Corrective studio tools lowering musician talent?

[i am monster face]

Yeah. I was thinking that.

I am sad that I won't get to see the MLA form source sheet that says "Quote, from I Am Monster Face".

Also, isn't weird is that these are people who are going to be growing up and running studios and our live sound rigs. Does that kind of freak out anyone else?

These people aren't coming here for help with actual audio production. They're coming here to see what people have to say and instead of actually thinking about it. I understand this happens all the time in academia, but I just don't imagine many art students ripping off "How to paint well" papers from art forums.

[JohnDavisNYC]

they won't be running any studios....

they will be hanging out at clubs, saying they are an engineer and offering 'el blanco' to any musician who will have a drink with them...

john

[i am monster face]

they won't be running any studios....

they will be hanging out at clubs, saying they are an engineer and offering 'el blanco' to any musician who will have a drink with them...

john

Oh yeah, I know those guys.

Ha.

[i am monster face]

Wait, that's not what I meant.

[LVC_Jeff]

I disagree, because when I record myself playing guitar, it sounds like crap (and that's not just me being hard on myself), but my friend playing guitar with the same setup and same instrument sounds great. No amount of correction can make me sound good as a guitar player.

But I do agree that the possibility exists for musicians to become lazy if they see you fix something in the control room...

[percussion boy]

1. Totally agree that if I'm doing someone else's project, I should make it sound how they want, "by any means necessary." They will still have to play the stuff live, or at least lipsync passionately.

2. Remember that before multitrack and computer crutches, many pop musicians didn't even play on their own records, even though they got the credit. That's really dishonest. Not that I wouldn't like to have Bernard Purdie ghost-drum for me too.

3. What about when the fixes hurt the art? There's a lot of intentional fucking with tuning and timing, on purpose, by good musicians. Not all pitches are supposed to be equally tempered. Not all eight notes are supposed to fall right on the grid. Nuances are different than fumbles. {Afterthought: this kind of creative precision prob'ly is being lost by young musicians who rely on cybernetic repairs. You have to be able to play accurately before you can tweak the details. Learning to play accurately is a lot of trouble, especially if you know you can mouse-cheat instead.)

My $35.

[lionaudio]

I think it helps promote musician's not being able to play their parts correctly in the same way that using a tuner makes people more tone deaf.. it doesn't.. the fact that i CAN move drums aroung with editing simply means that if the band is running out of money/ time, we can take the best take that there is and make it sound like they want it to sound.. and that's only IF they are running out.. I think that if studios charged less per hour, or charged by the project, musicians would be alot more into playing it until it is right instead of getting a take that is kind of good and moving on to the next song.. some musicians are lazy.. period.. Some engineers are lazy as well.. Some doctors, too.. nothing makes these people lazy.. they just are.. auto-tune isn't for me.. i would never use it on my own voice.. but as an engineer, I will auto-tune the farts of a sumo wrestler if that's what is on the agenda for the day..