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"A copy of ableton and a mac right now is better than a $500,000 studio in 1987"
So probably it's an exaggeration. Still, maybe it also gives some perspective to complaints regarding the iOS music-making ecosystem:
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My first computer was a ZX Spectrum and I rember producing my first few notes on that machine. I remembering thinking wow, just wish I could go back in time and show them my creations on th ipad.
I was making music back then. Better? Maybe. But lets be real.... no way as creative and original as back then. In many ways we’re still living off what happened then. Hip hop, House, Electro... you name it.
BTW, I still want a Fairlight.
I didn’t read the article yet, but have read other things that make the same premise. As far as computing power, yes. But there is much more to a studio than just the recorder or synths. Service, staffing, top shelf analog gear before the recorder, amazing rooms, cross collaboration by people being in the same studio complex as others, and many other things.
But, there is definitely no impediment to making music these days that isn’t self imposed.
Tomorrow I start teaching introduction to music technology and audio engineering 1 at a college near me and iOS will definitely be discussed as part of music making. I’m looking forward to learning what 18-20 year-olds have been doing so far in their music journey, I’m sure there’s going to be a variety of interesting experiences.
To teach the audio engineering class I had to get protools again and remember how to use it- the manual is over 1500 pages! They must be kidding... the last few nights of frustration make me remember why I stopped using it back at version 7. In fact, the manual addresses playing back your first tracks on page 400 something, and recording your first track (as in 1 track in a production) about 40 pages later. I’ll be about 1 week ahead of the students with operating that thing...all while helping them explore alternatives that might lead to actual music being made...😂
Lol, well we all have our complaints, mine are mostly minor in the scheme of things, but having started off with a 4 track and whatever drum machines I could borrow until I could finally afford to buy one and then move up to a Roland W30 workstation, I’ll always be amazed by what we have today. Though younger me was definitely completing more songs complete with lyrics. Maybe I was just more prolific in that department back then. Or not having 40 plus tracks to work with had something to do with completing more songs? 🤷🏽♂️
But some people just won’t see how lucky we have it, and I really don’t blame them for not knowing what it’s like to be limited to 4 tracks and having to bounce to get more lol?
I was talking to my nephew one time and was telling him about how we had to share music before we there was the internet and he stopped me in mid sentence and asked “what do you mean before there was the internet???”
I literally had to lol because he really didn’t know that the internet didn’t always exist 😂😂😂😂
Id love to hear this generation telling the next few generations how lucky they have it compared to what we have now lol.
I’ve had several home studios throughout out the last few decades and would never have imagined back in 1991 that one day I’d have an entire studio in something like the iPad and be able to take it anywhere , on top of everything else it can do like editing videos in apps like Lumafusion .
Get to it skipper. You'll learn likely as much as you teach
Let us know how you get on.....
Recently I was watching a New Zealand TV show about Crowded House. At one point they played the band's demo of "Don't dream it's over", which I think was NZs first American #1 charting song.
I was astonished how bad the demo was, just muffled sounding and dull. And was really surprised that pro musicians who had been in recording bands with record deals were doing really shitty sounding home demos to play to management etc in the mid 80s. Still, that is eons ago in computer years.
It isn’t surprising at all that a musician that already has a record deal (and a track record) would not invest a lot of resources or time in recording a demo of a song they are about to record in a great studio...particularly back in that era where a lot of musicians were recording their home demos on portastudios.
Unsigned bands and musicians with no track record have more incentive to record a polished demo.
The most important thing is how much power we now have.
Do you realize?
In the past (not so far away) to become a musician/make music, you basically needed to seriously educate yourself (in terms of playing instruments, learning music theory etc.) seek people who have other gear or to form a band, can help with recording/producing music and lastly to promote and distribute it for the world... It was like embarking on a life journey.
Today because of mind blowing computer power in your pocket, cheap - equally mind blowing - apps and widely available online learning materials, people can basically make studio quality music on their own and as a hobby.
That's a point of view of a total newbies (myself) who is in the music making game since 1 year. And enjoying it very much.
The world is changing and very fast. I would just say: find some quiet time to lay back, to take a wider look and see the good thing in all this.
Cheers to all hardcore musicians on this forum!
What strikes me here, is how close this demo is to the finished article. In terms of content, arrangement and ideas, rather than the sound.
This is correct. For recording multiple mics across multiple takes, locked to video (or any other sync), with sub millisecond latency, it’s the only game in town. It has the best editing tools, best mix automation, best off-line rendering implementation, and uniform short cuts (I can go to any studio in the world and use it without a second thought). It’s not the best for songwriting, but to replace a tape machine and mixing console, there’s nothing that comes close.
I know the technology is great and the things you can do now with machines is really incredible. The ability to work just about anywhere and create a finished, professional sounding product is a big plus. The quality of gear you can get at the price point you can get it at is really amazing.
But, the vibe of being in a room that was constructed and dedicated to a big multifader desk with lights and knobs and meters with massive soffit mounted monitors and stacks of physical boxes that you patched in with physical cables is something I'm glad I've had the privilege to experience.
When it was still a magic place that you went into and locked away the rest of the world. To walk down a corridor filled with Platinum records of artists that had been in that very same room before you. Not knowing who you might connect with in those corridors.
I'm not sure if Ableton or Logic or any computer sitting on my desk is really going to match that. I'm glad we have the technology, but I just think it's a different thing now and it's not really a replacement for what was and I don't think it's necessarily better, just a different branch of the same tree - albeit a virtual one.
You can have a 500k studio or an ipad and a handful of apps, doesn't matter because skill, talent and creativity is free. That's what's needed to make great music and is rarity you can't buy
Couldn’t you replicate it these days simply with a very large clock plus a live updating readout of how much of the budget is left?
Is that the one where he talks about the rhythm on the acoustic (I forgot what they call it , but the exaggerated backbeat) and he plays a matchbook as the snare?
Well, I’ll find out...recording multiple mics in multiple takes with logic is very easy too. Editing audio is definitely protools strong point but it doesn’t mean I have to like it...😂
Thanks and I agree, when I was a social worker and therapist I learned a LOT from my clients.
As the saying goes, “it’s the ear, not the gear”