- Oct 21, 2011
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I'm curious about your workflow and day to day experience with clients, specifically guitarists. How does your process work, do you have much control over the tone that's to be used in the project? As in do you dictate what is and will be used by the mixing engineer, no if ands or buts about it from the artists?
I spose there's a measure of freedom for the artist/client that walks in needing to get stuff tracked, and they'll dial in what they believe to be a moderately good tone (benefit of the doubt I guess) but I am curious as to how much control an engineer has over what's gonna be sent to the mix engineer. Any horror stories from clients that just wouldn't let up?
No doubt, just budging the mic is eq from the get go. Have you ever been bothered to explain exactly why it is you're doing what you're doing simply cause they're upset that you may be screwing up their "hyperdrive" tone?
Talking to a friend who has even less experience in tracking/mixing than I
I'm no guru, but I found it difficult explaining even the small stuff, and just trying to explain that I can only work with so much with my limited experience. I'm willing to work with what he has, but simply getting across the fact that I wouldn't mind a DI just to open up my degree of freedom seemed to upset him some 
I spose there's a measure of freedom for the artist/client that walks in needing to get stuff tracked, and they'll dial in what they believe to be a moderately good tone (benefit of the doubt I guess) but I am curious as to how much control an engineer has over what's gonna be sent to the mix engineer. Any horror stories from clients that just wouldn't let up?
No doubt, just budging the mic is eq from the get go. Have you ever been bothered to explain exactly why it is you're doing what you're doing simply cause they're upset that you may be screwing up their "hyperdrive" tone?
Talking to a friend who has even less experience in tracking/mixing than I

