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<  Deep Prime  ~  Lustmord as producer

PostPosted: February 18th, 2009, 2:17 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
B,

I have a question for you. Just out of curiousity, have you ever thought of or been approached to produce albums for up and comers doing material that could be similar or comparable in ideas to your own work as Lustmord? I know you do work with others, as we've seen in your successful collaborations, but thats not what I am referring to...

I am asking if you've ever thought of producing new talent, new musicians that might be working on their own soundscapes or ambient material that could use someone to produce/master their albums?


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PostPosted: February 18th, 2009, 5:10 pm
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
I'm very open to producing others, though I'd find it more interesting/worthwhile to do so on something that wasn't "soundscapes/ambient", though I'm not averse to working on that style if it's something original.


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PostPosted: February 18th, 2009, 6:52 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
How do you pick projects like that? Is there some kind of criteria, status or experience they'd have to have before you would consider producing an album?


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PostPosted: February 18th, 2009, 6:57 pm
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
No set criteria, it should certainly be fun and have some potential that I could help with.

Or if it's really terrible there would have to be a suitcase stuffed with used $ notes, (high denominations only) just to make it bearable.

Basically I'm open to all kinds of possibilities, it's a matter of being asked.


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PostPosted: February 18th, 2009, 7:19 pm
Posts: 45Joined: December 26th, 2008, 8:04 pm
B wrote:
Or if it's really terrible there would have to be a suitcase stuffed with used $ notes, (high denominations only) just to make it bearable.


HA!

NOT monopoly money I'm guessing


Last edited by Em on February 18th, 2009, 7:23 pm, edited 1 time in total.

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PostPosted: February 18th, 2009, 7:22 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
haha nice....so you'd produce a korn or limp bizkit album if paid well enough, huh. i suppose that was brian eno's reason for working with coldplay and u2. eck.

the main reason why i am asking, other than curiosity of course, is that i have been working on an album for an indie no-name label, and am nearing the end of the material...but to me, overall, it needs something to make it full - rich - deep.

the material is something i enjoy...but i don't know what it is that i am just losing in the overall mix.

i am not asking it of you to take a listen to my work or assist in the final production at all, as i am sure you have MUCH better things to do than mess with some no-name nothing project...

buuuuuut i am just curious as to how someone like myself who doesn't live in LA, isn't part of any kind of music business can have something finalized and mastered professionally for a real release by someone who enjoys the material?

i know i can send it off to a studio and have an engineer master it out for a few hundred bucks an hour...but i always hear of guys working together, one writes the album, another gives it the rich overall studio working and bam you have a record. if you do something like that are you still paid up front by the person you've produced? or do you do it as a labor of love, and if you make money great if not at least you were attached to something you enjoyed?


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PostPosted: February 18th, 2009, 7:54 pm
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
This is a very different question than the original.

I can't comment on what your music and/or production may or may not need since I'm obviously not familiar with it.
And as for being in LA (or anywhere else specifically) it helps to some degree I suppose but it really doesn't have to be an issue, especially in this day and age.

As for getting paid for production, yes there's obviously a fee, as it is a professional service and such things take time, experience and a personal aesthetic (which is usually what one is paying for).
It's normal for a producer to get points, and like most things, the details are negotiable.

On a personal note, of course I prefer to do things as "a labour of love", but the reality is that the bills still need to be paid.


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PostPosted: February 18th, 2009, 8:05 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
i understand, i am veering off the original path. i am curious about you producing others' work because your attention to detail in sound is unmatched, and any works you would produce i would be interested in listening to...that was the original intent of my question.

the second portion, my follow up, was because i am taking a break from working on a track and so my own work was stuck in my mind as well...how to go about finishing out this album when i have done as much as i can and so on.

i enjoy indie releases that have impurities in the recordings, it makes them sound raw and fresh...but for the material i have created, it needs clarity and professional-grade mastering, i feel. i just simply cannot afford it up-front for any producers i've met or found online, plus none of them so far are guys i could trust to understand where i am going with the material...

i suppose my best bet is to learn how to finalize a record...how to master it. i don't know where to start on that, books & high-grade software i suppose. if i could afford you, i would LOVE to send my work to you though....that would be incredible! since i can't afford that sort of thing, i will attempt to learn it on my own well enough to satisfy my needs for now.

as a producer B, do you go through any sort of routine with material that is already written and possibly already recorded...meaning do you listen to the material for days and weeks before working on it? do you just dive right in? do you have lengthy meetings with the person(s) you are producing to find out the end goal, or do they just hand the material over and trust in your judgement?


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PostPosted: February 18th, 2009, 9:17 pm
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
It's very much a intuitive thing for me ship, I just give it a quick listen and get on with it.
I just know what I like and what could be improved (to my tastes) and act accordingly.


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PostPosted: February 20th, 2009, 5:45 am
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
Is it possible for me to ask, without being rude at all, what would typically be charged of finishing an album? I'm not asking for specifics or for what you might have charged any particular person in the past - but what is someone typically facing if they have an album finished as far as material and then hands it over to a studio engineer to complete?


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PostPosted: February 20th, 2009, 7:15 am
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
An engineer wouldn't be handed an album (or track) when complete but would be instrumental is the recording.

What that person would costs depends very much on their experience and abilities, the individual, the project and amount of work required.

You may be confusion what an engineer does and what a producer does.
Or, if it's a finished (mixed) album that you have you're looking for mastering rather than either of the above.


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PostPosted: February 20th, 2009, 10:05 am
Posts: 167Location: EnglandJoined: December 30th, 2006, 11:44 am
Yeah, like you stated, I'd be much more interested in you producing music not associated with your own, e.g Melvins/Neurosis etc etc.


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PostPosted: February 20th, 2009, 1:56 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
yes, sorry...i wrote that rather quickly this morning. anyways - someone who masters the work out is what i am curious about....when the material is finished on the music side, someone who masters the album out.

i feel like my work sounds weak overall, it needs to be thickened. you can tell it was recorded on inferior machines...i was told awhile back that when someone masters it, they can give it more juice...more of a well-rounded, fattened sound. i don't know that to be true or false, just what i've heard but now i find myself needing to figure out just how to go about doing exactly that....

i guess thats where my curiosity has lead me at this point, tho i am sure it is a bit off topic at this point.


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PostPosted: February 20th, 2009, 2:48 pm
User avatarAdminPosts: 612Location: Los AngelesJoined: November 19th, 2005, 10:22 am
A fair amount can be done at the mastering stage to bring out a little more "air" and add some punch to a mix. But if individual sounds are weak to start with there's not much that can be done to improve that in mastering, it should be addressed at the mix stage (and preferably at the recording stage).


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PostPosted: February 20th, 2009, 7:50 pm
Posts: 219Location: TexasJoined: April 30th, 2006, 9:26 am
right, i can understand that. i have a very powerful synth and so the sounds themselves are thick & strong, you can definitely hear the mix. that isn't a problem. i just put it on in any regular CD player and you can notice a difference between what i have finished up and what a professional album sounds like as far as depth...i have the mixing done - the panning is finished, the volumes have been all leveled out...i don't want to just turn things up more and more, as clipping becomes an issue so i know its not a volume problem. i just need to figure out what to do next.

is there a piece of software i could try out that would help in mastering? is that possible? i learned in junior college that sound forge was used a lot in cheap studios to 'normalize' tracks and set a steady volume for multiple tracks, but i don't believe it has enough strength to master it out, does it? is there something better...more professional that would be a finalizer for a recording?


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