the Powerball doesn't sound heavy
Well, that happened to me. I'm obviously not going to do anymore work for the band than mixing (if they take the di), as I don't want my name on that record.
That was the other thing I forgot to mention. Several times in the past I've had bands literally say they wish they had a different amp, or that they wish they could have used a different one for a recording. There have been times where they have absolutely nailed a part in a solo or just a regular riff a certain way that it just sounds great, however the guitar sound is lacking so badly because of the amp they used. In those cases, I was certainly glad I had a DI of the guitars. They loved the fact that I could do that.
~e.a
~e.a
