… practicing parts BEFORE going into the studio until you had them DOWN to get the best result possible? Nowadays, it seems everyone wants DAW tools to fix crap that shouldn’t need fixing in the first place. IMHO, this has made Cubase like a Close-N-Play DAW, a toy for wannabe’s. A lot of it is recording engineers fault for agreeing to record crap just for a paycheck. Don’t even get me started on Autotune.
Cubase has gotten so far away from being a professional tool it’s rediculous. So much time spent on developing crap to cover up shite performances instead of working on and fixing the nuts and bolts that have been broken for so long.
Can’t believe or stand all the hackers out there that can’t be arsed to practice their instrument and depend on technology to make them something they’ll never be. Yes, that goes for you.
What’s ridiculous is spelling ridiculous with an “e”. Ridiculous ain’t got no “e” in it.
How many times do I have to learn you that?
To your point … studio work is drastically different from live work. If you don’t like (or approve of) studio methodology, stick to playing live. Easy solution. Don’t blame the tools for your biases. And always bias your output tubes, to prevent red-plating.
We got throw away phones, plastic bags, cameras, beer mugs, politicians, CDs, computer doorstop instrumentation and hardware.
So you get throwaway musicians. They learn the instrument for a week or a coupla days to get that warbly vibrato so they sound like Whitney (again GBHCSocks) every half hour for five minutes. So we take a few grand off them so they can get a record company, media exec to not turn up at their gig / audition for “We git tilint” (sic) and then they disappear for ever.
Me? To copy a great quote from an unknown pap singer who had 5 number one hit singles (true!). “I’m too busy earnng a living to make a fortune being a star.”
Anyone like that comes to me I just play them Father Ted and Dougal trying to write a Eurovision song. (Americans might have to google “Father Ted” unless you’re clued in already.)
ps: Actually it’s managerial talent that’s lacking as all they want to do is promote a load of tosh for 6 months and then swan off to live in Costa del Coca for five years.
Good young musicians out there can’t get arrested as they ask too many questions about the “contracts”.
So stop buying so much “talent correctiom” tools and use the money to promote some gigs and give audiences the real stuff. They’re gagging for it.
Name me some “cream” around now that’s going to last more than 5 minutes. And, incidentally, what and where is “the top” these days?
If you (or your parents) haven’t bought a car for £15000 + parking and maintenance to save yourself £2 a week on your weekly shopping at “the mall” then you may enlighten me on what a “free market” is.
The future is medium sized venues, 250 to 500 modest prices, modest wages where the DAW is also controlling the PA AND recording the performance to send to attendees who have paid to have it delivered later either processed or unprocessed or both as personal souvenir performance. Watch that space or something shaped like that.
Principle that even huge stars are fed up of just being seen as a dot on a stadium / festival horizon.
Conman, you, are the cream,
and you will always rise to the top (your own personal level of satisfaction)
and you have the personal freedom to choose what you need to “produce” to achieve success (the free market).
You’re just looking down at those who are still learning to crawl. And their feeble attempts to enlighten us, that is, overpricing mediocrity.
Using a calculator instead of a slide rule (instead of a paper and pencil).
Using stencils for lettering.
Using a compressor instead of playing with perfect dynamic control.
Using GPS or Laser Guided munitions instead of a manual bombsight.
Using robotics on an assembly line.
Using cruise control.
USING A LEVER.
A million other examples of technology making things easier.
I guess everyone has their “line” beyond which is “cheating”.
Of course a concert pianist has a right to be upset when a player that he knows is inferior manages to produce a performance that sounds as good (or better). So, it would be ok for the mathematician to be upset at the pianist when he (the pianist) correctly calculates 456934.576 x 289576.23 in less time WITHOUT A PENCIL!!
What really gets me is the outcry for multi-track drum editing. I mean WTF, drummers can’t be expected to count to 4 nowadays? I don’t see any tunes in the music forum with other time signatures so it can’t be an issue with compound sigs, or the like. Like I said, the world is going to Hell in a hand-basket.
I know bass players can’t count to 4. Right, Lenny? :hihi: