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Discussion in 'F.O.H.' started by rcg, Feb 27, 2010.
http://www.lsd-tonstudio.de/ clients section
Forced evolution sounds killer for example
He still uses it to this day
You'll have to ask them which ones they Recorded, Mixed and Mastered themselves.
And Jens Bogren too (well, I know he offers mastering anyway, so I would assume he's mastered at least some of the projects he's recorded and/or mixed)
Right. I'm aware of credits but, that's not what I'm talking about.
Are there any successful albums you own from these guys where they are credited with recording, mixing and mastering on the same album?
I'm not really trying to get in to a competition thing (that was not the intent of my initial post), but I did pm you my info.
...and I am not saying that someone can not do everything themselves and still have it sound good.
What I am saying is there are not to many, if any successful (generating cash) albums where this has been done that I'm aware of.
Here's a better breakdown of Andy's Credits.
Andy's Albums Credits
As I lay Dying
the list goes on
I'm mastering my shit now too and it sounds very good IMO, I'd like to hear a Pro master on it too, I think it will be better for sure but don't know if that much.
The success of a band is not directly related to the quality of the master, I think. If it was true, more than half of the bands I listen to, would have never been popular. E.g. Metallica, you know...
Exodus' last collection of new material, "The Atrocity Exhibition: Exhibit A", has sold 22,000 copies in the United States since its October 2007 release, according to Nielsen SoundScan.
...a bit underground.
Somehow I knew you were gonna go there. Maybe you should go back to gearslutz Tom. This is Andy's forum ya know. This place is all about underground! How many has Megadeth sold? As I Lay Dying? Fact is, Andy is one of the reigning kings of Producing METAL! This is a METAL forum.
Really dude, is about sales or is it about the quality of master?
Come on man. I appreciate you being here, but most of us are DIY people. To a lot of the bands that are here selling 22k CDs is huge! Of course if we were huge bands we would have people doing production for us.
(spoken in steve irwins voice)...wait for it......wait for it....
Very true...and that's not what I'm saying...but quality does count at every step of a production.
If someone records a great album and settles on mastering it themselves with ozone.. very little of these productions ever see the light of day.
It's always about quality..and I am not dissing anyone, especially Andy.
My initial post was only in response to someone saying that ME's must be hurting with all the presets coming out. That's it.
I came up diy and understand a lot about it , so please do not get me wrong.
This is coming from someone who used to record one of the original grind core bands "Anal Cunt" in the 80's http://en.wikipedia.org/wiki/Anal_Cunt
nah, Tom can stay. We're here to discuss and his opinion is highly valuable for me, even if I don't agree sometimes.
And I can also randomly choose a band you Tom mastered and ask the same thing, but I don't want to play that game as I explained before.
BTW, you could name the albums of the bands you mention in your clients list.
just to know better of your work
I see where you are coming from, but that isn't the point.
At least how I see it, if I use Ozone, it is to get my home studio stuff as close to a prolevel as I can. Sure it won't be perfect, but at least it is better than just a mixdown. Once we you get bankrolled, of course you won't be using Ozone to master. It is all based around the level the band is at. As my band gets bigger, we are able to spend more money on bigger and better expenses. At this point, and yes it sucks, my band can't even afford to goto a real studio. This is why I am doing everything at home.
That 500 or 1500 you talk about is a lot of money to some of us. It isn't like we are looking for Capitol Records to pick us up.
waltz mastering: I am surely one who appreciates good sound quality, but seriously, when has sound quality EVER been a factor of success or determined if these productions "ever see the light of day". The amount of completely shit sounding major label releases is HUGE because the girls listening to myspace quality on their little laptop speakers, the guys listening on their bass-heavy car stereos and everyone else listening in clubs and bars on shitty PAs and speakers don't give a shit. They just wanna sing along, dance along and bang or nod their heads.
But those little ones did.
Furthermore, maany people use Finalizer as Andy and Lasse but Ozone has much much better reviews, I still haven't had the chance to A-B them but I will soon.
Maybe I'm convincing myself
Peace. I am not here to promote myself, although I have worked with artist as diverse as Anal Cunt (as mentioned) to Jame Labrie, Nuno, K Richards. etc. and many I would rather not mention.
It's just the statement that presets in Ozone must be hurting ME's that set me off.
I am all about working with indy artist and go out of my way to be affordable.
Anyway this is starting to get a little out and Nascar is coming on, but I enjoy the forum and will make sure not to stir up "to much" trouble. ; )
IME the people actually pushing for professional mastering these days are the labels. Most larger mastering houses have cut deals with record labels, booking agents etc... to master the work they publish for a cheaper penny. When I mix for big labels like Sony or Warner the stuff always goes to the same mastering houses, no discussion about it. It's just a part of keeping a fast and effective work flow.
Like smy1 says, quality of sound has never? been a big factor in breaking a band. And to be honest... the perception of quality... I think very very few people actually has any idea about it. It's too easy fooling even the most seasoned pro that he's hearing a $10 000 piece of equipment when it in reality cost only $100, so I think it's a very safe bet to say that what you have doesn't matter.. it's how you use it.
With that being said...
The small differences in perceived quality you might get from very high-end gear doesn't matter to most people other than the ones being very emotionally invested in the project. To the average listener/music consumer it will not matter. IT WILL NOT MATTER!
Therefore... spending money on production, mixing, mastering should only be viewed upon as a means of personal satisfaction IMO. That is the most healthy way of looking at it since in terms of success, it's the least important thing. uke:
wow, honestly this is literally the exact response i had in my head but could never have put into words so well ...