As any musician will tell you, the money just isn't there anymore so the current preference is absolutely the DIY route. If you're coming into it cold there will be a steep learning curve but it's not insurmountable and to any dyed-in-the-wool engineer of a certain age (who thinks the Foo Fighters are cutting edge) and says you can't make anything decent in your bedroom, I'd say two words - Billie Eilish - along with any other number of singer/songwriters I could reel off. Domestic rooms are actually pretty good spaces to record in as they're by definition full of soft furnishings etc. making for quite a neutral sound. Real drums? How quaint. Joking apart it's not true to say rock is dead - it's just not relevant. The state of play is Dance, R&B/Rap + Electronic. Genres that will typically have programmed drums. Live performance (remember that) is where you'll be assembling the 'real' musicians (including maybe a 'drummer' lol) to reproduce your songs but if you actually need any 3rd party input when composing they'll most likely be doing it remotely anyway then emailing you a file. Other thing to say is no-one in their right mind would build a 'traditional' studio now anymore - unless it's a vanity project. The days of the racks of hardware & the intimidating console with 48 channels are over. Plug-in emulations are as good as their real world counterparts now. There's obviously a place for studios like AIR and Abbey Road but that's more about the spaces - oh no! We've come full circle.. End of the day - does what's coming out your earbuds sound any good? That's all the end user will care about.
I started more than 10 years ago as an artist to learn mixing to avoid studios and now that i am good enough for mixing i forgot how to compose music. Being an artist is way better than being a mixing engineer, i am sick of polishing other peoples turds. I need to find the courage to be an artist again or i will quit mixing altogether and find a regular day job
I firmly believe that there's a 3rd solution to this issue. In our world today I don't think starting / not so famous bands need to go to a "recording studio". The best thing to do as an producer/audio engineer is to record at the band's rehearsal space and mix it at your studio (where you can't do the recordings). I've done great recordings this way for local bands and they were blown away. The trick is to have the perfect mobile gear and knowledge to capture the sound you'll need later for mixing.
It depends on what type of music. If you're doing electronic music with the occasional guitar, bass, or vocal, record at home. Especially if you're using the recording process to write. Who can afford to write in a professional studio? If you're cutting tracks live with a band where the songs are already locked down then a professional studio is more of an option. I've been recording at home since the 90's. I personally love it. It's less intimidating and I more often get the sounds I want. I've paid to have things professionally mastered but even that has been a mixed bag. I do all my own mastering now. Great video though. It accurately nails both sides.
Fantastic video! So I am a songwriter/musician with a lot of song ideas, I first work out on guitar. I don’t have the money to even record one song at the best local studio where they treat you like a number in the south of the Netherlands. That is why I decided to spend my money on a new PC and home recording equipment. To try to translate to the world what is inside my head. I made a screenshot manual with all experts tips what to do. And now I want to see, how far I can reach. Will it just be good enough to be a bit better than a guitar demo to remember the melody. Or can I be good enough so others want to come and sing their vocals to my track at my home “studio”. But yeah the complicated thing is to get going with good gain signal for my guitar and the right mic. From there on I can build with other instruments, and try to get the mix, compression and mastering right. Right now, I dunno, and I am already busy not doing anything helpful a longer time. On the other hand: paying to build on my guitar demo in a studio sounds unaffordable. But yeah I’d much rather be creative and think of songs then spend so much time in the quagmire of sound engineering. Right now, I’m just happy, with one thing that works, always. Yet indeed, practice makes perfect and I just wanna see if my own end result will be acceptable to me. I now know at least so much more than when I just started out purchasing the first gear.
Yet also: Benny Andersson from Abba spent his whole life in the studio. He has a classic big one. But he used to rely on Michael Tretow the sound engineer to create the right sound, pushing creative things to the extreme. Now Tretow is gone and on the new album Benny does it all himself. Yet the sound is lacking. Optimized for Dolby Atmos, he says. But at times muddy. Also, Jan & Dean and Brian Wilson recorded great music in their garage in 1958 just with one mike and two tape recorders. It sounds good. Same can be said for home demos with Barry Gibb on guitar, Albhy Galuten on keyboard, and a drummer. It sounds great, like an album. It’s confusing.
And the 3rd option, record what you can in a home studio, recording keyboard is not dependent on the room, it won't annoy your flat mate and good two channel interfaces are easy to come by, and if you record in midi, you can blow it out at a studio. Iso Cabs are great for recording electric guitar, you can get great bass tones with a noice valve pre, ART has one that's not too expensive. Depending on the style drums, vocals, acoustic piano, horns and organs can be a challenge, but if you have the space, and it's treated, it's possible, but if you're working to a click, it's easy to move between home studio and pro studio doing a single instrument at a time. However, if you're paying for the studio, do the rhythm section together.
Taste is irrelevant. The top mix engineers don’t all love the music they are mixing or would choose to listen to it out of choice. But they do love the process. And they do have a deep appreciation for good music, irrespective of personal taste. I personally don’t much like thrash metal. But I can absolutely appreciate the art form and I can definitely tune into the key aspects of a song/arrangement in order to capture and mix the music.
Haha! Such a great idea to play your own devil's advocate. Really cleverly written (and acted). I've done plenty of home recording which I hated at the time, but in hindsight, love the intimacy and idiosyncrasies of. I've also recorded in a studio where an engineer pointed 9 mics at my snare drum and I've hated the clinical nature of it, only to really love that snare sound in the end. Professional Studios will always be a thing as long as there are people with good ears that won't accept mediocre sound.
Even before DAWs I didn't see the point of spending a fortune to record songs. Investing time in knowing how to do most of the process yourself made more sense.
I agree with Sam: I have gotten a great deal of enjoyment out of learning how to record and building my home studio. I was lucky enough to have been befriended by a studio owner; he took my band under his wing and let us record for free. I learned a lot from that experience, but I had already been interested in doing the recording myself, I just couldn't afford the equipment. So, I do my own recording because I enjoy doing it. But if the main reason for doing it yourself is that you think you'll save money, then you will probably end up with a bunch of mediocre gear you don't really know how to use, less time spent writing songs, and a bunch of inferior recordings that you aren't really happy with.
Bravo, Sound On Sound magazine and Sam Inglis! Loving your points of view and expertise on this (especially) brilliant video, as well as the earlier ones, like the bits on headphones and about studio session savers. Your droll sense of humor and deadpan deliver are refreshing. Keep following your muse, mate - and keep sharing your insights here. Subscribed. Cheers!
Lots of valid statements. I'm a drummer ánd small time mixing engineer. I didn't understand mixing at all, until I took real-life lessons from a experienced professional. No UA-cam courses, let alone plugin tutorials, could ever match that
It depends on what you are recording i think..Most of my stuff is acoustic fingerstyle guitar..So I bought mics and preamps that I use for that purpose..If you try and learn to record your own music sort of like a niche, you can do it..But you grow as you do this stuff..You do it with what you have..I've had friends spending 30 ,40 grand in the studio . Sounded great, but how do you recoup that investment? Unless you are touring a lot, you don't..But there is something beautiful about slowly learning how to record and getting advice along the way from people that have done this a lot..In film making for example, you can go to school, which of course is great if you can, But when you are out of school, you still have a film that first film of your own..what i run into a lot is people that hang out with people that are very experienced in their field, and then the person thinks they will never be that gifted, so they give up......work with what you have..There is always going to be some one more talented..So work with what you have...
At the end of the day it balls down to our level of efficiency and productivity. Everyone's different. We learn different, we receive instruction different. I say, have fun, don't use your rent money and enjoy the gifts we've been given.
I had a home studio set up...I spent a lot of time learning how to record and use the DAW, and guess what, got ok sounding demo’s , which I would have to take to a real record studio to get the right quality sound. Plus I spent more time working out how to record than playing my guitar( not good) I have written some new songs which I am going to record in a studio..I am songwriter not a studio engineer Play to your strengths
That was hilarious (and thoughtful)! Sam reminded me of the character 'Holly' in Red Dwarf. In my opinion, just the act of going to a Studio with a good live room and a good desk room really elevates a band to do something special. There's nothing like doing an overdub in the live room and getting the thumbs up from the rest of the band behind the glass in the desk room. Part of it is having all the good gear the studio has being available to you to. Just make sure that you have rehearsed the living daylights out of everything as a band before you spend the money and go to as Studio. It can be all over in a couple of sessions... and it'll sound awesome!
Sam Inglis: darkly humorous; eminently knowledgeable. Alongside Robin from Molten Music Technology, Sam creates arguably the most entertaining and captivating videos on music production/music technology. Bravo.
You forget one important thing: There are now thousands and thousands of bad studios right because the equipment has become so cheap. Choosing a good studio is very hard for the average person. If you live in the USA then I would suggest singers to buy and do it yourself. The now-days over-editing by American studios make EVERY voice sound flat without any depth. They all sound the same. In other countries maybe a real studio is better however real imperfect sound can have real charm. In you video you take drums as an example. Now that is also the hardest instrument to get right... oh well maybe also the acoustic piano. Conclusion: Try it yourself until some record company is willing to invest studio time for you because a cheap studio usually is crap anyway.
This was surprisingly well done 😂 Good points on both sides. I’d say recording at least one (good!) song in a proper studio is very important, just so you see what it’s all like.
Great points. And, as someone who has been a working musician, songwriter, and pro audio engineer for nearly 40 years now -in both home and pro studios alike -I find all these points to be valid, and certainly worthy of discussion. But, the one thing that REALLY stood out for me in this debate, that which caused the greatest reaction in me, and won me over, was the part about the fish. Because now I want fish. Deep fried. With chips. And malt vinegar. Oh! And a nice lager to go with it! But by all means, feel free to continue the debate...while I eat my fish and chips. 😉🙏
This was brilliant- but you needed a third twin ... or I suppose that would be a triplet wouldn’t it. He (or better yet, she) would have argued for the hybrid approach. Get some basic recording gear, enough and at a quality level where you could lay down your basic tracks on your own (where in fact a LOT of studio time gets chewed up) and then mosey on down to your neighborhood recording studio where a skilled engineer can help you with some trickier overdubs, maybe the vocals and then mix it all down into a well crafted, release ready recording. She would have won this argument hands down!
Very well argued on both sides but one thing was left out. The human "chemistry" or lack of it. Not every engineer in my experience has good people skills even after 30 years experience. Some do of course but I don't think you can take it for granted.
.....er...well, quite. Anyway, I'm old and crusty enough to remember when this magazine was called 'Home Studio Recording' and I will always extol the virtues of 'home recording' that this publication so vehemently adheres to. Or not.
We were never called Home Studio Recording. That magazine was owned by another publisher we worked for back 1985. We left that company and started SOS as an independent mag and we're still here today some 35 years later!
If you have the time and the dedication to actually study, practice, and learn about audio engineering and mixing at home, then doing it at home is an investment and makes sense. If you’re not really committed to learning engineering and mixing and just want to get your music recorded and released ASAP, you’re better off going to a studio (or hiring a mixer, etc...). I was fortunate to have an extended period off work about 15 years ago when I began home recording and used that time to study, learn, and practice (and continuing to do that ever since). But I get that’s not a common scenario. I see too many people making music at home for release who don’t know any of the foundational basics of recording or mixing, e.g., how, why, and when to use an EQ, which type of EQ to use when, what compressor settings mean, what a compressor actually does, etc.... Ultimately it ends up shortchanging their music, their art. We all start out not knowing those things but if you’re not interested in learning them or don’t want to take away that time from your writing or song creation (which is understandable), then use a studio or hire a mixer. If you can’t afford that and you’re not inclined or committed enough to spend the time to learn it yourself, then you just have to accept that there is a relatively low ceiling for how good your music can sound. If you’re good with that, that’s perfectly fine.
Some of this makes sense for the average person,BUT>>>>>.I learned by being a performer and we had no roadies.The musicians taught me who to set up their gear,their instruments,and I sat by the board as well.It's NOT as hard and does not take forever,if you take it in,be quiet,listen,pay attention,and then practice it.Learning from a LIVE engineer is WAY more essential because he/she has to be able to use ANY space,ANY room,on the fly.Just having ONE or even two spaces in the same building is actually great,yet places you in a box,because that space will not change,unless they do actual construction.Yes,things take time,yet that's like saying you cannot become a great cyclist on your own,and you must have a coach around you all the time.No matter what space I use,it;s better for em to have hands on experience,because I know what sound I want,and then,if I need help,I can bring it in,or visit my friends' studio,and learn some more.The commercial studio USED to be the go to place,yet once Mackie started making great mixers,samplers got better,and since you can collaborate online,you do not even have to be in the same country while making an LP/EP.That was back in the days when we basically only had Atari and then Apple computers for making music,yet now,PCs smash anything out there.Now,that being said,if I need live strings,if I need a full,huge band,or for mastering,i would go commercial.
I would say it only makes logical sense to record yourself if you aren't pursuing music on a professional level as a hobbyist/ inspiring Artist. It makes much more sense to hire a Pro Engineer or Producer if you are really serious and on that level. As a Multi-faceted Producer myself I work with Artists on a budget and quote them a reasonable fee for my production services to keep it affordable. Rarely a Record Producer would charge by the hour like an Engineer that would put an Artist over budget. A Producer has the ability to help take your song to the next level beyond what an Artist could do alone as the Producer has the golden ears to push an Artist to achieve a great vocal performance and help realize their vision. You get an overall better quality production as the end product. I wear both the Producer and Engineers hat to cut down on cost esp for people with smaller budgets. I'm also the guy that would program the beats, arrange the music, play all the instrument parts or hire session player.
Yes to both. Not all artists (most) are inclined to dive into all the left-brained issues of the cabling, compression, EQing, recording chain, hardware/software, sampling-dozens-of-mix-revisions-in-the-car goodness of it all. These artists should simply pay for the studio service, especially if there is obvious talent that should be captured in time. If they do have the inclination to fiddle with the gear, that will ultimately be costly as well...if they are serious enough....MORE costly in the long run if it gets in your system.
The ongoing debate these days especially with the high caliber of audio plugins from UAD and Waves and relatively inexpensive audio interfaces. Certainly an LP can be recorded at home if you invest in the gear, room, and take the time to understand music production and engineering. It's not rocket science, you just need to devote time. There are plenty of musicians creating stellar sounding LP's at the their home without breaking the bank. Yes, it will be a long road, but a road worth traveling as you can record and mix your music anytime you want in the privacy of your own home. I can see a need for professional studios when it comes to large productions for national artists where the budget is available, but I don't see paying 200.00+ and hour to rent a studio where you'll get an engineer (No producer .. gotta pay for that) who's not invested in your music, just only the session. I'm working on an LP right now where I'l be hiring Nashville session players to track remotely. I'll mix from my home studio and send it out for mastering.
Really on the fence on this one. Yes to me would be getting a really good recording The problem. Is I'm a composer musician INDIE and I was taught by getting info. I screamed at the top of my lungs. I'd like to record in a good studio. No one listened or heard. So I learned the basics of recording and somewhat neutral mixing. No mastering so I would like to be set up properly But in my world I don't see it. How do you approach a studio in your dream. You have to have the money. To cover. So I put out radio quality in hopes of getting some down load cents. In return paying for a proper recording
the time and $ spent on learning to hear that stuff costs too much, I need my time is more valuable than learning the stuff an engineer who knows their stuff.....so I agree with Sam
Funny enough, I make my own music in my own space based on learning at my own pace. (See what I did there?). I have also pursued an apprenticeship at a proper recording studios. That tells you where I stand on this 😉 Good job and thanks for the fish 😁
I know this is a magazine but talking of studios and musicians, are there affordable studios for the up and coming artists? If only studios were priced lower for such artists and amateurs, people would use them instead of making home recordings. The same goes for magazine prices. All of this could be aided by Basic Income for all. (That's my plug, even if I'm not plugging myself).
the danger of making your own recordings as a musician is loosing inspiration for music itself because these things are so complicated and interesting that it gets you on a "sidetrack" leaving no room in your head for the main purpose..........
Great video!!! A world of pain - YUP! But I love it. I think you're either into the gear, or you're not. I think a great middle road is to buy the gear yourself with the help of an engineer, who you pay, to help choose the mic and speakers, etc. Some things like real drums really DO require a great room. Miking drums is... well, they'll sound like poo if not done by a pro. We need both options.
I am in Hollywood, I called the united recording studio in sunset, the booking manager really sucks, the Mexican guy does not have customers service at all and has a mind head block mentality, I will contact the main guy there to talk about it, the guy is sending everyone to the musicians local union to book the studio and also do not return calls and emails, I feel like I am in Mexico while the studio is in sunset boulevard. I support the Seattle Music Scene, and we have plenty under ground bands to record, over 350 bands to produce. I told the guy, and he said the recording studio is for union big bands only. Also Robert lang Studio in Seattle now is for kids teaching only and not for band recording, so that really sucks too. I guess I need to buy or build one for the new grunge generations, 😢….
Or buy your own gear..treat your room so its acoustically correct, then hire a good engineer to record you..then you eliminate the studio time in another studio, which is a big expense..
classic argument. Both have pros and cons. Home studio PROS are, no studio time pressure. All money can be spent on the artist. Its way more affordable to buy clones, used gear and software, DIY acoustic treatment is way cheaper. Ton of you tube videos and network of people you can learn from or team up with. You can be in your home studio anytime you want. CONS. Noisy neighbors, roommates, cost, and noise issues, Potential acoustic, reverberation, sound abortion, and sound isolation issues. training, skill, experience, and knowledge or lack there of. Professional Commercial studio. PROS are Professional recordings, great staff, the same locations, atmosphere where Grammy award winners and writers have recorded in those studios. Top engineers and staff. the best equipment and rooms. CONS. studio time pressure. ON THE CLOCK. 12 hour max lock outs. Booking, TOP Artist get priority. its about money. Its very expensive. as much as 5 grand a day.
If a studio wouldn't ask a singer songwriter or producer the same rate they used to ask to record a 4 or 5 piece band, maybe they would still go to the studio. That's why everyone is doing Grammy Award Winning albums at their homes and sending them to top mixing and mastering engineers. You can't use the same model you had in the 90's today, when there are no advances, and artists are paying albums out of their pockets, because today they want to own their masters, and not still be touring and poor when they get old. If the studios do want to keep the same model, then don't complain people are buying an Apollo interface and a SM7b and calling it a day, because that's what they are watching the biggest acts doing.
I think it's better to do it yourself. Self producing is an important skill for any musician. If you get famous and rich enough, then hire a professional, but even then, you'll know the trade.
If you're lazy, going to a studio will probably get you a good sound, but your lack of diligence will find it's way into your music. if you're not lazy, DIY. The guy Pro-Studio guy sounds like a salesman trying to sell a broken car.
“the room is the elephant in the room”. I love this guy.
As any musician will tell you, the money just isn't there anymore so the current preference is absolutely the DIY route.
If you're coming into it cold there will be a steep learning curve but it's not insurmountable and to any dyed-in-the-wool engineer of a certain age (who thinks the Foo Fighters are cutting edge) and says you can't make anything decent in your bedroom, I'd say two words - Billie Eilish - along with any other number of singer/songwriters I could reel off. Domestic rooms are actually pretty good spaces to record in as they're by definition full of soft furnishings etc. making for quite a neutral sound. Real drums? How quaint. Joking apart it's not true to say rock is dead - it's just not relevant. The state of play is Dance, R&B/Rap + Electronic. Genres that will typically have programmed drums.
Live performance (remember that) is where you'll be assembling the 'real' musicians (including maybe a 'drummer' lol) to reproduce your songs but if you actually need any 3rd party input when composing they'll most likely be doing it remotely anyway then emailing you a file.
Other thing to say is no-one in their right mind would build a 'traditional' studio now anymore - unless it's a vanity project. The days of the racks of hardware & the intimidating console with 48 channels are over. Plug-in emulations are as good as their real world counterparts now. There's obviously a place for studios like AIR and Abbey Road but that's more about the spaces - oh no! We've come full circle..
End of the day - does what's coming out your earbuds sound any good? That's all the end user will care about.
I started more than 10 years ago as an artist to learn mixing to avoid studios and now that i am good enough for mixing i forgot how to compose music. Being an artist is way better than being a mixing engineer, i am sick of polishing other peoples turds. I need to find the courage to be an artist again or i will quit mixing altogether and find a regular day job
This hit home 😩
😂
Both sides of this debate were so accurate and fleshed out that it was easy to forget it was the same person
I firmly believe that there's a 3rd solution to this issue. In our world today I don't think starting / not so famous bands need to go to a "recording studio". The best thing to do as an producer/audio engineer is to record at the band's rehearsal space and mix it at your studio (where you can't do the recordings). I've done great recordings this way for local bands and they were blown away. The trick is to have the perfect mobile gear and knowledge to capture the sound you'll need later for mixing.
It depends on what type of music. If you're doing electronic music with the occasional guitar, bass, or vocal, record at home. Especially if you're using the recording process to write. Who can afford to write in a professional studio? If you're cutting tracks live with a band where the songs are already locked down then a professional studio is more of an option. I've been recording at home since the 90's. I personally love it. It's less intimidating and I more often get the sounds I want. I've paid to have things professionally mastered but even that has been a mixed bag. I do all my own mastering now. Great video though. It accurately nails both sides.
Fantastic video! So I am a songwriter/musician with a lot of song ideas, I first work out on guitar.
I don’t have the money to even record one song at the best local studio where they treat you like a number in the south of the Netherlands.
That is why I decided to spend my money on a new PC and home recording equipment. To try to translate to the world what is inside my head. I made a screenshot manual with all experts tips what to do.
And now I want to see, how far I can reach. Will it just be good enough to be a bit better than a guitar demo to remember the melody.
Or can I be good enough so others want to come and sing their vocals to my track at my home “studio”. But yeah the complicated thing is to get going with good gain signal for my guitar and the right mic.
From there on I can build with other instruments, and try to get the mix, compression and mastering right. Right now, I dunno, and I am already busy not doing anything helpful a longer time.
On the other hand: paying to build on my guitar demo in a studio sounds unaffordable. But yeah I’d much rather be creative and think of songs then spend so much time in the quagmire of sound engineering.
Right now, I’m just happy, with one thing that works, always. Yet indeed, practice makes perfect and I just wanna see if my own end result will be acceptable to me.
I now know at least so much more than when I just started out purchasing the first gear.
Yet also: Benny Andersson from Abba spent his whole life in the studio. He has a classic big one. But he used to rely on Michael Tretow the sound engineer to create the right sound, pushing creative things to the extreme.
Now Tretow is gone and on the new album Benny does it all himself. Yet the sound is lacking. Optimized for Dolby Atmos, he says. But at times muddy.
Also, Jan & Dean and Brian Wilson recorded great music in their garage in 1958 just with one mike and two tape recorders. It sounds good.
Same can be said for home demos with Barry Gibb on guitar, Albhy Galuten on keyboard, and a drummer. It sounds great, like an album.
It’s confusing.
And the 3rd option, record what you can in a home studio, recording keyboard is not dependent on the room, it won't annoy your flat mate and good two channel interfaces are easy to come by, and if you record in midi, you can blow it out at a studio. Iso Cabs are great for recording electric guitar, you can get great bass tones with a noice valve pre, ART has one that's not too expensive. Depending on the style drums, vocals, acoustic piano, horns and organs can be a challenge, but if you have the space, and it's treated, it's possible, but if you're working to a click, it's easy to move between home studio and pro studio doing a single instrument at a time. However, if you're paying for the studio, do the rhythm section together.
The most important thing in music production is very good musical taste... and so many engineers don't have it.
Agreed - this is so often overlooked - but perhaps just similar taste would suffice - taste being so subjective and all...
Taste is irrelevant. The top mix engineers don’t all love the music they are mixing or would choose to listen to it out of choice. But they do love the process. And they do have a deep appreciation for good music, irrespective of personal taste. I personally don’t much like thrash metal. But I can absolutely appreciate the art form and I can definitely tune into the key aspects of a song/arrangement in order to capture and mix the music.
All depends on the style of music.
These videos with Sam Inglis are both fantastic and hilarious, hah. Please keep it up!
Haha! Such a great idea to play your own devil's advocate. Really cleverly written (and acted). I've done plenty of home recording which I hated at the time, but in hindsight, love the intimacy and idiosyncrasies of. I've also recorded in a studio where an engineer pointed 9 mics at my snare drum and I've hated the clinical nature of it, only to really love that snare sound in the end. Professional Studios will always be a thing as long as there are people with good ears that won't accept mediocre sound.
Even before DAWs I didn't see the point of spending a fortune to record songs. Investing time in knowing how to do most of the process yourself made more sense.
but remember: your target audience is not other producers or musicians.not the best recording quality wins, but the one with the most sales.
I agree with Sam: I have gotten a great deal of enjoyment out of learning how to record and building my home studio. I was lucky enough to have been befriended by a studio owner; he took my band under his wing and let us record for free. I learned a lot from that experience, but I had already been interested in doing the recording myself, I just couldn't afford the equipment. So, I do my own recording because I enjoy doing it. But if the main reason for doing it yourself is that you think you'll save money, then you will probably end up with a bunch of mediocre gear you don't really know how to use, less time spent writing songs, and a bunch of inferior recordings that you aren't really happy with.
This is such a brilliant / terrible video
hahahahahahaha
😂😂
Well done. Already a subscriber for years. Brilliant magazine.
The real takeaway here is that this video saves a lot of people a lot of time having this debate and is absolutely brilliant
This is awesome, please make more of these!
Bravo, Sound On Sound magazine and Sam Inglis! Loving your points of view and expertise on this (especially) brilliant video, as well as the earlier ones, like the bits on headphones and about studio session savers. Your droll sense of humor and deadpan deliver are refreshing. Keep following your muse, mate - and keep sharing your insights here. Subscribed. Cheers!
Do it yourself and hire musicians/engineers/mastering remotely. Look at airgigs.com and soundbetter.com. Best of both worlds.
These are the best videos on youtube. Sam is a gem.
Lots of valid statements. I'm a drummer ánd small time mixing engineer. I didn't understand mixing at all, until I took real-life lessons from a experienced professional. No UA-cam courses, let alone plugin tutorials, could ever match that
Oh the ad comes in so naturally. I enjoyed watching this! Love it!
It depends on what you are recording i think..Most of my stuff is acoustic fingerstyle guitar..So I bought mics and preamps that I use for that purpose..If you try and learn to record your own music sort of like a niche, you can do it..But you grow as you do this stuff..You do it with what you have..I've had friends spending 30 ,40 grand in the studio . Sounded great, but how do you recoup that investment? Unless you are touring a lot, you don't..But there is something beautiful about slowly learning how to record and getting advice along the way from people that have done this a lot..In film making for example, you can go to school, which of course is great if you can, But when you are out of school, you still have a film that first film of your own..what i run into a lot is people that hang out with people that are very experienced in their field, and then the person thinks they will never be that gifted, so they give up......work with what you have..There is always going to be some one more talented..So work with what you have...
This is amazing. The chicken and egg debate was a mere warm-up to this!
Sam is the best and I alway love SOS!
Love this! Sound on Sound is a great resource no matter how you do it!
At the end of the day it balls down to our level of efficiency and productivity. Everyone's different. We learn different, we receive instruction different. I say, have fun, don't use your rent money and enjoy the gifts we've been given.
I had a home studio set up...I spent a lot of time learning how to record and use the DAW, and guess what, got ok sounding demo’s , which I would have to take to a real record studio to get the right quality sound.
Plus I spent more time working out how to record than playing my guitar( not good)
I have written some new songs which I am going to record in a studio..I am songwriter not a studio engineer
Play to your strengths
That was hilarious (and thoughtful)! Sam reminded me of the character 'Holly' in Red Dwarf. In my opinion, just the act of going to a Studio with a good live room and a good desk room really elevates a band to do something special. There's nothing like doing an overdub in the live room and getting the thumbs up from the rest of the band behind the glass in the desk room. Part of it is having all the good gear the studio has being available to you to. Just make sure that you have rehearsed the living daylights out of everything as a band before you spend the money and go to as Studio. It can be all over in a couple of sessions... and it'll sound awesome!
Sam Inglis: darkly humorous; eminently knowledgeable. Alongside Robin from Molten Music Technology, Sam creates arguably the most entertaining and captivating videos on music production/music technology. Bravo.
The best is to do both, to learn and to be independent. Great video by the way, very well done.
You forget one important thing: There are now thousands and thousands of bad studios right because the equipment has become so cheap. Choosing a good studio is very hard for the average person. If you live in the USA then I would suggest singers to buy and do it yourself. The now-days over-editing by American studios make EVERY voice sound flat without any depth. They all sound the same. In other countries maybe a real studio is better however real imperfect sound can have real charm. In you video you take drums as an example. Now that is also the hardest instrument to get right... oh well maybe also the acoustic piano. Conclusion: Try it yourself until some record company is willing to invest studio time for you because a cheap studio usually is crap anyway.
This really messed with my mind but helped me so much. Thank you
This was surprisingly well done 😂 Good points on both sides. I’d say recording at least one (good!) song in a proper studio is very important, just so you see what it’s all like.
Speaking of rooms, one of the sonically best recordings of all time Brothers in Arms was recorded in a mediocre room.
Great points. And, as someone who has been a working musician, songwriter, and pro audio engineer for nearly 40 years now -in both home and pro studios alike -I find all these points to be valid, and certainly worthy of discussion.
But, the one thing that REALLY stood out for me in this debate, that which caused the greatest reaction in me, and won me over, was the part about the fish.
Because now I want fish. Deep fried. With chips. And malt vinegar.
Oh! And a nice lager to go with it!
But by all means, feel free to continue the debate...while I eat my fish and chips.
😉🙏
You are both right.
This is hilarious AND educational at the same time. I love it!
This was brilliant- but you needed a third twin ... or I suppose that would be a triplet wouldn’t it. He (or better yet, she) would have argued for the hybrid approach. Get some basic recording gear, enough and at a quality level where you could lay down your basic tracks on your own (where in fact a LOT of studio time gets chewed up) and then mosey on down to your neighborhood recording studio where a skilled engineer can help you with some trickier overdubs, maybe the vocals and then mix it all down into a well crafted, release ready recording. She would have won this argument hands down!
Very well argued on both sides but one thing was left out. The human "chemistry" or lack of it. Not every engineer in my experience has good people skills even after 30 years experience. Some do of course but I don't think you can take it for granted.
Amazing video, people need to see these sides!
What a great video! Glad Sam is doing more videos he’s hilarious!
This is the best add ever!
.....er...well, quite. Anyway, I'm old and crusty enough to remember when this magazine was called 'Home Studio Recording' and I will always extol the virtues of 'home recording' that this publication so vehemently adheres to. Or not.
We were never called Home Studio Recording. That magazine was owned by another publisher we worked for back 1985. We left that company and started SOS as an independent mag and we're still here today some 35 years later!
@@soundonsound I stand corrected. But I'm sure Paul White was involved with it.
such an insightful discussion
I agree!
very well done ---- intelligent - balanced ---- good points
If you have the time and the dedication to actually study, practice, and learn about audio engineering and mixing at home, then doing it at home is an investment and makes sense. If you’re not really committed to learning engineering and mixing and just want to get your music recorded and released ASAP, you’re better off going to a studio (or hiring a mixer, etc...). I was fortunate to have an extended period off work about 15 years ago when I began home recording and used that time to study, learn, and practice (and continuing to do that ever since). But I get that’s not a common scenario. I see too many people making music at home for release who don’t know any of the foundational basics of recording or mixing, e.g., how, why, and when to use an EQ, which type of EQ to use when, what compressor settings mean, what a compressor actually does, etc.... Ultimately it ends up shortchanging their music, their art. We all start out not knowing those things but if you’re not interested in learning them or don’t want to take away that time from your writing or song creation (which is understandable), then use a studio or hire a mixer. If you can’t afford that and you’re not inclined or committed enough to spend the time to learn it yourself, then you just have to accept that there is a relatively low ceiling for how good your music can sound. If you’re good with that, that’s perfectly fine.
exactly..i have my own,and I own all of it,so I can make my own schedules,and get it done ...
Spot on!
Good video ! True story told with a great sense of humour.
Some of this makes sense for the average person,BUT>>>>>.I learned by being a performer and we had no roadies.The musicians taught me who to set up their gear,their instruments,and I sat by the board as well.It's NOT as hard and does not take forever,if you take it in,be quiet,listen,pay attention,and then practice it.Learning from a LIVE engineer is WAY more essential because he/she has to be able to use ANY space,ANY room,on the fly.Just having ONE or even two spaces in the same building is actually great,yet places you in a box,because that space will not change,unless they do actual construction.Yes,things take time,yet that's like saying you cannot become a great cyclist on your own,and you must have a coach around you all the time.No matter what space I use,it;s better for em to have hands on experience,because I know what sound I want,and then,if I need help,I can bring it in,or visit my friends' studio,and learn some more.The commercial studio USED to be the go to place,yet once Mackie started making great mixers,samplers got better,and since you can collaborate online,you do not even have to be in the same country while making an LP/EP.That was back in the days when we basically only had Atari and then Apple computers for making music,yet now,PCs smash anything out there.Now,that being said,if I need live strings,if I need a full,huge band,or for mastering,i would go commercial.
I would say it only makes logical sense to record yourself if you aren't pursuing music on a professional level as a hobbyist/ inspiring Artist. It makes much more sense to hire a Pro Engineer or Producer if you are really serious and on that level.
As a Multi-faceted Producer myself I work with Artists on a budget and quote them a reasonable fee for my production services to keep it affordable. Rarely a Record Producer would charge by the hour like an Engineer that would put an Artist over budget. A Producer has the ability to help take your song to the next level beyond what an Artist could do alone as the Producer has the golden ears to push an Artist to achieve a great vocal performance and help realize their vision. You get an overall better quality production as the end product. I wear both the Producer and Engineers hat to cut down on cost esp for people with smaller budgets. I'm also the guy that would program the beats, arrange the music, play all the instrument parts or hire session player.
Yes to both. Not all artists (most) are inclined to dive into all the left-brained issues of the cabling, compression, EQing, recording chain, hardware/software, sampling-dozens-of-mix-revisions-in-the-car goodness of it all. These artists should simply pay for the studio service, especially if there is obvious talent that should be captured in time. If they do have the inclination to fiddle with the gear, that will ultimately be costly as well...if they are serious enough....MORE costly in the long run if it gets in your system.
You’ve got me! :)))) I took it seriously until I’ve heard about fish magazines :)))
This guy is great!
The ongoing debate these days especially with the high caliber of audio plugins from UAD and Waves and relatively inexpensive audio interfaces. Certainly an LP can be recorded at home if you invest in the gear, room, and take the time to understand music production and engineering. It's not rocket science, you just need to devote time. There are plenty of musicians creating stellar sounding LP's at the their home without breaking the bank. Yes, it will be a long road, but a road worth traveling as you can record and mix your music anytime you want in the privacy of your own home. I can see a need for professional studios when it comes to large productions for national artists where the budget is available, but I don't see paying 200.00+ and hour to rent a studio where you'll get an engineer (No producer .. gotta pay for that) who's not invested in your music, just only the session. I'm working on an LP right now where I'l be hiring Nashville session players to track remotely. I'll mix from my home studio and send it out for mastering.
What's the model of that microphone he is using? Thanks!
Totally brilliant!
Really on the fence on this one. Yes to me would be getting a really good recording The problem. Is I'm a composer musician INDIE and I was taught by getting info. I screamed at the top of my lungs. I'd like to record in a good studio. No one listened or heard. So I learned the basics of recording and somewhat neutral mixing. No mastering so I would like to be set up properly But in my world I don't see it. How do you approach a studio in your dream. You have to have the money. To cover. So I put out radio quality in hopes of getting some down load cents. In return paying for a proper recording
So, what's the conclusion? Studio or no studio?
I think both guys are right.
The bassplayer in Idles follows them on Instagram? I'll go to that studio then.
Watching videos on engineering and production has made me a far better songwriter.
I came out here wanting to know the best way to record my album... now I'm shopping for new reels and a tackle box. Not sure what happened
So basically an advert for Sound on Sound. Well, being a subscriber, there’s nothing wrong with that.
This was really quite brilliant and of value
Sam on Sam
the time and $ spent on learning to hear that stuff costs too much, I need my time is more valuable than learning the stuff an engineer who knows their stuff.....so I agree with Sam
Brilliant
Well Played ..nice AD.😉
Bloody brilliant!
excellent!
Great Video :)
Well done.
Cool discussion
Not a real argument. I can tell by the pixels. And by nobody calling the other person Hitler.
Funny enough, I make my own music in my own space based on learning at my own pace. (See what I did there?). I have also pursued an apprenticeship at a proper recording studios.
That tells you where I stand on this 😉
Good job and thanks for the fish 😁
I know this is a magazine but talking of studios and musicians, are there affordable studios for the up and coming artists? If only studios were priced lower for such artists and amateurs, people would use them instead of making home recordings. The same goes for magazine prices.
All of this could be aided by Basic Income for all. (That's my plug, even if I'm not plugging myself).
SOS is currently giving FREE access to our Digital Magazine. Can’t get fairer than that. Visit www.soundonsound.com/digital-magazine
@@soundonsound Will definitely access and if/once financial situation improves will consider handing over that digital cash.
I cracked up at concept album :D
the danger of making your own recordings as a musician is loosing inspiration for music itself because these things are so complicated and interesting that it gets you on a "sidetrack" leaving no room in your head for the main purpose..........
Brilliant!
Great video!!! A world of pain - YUP! But I love it. I think you're either into the gear, or you're not. I think a great middle road is to buy the gear yourself with the help of an engineer, who you pay, to help choose the mic and speakers, etc. Some things like real drums really DO require a great room. Miking drums is... well, they'll sound like poo if not done by a pro. We need both options.
And... I've learned to be a decent home studio engineer by recording in pro studios. Hmm...
Sound on fish!
I am in Hollywood, I called the united recording studio in sunset, the booking manager really sucks, the Mexican guy does not have customers service at all and has a mind head block mentality, I will contact the main guy there to talk about it, the guy is sending everyone to the musicians local union to book the studio and also do not return calls and emails, I feel like I am in Mexico while the studio is in sunset boulevard. I support the Seattle Music Scene, and we have plenty under ground bands to record, over 350 bands to produce. I told the guy, and he said the recording studio is for union big bands only. Also Robert lang Studio in Seattle now is for kids teaching only and not for band recording, so that really sucks too. I guess I need to buy or build one for the new grunge generations, 😢….
I gotta subscribe to Specimen Chub, now!
can you hear the third guy in the background, quietly shouting "JUST DOO ITTT!!!!" ?
Lol - I've spent a lot of effort trying to get a shitty room sound for my close mic'd lo-fi recordings
Or buy your own gear..treat your room so its acoustically correct, then hire a good engineer to record you..then you eliminate the studio time in another studio, which is a big expense..
are you sure?
Watch it!
classic argument. Both have pros and cons. Home studio PROS are, no studio time pressure. All money can be spent on the artist. Its way more affordable to buy clones, used gear and software, DIY acoustic treatment is way cheaper. Ton of you tube videos and network of people you can learn from or team up with. You can be in your home studio anytime you want. CONS. Noisy neighbors, roommates, cost, and noise issues, Potential acoustic, reverberation, sound abortion, and sound isolation issues. training, skill, experience, and knowledge or lack there of. Professional Commercial studio. PROS are Professional recordings, great staff, the same locations, atmosphere where Grammy award winners and writers have recorded in those studios. Top engineers and staff. the best equipment and rooms. CONS. studio time pressure. ON THE CLOCK. 12 hour max lock outs. Booking, TOP Artist get priority. its about money. Its very expensive. as much as 5 grand a day.
lol the room is everywhere , every time. the world is my room
If a studio wouldn't ask a singer songwriter or producer the same rate they used to ask to record a 4 or 5 piece band, maybe they would still go to the studio. That's why everyone is doing Grammy Award Winning albums at their homes and sending them to top mixing and mastering engineers.
You can't use the same model you had in the 90's today, when there are no advances, and artists are paying albums out of their pockets, because today they want to own their masters, and not still be touring and poor when they get old.
If the studios do want to keep the same model, then don't complain people are buying an Apollo interface and a SM7b and calling it a day, because that's what they are watching the biggest acts doing.
I think it's better to do it yourself. Self producing is an important skill for any musician. If you get famous and rich enough, then hire a professional, but even then, you'll know the trade.
You guys are both right, now go get a room. :-D
Brilliant. XD
If you're lazy, going to a studio will probably get you a good sound, but your lack of diligence will find it's way into your music.
if you're not lazy, DIY. The guy Pro-Studio guy sounds like a salesman trying to sell a broken car.
Are they related?
Longest commercial I’ve ever seen. Or, the least patronizing infomercial I’ve ever seen. Whichever, that was entertaining 👍🏼