Cheap Audio Production 716
OneInEveryCrowd writes "Rolling Stone reports that four out of five new albums are now produced by a program called Pro Tools (or similar packages) that costs $495 for the home version or $15,000 for the pro version. The article describes a fairly amazing savings in time and effort compared to the older ways of producing an album. I realize that a talented producer can cost a lot of money and some bands drink a lot of beer, but why aren't the benefits of lower production costs being passed on to the consumer?"
What about Protux? (Score:3, Interesting)
Um, maybe (Score:5, Interesting)
ProTools is a large reason modern music sucks (Score:5, Interesting)
it's depressing how such a featureful tool is used mainly for evil.
Not as cheap as it seems ... (Score:2, Interesting)
1.) Microphones: It's very easy to spend $30K on mics for drums alone. Using cheap mics makes things sound like
2.) Recording Space: Without an Acoustically good space in which to record, it's easy to end up with a real thin "inside a tin can" sound.
3.) Engineer/Producer: Even in a high-end pro studio, results will be poor without some talented people running things (both technically and aesthetically.) Pro tools systems work especially well for electronica/hip-hop/modern r&b where real recording of real instruments are rare, but to get a really professional sound out of a live band, there are very few alternatives to spending some serious (sure less serious than even 10-15 years ago) money.
Re:Why? Hmmm.... let me think (Score:1, Interesting)
They have one themselves too: (Score:5, Interesting)
http://www.digidesign.com/ptfree/ptfree_qa.html [digidesign.com]
Free as in beer, obviously, and limited, but hey - beer good!
Savings? well... (Score:1, Interesting)
Besides, protools has been the recording industry's baby for years and years... It's not too new... (most refuse to use anything else, despite some of it's shortcomings)
To me, not much has become cheaper... And where things have become cheaper, the industry has found ways to stay expensive... *grin*
Re:Why? Hmmm.... let me think (Score:5, Interesting)
Despite the natural reaction to such a thread (I mean who doesn't want to bash the recording industry?) the fact of the matter is that studios are still very expensive. Add to Protools (which, in the configurations I've worked with, could easily cost over $30,000) all the other gear, and a studio can easily cost in the 100s of thousands to build. A good recording engineer isn't cheap either, nor is a good mixdown engineer. The best mixdown engineers cost several hundred an hour. All the design for the cover, etc. isn't free either, nor is mastering, nor are musicicans, for that matter. That, and as the parent post stated, there are many costs that aren't related to the production.
All but the most popular albums don't even make much money (for the artests at least), where they make their money is off radio-play, which goes to the artists, not the label. But even this isn't free - you need a publicist to get your work out.
All in all, the buisness isn't as easy as sitting down in front of a computer with some software. There is a complex set of variables, and making the statement that with the advent of ProTools, albums should cost less is a gross oversimplification.
here is the thing (Score:2, Interesting)
Re:ProTools is a large reason modern music sucks (Score:5, Interesting)
I think that it now needs different qualities in a producer to get good results with Pro Tools than it did to record with old style big desks etc., although the techniques haven't changed that much. Pro Tools essentially simulates using a very big and expensive studio in software, so you can do everything that very expensive studios have been doing for years. It does automate some of these things though, so that there is a temptation to over use some things.
Just using Pro Tools doesn't mean that recordings suffer from the afflictions that you've listed (listen to Martin Grech's "Open Heart Zoo" for a recording which certainly isn't over-compressed, and was recorded on Pro Tools, with just two instrumentalists).
Pro Tools is allowing my brother to record almost an entire album, where he plays almost all of the instruments (not the drums, but only because he has a drummer available, he can play drums), for the cost of a computer and the software/hardware, in his bedroom, and get a better sound than most people managed in the 1980's (from a technical point of view, I'm not diss'ing the 80's sound).
Re:ProTools is a large reason modern music sucks (Score:5, Interesting)
People don't realize that the best music comes from band interaction. the WHO who's music will live for a long time.. there band had a huge interaction amoung each other. same for Rush, Metalica and other very popular bands that feed off each other while creating music.
but to the topic, the money is fronted to the band, the band then is required to produce the tracks. how they produce the tracks is not related to the lable, if anything they should be able to produce more tracks for the album because studio time will be less and the artist keeps more of the advance.
Re:Why? Hmmm.... let me think (Score:5, Interesting)
Re:Why? Hmmm.... let me think (Score:5, Interesting)
It's not quite that simple (Score:2, Interesting)
Production budget for Lord of the Rings: The Two Towers: $94,000,000
I bet tickets were the same price to see each one in a first run theater. The cost of entertainment (well, anything really, but especially entertainment) is based on perceived value. The cost is however much people are willing to pay for it. The only way I see this bringing down the cost of CDs is that it is so much easier for an individual to set up a recording studio of their own and put out high quality (not quite professional quality, but much closer than a 4-track cassette recorder) music for a price that drastically undercuts the RIAA based music.
With today's software and fast computers, it's amazing the quality of stuff that can be put out with just a couple good mics, some time, and a good/creative ear.
Re:Why aren't savings passed along? (Score:5, Interesting)
What's needed is some system where the laws of the open market can be applied to an artform. One method might be to (drastically) reapply the first performance rules to apply simiarly to the actual publication of albums. The idea might go something like this:
The above idea is also very similar to the Brand Name/Generic Name drug markets (albeit with much shorter timelines, for obvious reasons). Record companies could still make their money hand over fist for new albums as they do now, AND not only cover the cost of bust albums with the high price of star albums, but they could use each other's older catalogs in open market form to help offset those costs as well. -And of course, if some other pressing company sells one of your albums, you get royalties as well, so your bust albums could even help offset your bust albums if/when someone else manages to sell them better then you. Furthermore it would open up a new business of the pressing company (which again could likely be an online only store, like Apple is doing, but without needing to cut deals with everyone under the sun, allowing startups to compete in a big player world).
Honestly I just pulled this idea out of my ass, but the more I reread my own idea the more I like it. Anyone see any major flaws in this thinking?
Why "Savings" aren't passed on to the consumer. (Score:2, Interesting)
As for ProTools being the cause of all music's woes, it is only a tool. Handing a chimp a paintbrush certainly won't make him Rembrandt. Over-compression is simply a bad production value, compounded by radio compression, or MP3 compression in some cases. ProTools is certainly capable of dynamics. Voice pitch correction? This isn't included in ProTools, when I last looked. There are other companies that provide pitch correcting plugins, but if you rely on those, you shouldn't be singing. Overdubs have been happening for years, since the advent of multi-track recording (Thanks, Les Paul!).
And Frankly, if a full featured ProTools system could be had for $15k, I'd own one by now.
Because Senators are expensive... (Score:2, Interesting)
Besides, the RIAA thinks 9 out of 10 songs are pirated anyway, so they are just recouping losses.
Get with the program, buddy. Work. Pay Taxes. Consume. Repeat.
speaking out of experience (Score:2, Interesting)
Re:ProTools is a large reason modern music sucks (Score:2, Interesting)
ProTools has its place (Score:2, Interesting)
I do, however, believe there is a place for ProTools (and Ardour -- the open source PT). I'm slowly warming up to the whole "PC" based recording, but more for the editing flexibility you are provided with. In the past, "editing" was just simply cutting out blatant mistakes, but now with the tools and capabilities with PC-based recording programs... editing, for me, now is part of the creative process (and not just clean-up).
As for the "over-compression" discussion earlier, yes most modern MAINSTREAM music suffers from over use of compression. My philosophy is that music should breathe. When I hear stuff today, I just notice myself repeating over and over "just let it breathe!!" Compression is a useful tool for taiming a wild snare hit or shaping a guitar track, but it should ALWAYS be considered completely TRANSPARENT.
Oh well, what do I know.
you will find your answers here (Score:5, Interesting)
http://www.prosoundweb.com/recording/mm/week1/m
This has by far been the most read and loved diary of an engineer on a major label project. It might take you a few days, but you will be entertained!
Plus you will learn that one workflow improvement for one cog in this machine doesn't amount to a hill of beans as far as what it take to get the whole project firing on all cylinders.
Lower costs ARE being passed on to the consumer. (Score:2, Interesting)
1. People who never could afford to record before now can.
2. You can get lots and lots and lots of LEGAL music for free, because of those lowered costs.
If I had to pay for a studio every time I wanted to record something... well I wouldn't.
http://www.somesongs.com
http://www.songfight.
Free music by real people.
I just record a disc with ProTools (Score:3, Interesting)
We were sitting in the engineering room, listening to a recording and thinking aloud what doesn't sound quite right, and the engineer kept up with our train of thought. By the time the song was done, he had applied most of our ideas to the song and we listened to it a second time, with everything as it should be.
I suppose I should provide a link to the song, even though I'm not sure if I'm pimping or backing up my opinion: Flipside [frontmoneymusic.com] - it's where your secrets went to hide!
If a tool like this can make such a great sound, the super-high-end systems may be answering a question nobody has asked in ten years.
Freeware Alternatives (Score:3, Interesting)
You can also find lots of free plugins and other apps at Database Audio. [databaseaudio.co.uk]
ProTools doesn't suck, the industry does (Score:2, Interesting)
Why by ProTools? Audacity is free... (Score:3, Interesting)
Re:ProTools is a large reason modern music sucks (Score:2, Interesting)
The fact that one of the most notable users of Pro Tools is Trent Reznor, does however show what can be done with it in the right hands.
If used correctly, it is possible that the only thing anyone could complain about is the digital routes of it all. Recording every line, in real time, straight in, tracking it in Pro Tools (or Reason or something if you don't run a suitable OS (damnit!)) and then mastering it at console like you would normally.