| You know I really freaking hate RAP [message #79837] |
Sat, 10 February 2007 09:56  |
chuck duffy
Messages: 453
Registered: July 2005
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| Re: You know I really freaking hate RAP [message #79856 is a reply to message #79837] |
Sat, 10 February 2007 16:42  |
TCB
Messages: 1261
Registered: July 2007
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Senior Member |
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s - what, with
>>most people preferring to mix & match external mic pres &
>>channel strips anyway.
>>
>>2.) If you DO get a console, it then becomes the focus of your
>>room, and your rack of massenburg, neve, and API preamps takes
>>an immediate back seat; and because lots of clients are brand-
>>aware, you'd better make it a good desk, otherwise you may find
>>your "investment" may actually cost you gigs.
>>
>>Isallimsayin.
>>
>
>The SSL PT thing was a figure of speech, well maybe not. I have had people
>actually say this many times. I guess my point is, it depends on what level
>your on, and what you charge. I'm sure some people would not pay to record
>in a Tascam room. I'm sure there are people that wouldn't record in Steinberg/RME
&
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| Re: You know I really freaking hate RAP [message #79869 is a reply to message #79851] |
Sat, 10 February 2007 18:40 |
Aaron Allen
Messages: 1988
Registered: May 2008
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Senior Member |
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ntrolling the paris audio tracks (full left 31 and
full
>>right 32) you can have a quick stereo senderella aux system with free plugz
>>!
>>
>>I will need your input here with you trying it too because I feel bored
being
>>alone on this ride !
>>
>>Regards,
>>Dimitrios
>True, in that sector of biz - jingle & ad agency clients - no
one cares about gear, they care about end product... let's face
it, though - most musicians are not that way... it's the reason
an Epiphone Les Paul Standard plays just as good and has just as
good of workmanship as a Gibson Les Paul Standard, but costs
about a fourth as much... Gibson is the aspiration brand, Epi
isn't.
So, yes, musicians care about the sound quality of the product
(sometimes LOL), but they also are more susceptible to being
brand-sensitive. Like I've said before, if you've got the
engineering chops, you can do a damn good recording with a
bunch of SM-57's & a Peavey console, but that isn't the point...
the point is this: if you choose to go with a console, it's not
just a sonic tool, it becomes the trademark of your studio.
Think about it... what do most people "oooh & ahh" about when
they walk into a room for the first time? Is it your $40k's
worth of vintage mic pres & compressors? No, it's the effen
console!
The console helps sell your studio, bottom line. Or, it can in
fact, hinder that process. And there's more to what I'm saying
than just the "brand hype" factor - Consider the fact that if
you convert from being a rack-based studio (with different
flavors of stand-alone mics pres, etc) to a console-based
o
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