Quote Exalted Wombat:Quote Mike Stranks:
Well, yes, if you've got a band/group that's:
* of a very high standard musically and
* actually listens to the other members and
* knows enough sonically to know what to do to 'blend' and
* is willing to sacrifice "my sound" for the greater good of the whole band
* working with a strong leader who's respected enough by the others to change their method/style etc to achieve this blending.
These aren't advanced techniques. Just basic necessities for playing in a group. Are you suggesting any musician SHOULDN'T play a part that fits?
Of course not... but I say again... most of the groups/bands I work with (and I suspect the same is true of many others who inhabit this forum) are keen amateurs who have either not been playing long enough in a group or don't know how to "feed" off each other in order to derive that internal balance you rightly espouse so highly. Another factor is the type of music being played - and I know you'll probably debate that. In my incomplete experience the honourable exception is jazz where the whole ethos is the interaction. That can often be a virtual 'set and forget' exercise for me as a soundtech.
It's their job to play coherent music, yours to (a) assist them in hearing what's going on and (b) deliver it to the audience.
Don't disagree. But we probably do disagree on the definition of 'coherent'. It's often a very different ball-game with amateurs where everyone in-time and in-tune can be a major achievement. A good monitor mix will help with that, but often dynamics and blend does end up as my responsibility. And why not? Heaven forfend that we should decree that people can only play in public when they've reached a certain standard of cohesiveness!
It's a completely different job to producing a multitracked recording.
Erm... yes... and no-one ever said it wasn't. Making and mixing a multitrack is a far less buttock-clenching experience.