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I won’t be overspending on software. In fact i have a whole list of things I would do differently. I also told myself I wouldn’t be buying any orchestration software until I finished that course on writing for strings and orchestra that has been sitting on my hard drive barely glanced at for 2-3 years now. But some stuff is worth buying, I think. Waves CLA classic compressors, for what they are going for, for example, or their gold package. I find myself using the SSL channel strips all the time. I can’t speak on the Helix or Axe FX, but my ears have become accustomed to hearing a real mic’d amp that I can’t go back to amp sims now. But I could go with IR’s and a good reactive load box. A good preamp, and maybe external compressor. eq, instruments on my list, like a banjo (you can find a decent one for the price of a similar VST), a dobro, a better mandolin , other flavors of guitars. Percussion stuff, like a cajon, maybe some good but inexpensive bongos, etc. Anyway, point is, nothing wrong with reinvesting in pro gear, where you really think it might benefit.
Nothing huh?
Yeah he’s burned out and needs a vacation, and has listened to way too many terrible submissions. Maybe it is an echo of where composers are in their development – I still would give composers then benefit of the doubt, in that I don’t think they think at the time when they are submitting that their music is terrible. Maybe they haven’t done it long enough to be their own filter. Maybe submitting crappy tracks and getting your butt kicked by the rejection fairy is part of the learning curve. Maybe asking for gold with everything you listen to is a bit much when you ask us to work but don’t want to pay and only share commissions after the fact. If other professions took in clients who saud, I am only going to pay you (but actually you aren’t paying me anything are you) until they people I work for think you’ve done a good enough job they may have a bit of a quality control issue themselves, you think? I submit there are are quality control issues on both sides of the fence, but that’s just me.
If the sounds are there, and the price is the same, think about what specifics you are looking for. I sold my Yamaha MOX (and I’m not even a keyboard player) and at that I am sorry I did. If you are trying to choose between Yamaha and Roland, what I kept hearing consistently was that Rolands are more “synth ” oriented, where the Yamaha’s are more about acoustic sounds, pianos, etc. On the other hand, I still wonder how much I would have used their sounds as I have quite a bit of sounds (arguably better ones) at my disposal now.
I’ve heard good things about the Warm pres. But Great River…..yes I’m getting way outside my price point but jeez…
These resources should keep you busy for years:
Books: Mixing Secrets For The Small Studio
Bobby Owsinski The Mixing Engineers Handbook:Web: Graham Cochrane Recording Revolution
Music Tech Help guy – anything on Pro Tools or Logic
(youtube)
Michael White (youtube, anything mixing with mike, also a great
paid site thanks for this Denis Woods)AH, just a word bout the chair…yes the Aeron chairs are expensive. But when we first came back to New York, I through myself into recording and spent a lot of time in a kitchen chair at my desk. Then a lot of time not in the chair due to doing something to my back, twisting it, something…and went and sprung a couple hundred dollars on a proper office chair. Yes if you spend more then an hour or so at your desk, then I would say go with the chair first. Let me (us) know what you think of the Aeron if you get it.
Thanks. The guitar may be more practical as I would definitely like a backup to my music man, especially for gigging or when it needs to go in for some work. But I am thinking the most bang for the buck would be the preamp, since I am pretty much micing everything now. Although I could go with a used standard Tele, I played a 60s Baja Tele that I fell in love with.And they can generally be found used for less then $600.
ANd so what if I’m a little rounder then the next guy….
My plays were all in 2015.
Also, watch the timewasters, and the little things that look like work but are anything other then writing/mixing/ production/etc. Make a note of how often you pay attention to little timewasting gremlins like, checking email, facebook, cue sheets , your phone. I find that I do that when i am stuck for ideas…like now, for example. Here’s a question: what do you do when you current project has hit a roadblock? How do you move it forward? Probably related to what is being asked here.