On the light and surroundings, and being looked after well, things are changing. Now there's studios the other side of the spectrum like Li Music in Limoux in the South of France, that Produce Like a Pro did a video on. Where it's a studio operating in farm surroundings. With engineers that look after their clients carefully, as if they were hotel guests. There's studios like that elsewhere too, Ibiza too, I'm sure. There's a lot more studios in comfortable, secluded, quiet peaceful surroundings. But I do like small studios, like electronic music studios based in comfortable large houses in beautiful natural surroundings. Like river-sound in Lithuania is a good example, with great curated collection of vintage synths and drum machines, well-stocked modular and fantastic full-range ATC monitoring with a ton of I/O and good outboard.
I guess the takeaway i am getting from this is that big studios aren't inherently bad. It's just a bad engineer can destroy the whole experience for someone. And an even more important takeaway is that you have to think twice about who is allowed to finish, polish, and display your art. My ultimate point is that your point isn't about a big studio, what happened to you can happen in any creative recording space. Definitely enjoyed the story, I came in hoping to hear something about too many fingers on a knob, or people in the studio trying to tell you what to do, or the infrastructure of a big studio business isn't designed for the artist, just designed to make money, or that there's too many moving parts which can distract from the task at hand (your computer syncing up with their stuff was relevant here)
true it could happen anywhere, but as I explained the space was the wrong environment for a trance music record and the vocals recorded were no different to the small studio we had back home. I was young and inexperienced and was expecting an amazing product naturally, but the engineer was bogus or just too high and in hindsight the mood of the room wasnt right, it was a band studio. But it was an experience nevertheless.
The producer,who arguably invented the 1980s and is on a god level even today, used to start every day with a massive spliff. By the time you used the Olympic, it was running on vapor and past glories and both the kit and staff were nothing like the quality of its heyday. I'd also point out that, Oasis killed their own career in the USA because Be Here Right Now, was so badly mixed radio stations simply refused to play it.
I wil partially agree and partially disagree. I think you are correct as far as just investing in the money and do it at home. Get the gear you need and work with people that share your vision of your music and production and simply do it at home. What I do disagree is, that its not always a big studio that is at fault but more that particular facility. An example would be an artist and or producer could have an excellent experience with engineer Bob Clearmountain at Eastwest Studios in Los Angeles but have an awful experience with George McLenon at Air Studios in London. And the opposite could happen with different artist at different locations. Also, Sometimes the Band or Artist can be A holes and rub the studio management the wrong way. I don't necesarily think its the big studio as whole thats an issue but more the personnel running it. At that depends on the studio.
I understand your feelings, my first real studio experience was also very frustrating, except i was not producing the album it was a collective effort with many beginner band including myself, i was the keyboardist and also the co writer of some song and my mate who was the lead singer could'nt sing what i have made for him, so they let me sing his part on a costly Neumann valve mic not the U47 but a costly one beyond 3000 euros, this thing was not made for my Big voice , at the time i didn't knew the problem now i only sing on Dynamic or Ribbon mic because of that, i could'nt handle the proximity effect with that fucking Neumann, i mean it's great for soft voice or an orchestra, but not for a strong rock singer voice like mine, the other frustration is also they totally change my keyboard part with MIDI editing and overkill effect that was not necessary, but again I was not the producer that give the money so i shut down my mouth, but i was terribly disapointed by the finish result, it was realy a luxury experience, but an awfull one from an artistic point of view they kill our creative point of view because we where teenager and didn't pay for the project.
The engineer was useless correct. but as I explained the lack of daylight and natural surroundings is a massive influence on things. as I say this was a band studio not a house music one.
the final finished version I did is here below, the version on the DAT from Olympic studios is not possible as I no longer own a DAT player. But here is the version we did. open.spotify.com/track/7ea1oAOQck3n6OZmkFDZEA?si=9c349877aa1b4e5a
Your manager & mix engineer were the problem. The natural light issue is a thing. I would assist no less than 14 hours a day & took smoking breaks just to go outside despite not being a smoker. A professional doesn't get stoned or drink.
@@copetill7896 yes completely. I guess the point I never made is that the studio was nothing bad. It was state of the art, But it was a band studio and not the best setup for what I was doing So that's what kind of left me feeling disgruntled about the whole thing.👍 And the engineer on the gear 😂
On the light and surroundings, and being looked after well, things are changing. Now there's studios the other side of the spectrum like Li Music in Limoux in the South of France, that Produce Like a Pro did a video on. Where it's a studio operating in farm surroundings. With engineers that look after their clients carefully, as if they were hotel guests. There's studios like that elsewhere too, Ibiza too, I'm sure. There's a lot more studios in comfortable, secluded, quiet peaceful surroundings. But I do like small studios, like electronic music studios based in comfortable large houses in beautiful natural surroundings. Like river-sound in Lithuania is a good example, with great curated collection of vintage synths and drum machines, well-stocked modular and fantastic full-range ATC monitoring with a ton of I/O and good outboard.
This is actually a good story, well-told AND educational.
thanks for watching Rolfski, it was definitely an education for me too at the time
very interesting story
I guess the takeaway i am getting from this is that big studios aren't inherently bad. It's just a bad engineer can destroy the whole experience for someone. And an even more important takeaway is that you have to think twice about who is allowed to finish, polish, and display your art. My ultimate point is that your point isn't about a big studio, what happened to you can happen in any creative recording space.
Definitely enjoyed the story, I came in hoping to hear something about too many fingers on a knob, or people in the studio trying to tell you what to do, or the infrastructure of a big studio business isn't designed for the artist, just designed to make money, or that there's too many moving parts which can distract from the task at hand (your computer syncing up with their stuff was relevant here)
true it could happen anywhere, but as I explained the space was the wrong environment for a trance music record and the vocals recorded were no different to the small studio we had back home. I was young and inexperienced and was expecting an amazing product naturally, but the engineer was bogus or just too high and in hindsight the mood of the room wasnt right, it was a band studio. But it was an experience nevertheless.
The producer,who arguably invented the 1980s and is on a god level even today, used to start every day with a massive spliff.
By the time you used the Olympic, it was running on vapor and past glories and both the kit and staff were nothing like the quality of its heyday.
I'd also point out that, Oasis killed their own career in the USA because Be Here Right Now, was so badly mixed radio stations simply refused to play it.
I wil partially agree and partially disagree. I think you are correct as far as just investing in the money and do it at home. Get the gear you need and work with people that share your vision of your music and production and simply do it at home. What I do disagree is, that its not always a big studio that is at fault but more that particular facility. An example would be an artist and or producer could have an excellent experience with engineer Bob Clearmountain at Eastwest Studios in Los Angeles but have an awful experience with George McLenon at Air Studios in London. And the opposite could happen with different artist at different locations. Also, Sometimes the Band or Artist can be A holes and rub the studio management the wrong way. I don't necesarily think its the big studio as whole thats an issue but more the personnel running it. At that depends on the studio.
I understand your feelings, my first real studio experience was also very frustrating, except i was not producing the album it was a collective effort with many beginner band including myself, i was the keyboardist and also the co writer of some song and my mate who was the lead singer could'nt sing what i have made for him, so they let me sing his part on a costly Neumann valve mic not the U47 but a costly one beyond 3000 euros, this thing was not made for my Big voice , at the time i didn't knew the problem now i only sing on Dynamic or Ribbon mic because of that, i could'nt handle the proximity effect with that fucking Neumann, i mean it's great for soft voice or an orchestra, but not for a strong rock singer voice like mine, the other frustration is also they totally change my keyboard part with MIDI editing and overkill effect that was not necessary, but again
I was not the producer that give the money so i shut down my mouth, but i was terribly disapointed by the finish result, it was realy a luxury experience, but an awfull one from an artistic point of view they kill our creative point of view because we where teenager and didn't pay for the project.
It has nothing to do with being in a "big" recording studio. It has everything to do with your engineer/producer.
The engineer was useless correct. but as I explained the lack of daylight and natural surroundings is a massive influence on things. as I say this was a band studio not a house music one.
Great story, can we hear the final mix?
the final finished version I did is here below, the version on the DAT from Olympic studios is not possible as I no longer own a DAT player. But here is the version we did.
open.spotify.com/track/7ea1oAOQck3n6OZmkFDZEA?si=9c349877aa1b4e5a
@ thanks, that’s a MASSIVE track to remix (see what I did there). My jokes are about as good as my production skills.
Yes. TWO events. One in College and one in the workplace. Also in 2000.
Knew he was British before I heard him speak 😂
And your point is? 🤔
Your manager & mix engineer were the problem. The natural light issue is a thing. I would assist no less than 14 hours a day & took smoking breaks just to go outside despite not being a smoker. A professional doesn't get stoned or drink.
@@copetill7896 yes completely. I guess the point I never made is that the studio was nothing bad. It was state of the art, But it was a band studio and not the best setup for what I was doing So that's what kind of left me feeling disgruntled about the whole thing.👍 And the engineer on the gear 😂