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Sean G 7 February 2016

A woman is on trial for beating her husband to death with his guitar collection.

The judge asks "First offender?. "

She replies "No your honour, first a Gibson, then a Fender. "

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Sean G Tue, 10/18/2016 - 01:49

DonnyThompson, post: 442323, member: 46114 wrote: audiokid , pcrecord , kmetal , @Sean G

And it's great food for thought, too.
One of the many reasons that I love RO is because we're all individuals here, who all have our own styles and workflows. I don't look for continual agreement all the time about the same things, contrary to that, I celebrate and embrace our diversity, and that we all collectively have many years of studio experiences that we can all talk about, share, discuss, debate, teach and learn from.

In regard to VST's...
I think it's fair to say that some of us here use the good-sounding plugs that we do because we like what they can bring to our mixes. I don't reach for the same plugs every time, and there are many times I don't insert any plugs of any kind.

What works best for one individual may not be the right way for others.

Mixing is a lot like songwriting, I think, and there are so many different ways to write a song; in that regard, mixing is kinda like composing; except we're using certain tonal characteristics instead of instruments and lyrics - from the obvious-to the subtle-to no color at all, and it's difficult to tell someone that they are using the "wrong" sound at a certain place and on a certain song... no different really, from telling a painter that they're using the "right" or the "wrong" shade of blue in their art.
Who am I to tell a recording or mixing artist what they should do? I have no idea what their vision is - it wouldn't be my place to do so. What they do might please me, or it might not; and if asked, I might suggest certain things that I think they should do that I like personally, but that may or may not fit the artist's vision... and unless I've been hired to produce, I need to remember that it's not MY vision. ;)

Example: I LOVE the sound of McCartney's bass guitar on Paperback Writer and Rain ( two sides to the same single 45 release). Why he decided that he wanted that sound isn't the point here.... his reasons were his own, and How he and Geoff Emerick went about getting that sound in the studio is for another thread, another discussion.... I'm talking about him having a specific sonic vision for his song, for the bass track on the song. And you'd think that, Paul being who he was in '66, that it should have been no big deal to get it...
Yet Paul had to fight like hell to get his bass to be mixed the way he wanted on those records. There were people telling him that it was "too hot", "too powerful", and that "they couldn't let it happen"... ( and again, the reasons for this are for another discussion) but, he had a vision, he wanted it, he got it, and, at least for Beatles fans, it worked out amazingly.

Creating our own sonic pallets is an individual and personal thing. I'm pretty happy about the fact that we all have different preferences and tastes when it comes to those pallets.
Digital, Analog, Tape, Tape-less, EQ, No EQ, Relying on the Sonics from the Capture, Sculpting and adding Sonics after the Capture; reverb, no reverb, delay, no delay, flange, no flange, clean and transparent, colored and sculpted ... we all like what we like, and I've personally never been one to follow current "trends" in mixing styles. I mix the way I hear how a song should be mixed at a given time, and always within the context of the song... and those ways will (and have) differed greatly from one mix to the next.

It'd be a pretty boring world sonically if we all did the exact same things all the time. ;)

IMHO of course.
-d.

Ramen to that brother !

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