With all respect, I think both of you guys are presenting anecdotal evidence. Both sides have excellent points - inspiration, marketing, distribution, competition, intellectual property, risk vs. reward, life/ career trade-offs, etc. These are just some of the factors in the equation, but which weigh more? A good economist can probably fairly easily create a study to dig into the actual data and determine the answer, if it hasn't already been done.
Yea Dave, pretty much spot on, and I really didn't disagree with Rich's comments either, I still play for the personnel satisfaction it brings. In fact I am putting together a little Project Studio, bit by bit, as funds become available, but as far as getting out there, playing live, improvising within the songs, and getting that band/crowd action/reaction synergy/energy thing going, well... it has become a net-loss in a lot of areas.
As far as the "new economy" point I was making , you really would have to live in Mid Michigan to grasp what is actually happening here, it is truly devastating.
The people that used to work in all of the factories here were over 50% of the die-hard crowds that wanted, and DID go hear a good Rock-n-Roll band in numerous clubs EVERY weekend, like clockwork! It was great! But the amount of clubs closing, or not offering live music, is sadly very large.
Enough of "woe-is-us" and back to the main topic of this great thread. The studio monitors someone mentioned earlier in this thread were the dreaded Yamaha NS-10's, now I'm not knocking Yamaha (fine company), but these particular "industry standard" monitors in some cases are so bright that engineers would frequently tape 1/8" or more felt over the tweeter to "improve" the sound! (or maybe to protect their ears from fatigue/damage) LOL! Now how that monitor becomes a standard is beyond me, but it is hella funny!
I think my favorite quote in recent memory went something like this,
"I used to be an audiophile... until I found out what the studio did"
Now that (to me), just goes to show that beyond flying a couple of really good condensers over an orchestra, or ensemble and leaving all EQ's etc. flat, is going to be a recording manipulated by someone's SUBJECTIVE ears/equipment/bias's/knowledge/budget/whims etc. It's just that some do it better than others, depending on YOUR subjective tastes.
Anyone that wants to find out what makes some recordings "what they are"
needs to read a book like "Behind the Glass", and learn for themselves why (for instance) Alanis Morissette's vocals were tracked using a $10,000 vintage AKG C-12, and why Paul Rogers of Bad Co./Firm fame's vocals, were recorded (final take BTW) with a HAND HELD $100 Shure sm-57 , in the control room with monitors blaring, all mixed into final! And that's the keeper track that get's sent to press!
To sum up: I've been a music "FREAK" straight out of the womb, and can still remember almost jumping out of my seat at the first release of Edgar Winter's "Frankenstein", pumping out of my older sister's MONO dash speaker at the ripe old age of 7. A lot has changed since then, and music appreciation has not kept up in/with the masses that it once did. I think that ML has tried to re-ignite musical passions with a great line of products, and I hope they never stop! I just hope that we don't lose perspective, and try to preserve the reason that led us all to this place... a love for the thing that moves us all... THE MUSIC.
Cheerios, mofo's
Steve
BTW As always... correct me if I am (factually) wrong, later.
