as I basically dropped all of the 'you must do x this way' lessons I learned from my teenage years in studios when recording with bands, and late teens/early adulthood working as an engineer & jill of all trades hand in a fair few places.

100% clarity & perfection in music production, live or midi or etc, is one of the most bewilderingly needless things, and as soon as I let go of that, suddenly my music got its character back, and saying something w/ production became viable.

after I stopped working for studios that had 1000 premium options for basic jobs

The focus on selling people expensive mixers, expensive DAW plug-ins, and expensive instruments is awful

Play cheap instruments, record them on Audacity on a cheap ass laptop, download a limited demo DAW and use those limits as a guide. Learn how to use limitations: from your abilities, your hardware, your software, to your time.

Be what you are now, not what you wanna be later on.

@OsirisSaline then people buy more expensive plug-ins to "degrade" the sound

for every imaginary problem, there's an imaginary need

@OsirisSaline on a production level, i'm not saying that there's never a place for that, but it can become this endless chasing after a carrot on a stick.

this is the one of the examples i use when people get gearitis (and for myself as well):


sp404s aren't the most pristine, the most crystal clarity, 32-bit floating point mastered down to 24/192 while being sprinkled with gold dust and rain water, super duper ultra magical, devices ever, but they have a fast workflow and a particular character. so....who wins, the all pristine everything or the sp-404?


people who are like "oh, but that's 16 bit" sort of give me a rash

also, it depends on the style of music. i think 24 bit actually sounds bad on recordings where the clarity is going to get lost anyway (which is also everything else btw) and "degrades" the sound if the goal is fuzz and warmth (for example).

i can see it helping (and spectrum range helping as well) if clarity and room ambiance is an *actual* factor, though. like some kinds of acoustic recordings.


i definitely wouldn't stop producing work because i didn't have access to that, though!

people get hyped up by manufacturers, product demonstrators and salespeople. they'd sell someone a weathered, moldy plank board for $24,000 if they could. "it's vintage, and hey, check this out."

sooooooo....don't do that, everybody

(that said, i've fallen for it as well, and regretted it, it's a waste of time)

@shoutcacophony same. I never had to *spend* money to have access to those for a few years in studios/venues/slogging junk around for bands, but when that aspect of my life was choicably binned, I...just didn't see the point for perfection, and like you said, the endless gear collection to *downgrade* clarity in a room.

Like, if I want cheaptacky bathroom reverb/echo, I'll go stick a cheap condenser and record in a bathroom rather than pay $50 for an additional reverb plug-in option etc.

@OsirisSaline right. it's the "you could buy a shitty guitar sample library, and spend the time and effort it takes to make that sound ok (sort of), or you could just play an actual guitar" problem. or work with a guitarist.

@OsirisSaline i've done it, though. (the using a guitar sample part). it was pretty time consuming, but alright. ok as an alternative, i suppose.

@shoutcacophony Oh absolutely, I have nothing against programming or synthesized playing (/obvious to anyone who ever listens to my stuff) but we do have to fight against the capitalist marketing approach of leading major hardware/software names.

@OsirisSaline right, exactly!

the musician's union should ban the sale of red keyboards. for example. :p

@OsirisSaline i mean, i'd be happy, tbh.

there has to be at least $1000 markup in the U.S. for that.

ranting about <exploiter company> and their gimmicks is....pretty easy for me to do, actually

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