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Post by benjaminhltc on Jan 11, 2011 1:57:51 GMT -5
we broke up a month ago. That still makes it 5 months of waiting. And even all that aside, we paid $2400 for those recordings, so broken up or not it should not matter.
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Post by robmccreadytda on Jan 11, 2011 2:01:37 GMT -5
i see were ben is coming from, and even if they did break up he did pay for it and has nothing to show for it. its allot like paying a dude to build you a porch you pay him up front he lays the foundation then tells you he is to busy to finish it right now even after you payed him for the full job and for HIS TIME emphasize paying for TIME.
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Post by fuckit on Jan 11, 2011 4:36:57 GMT -5
brian takes forever to record music. even music as important as such gold or sirens took him forever. but for an average band who pays base price, you'll be be out 500/song and will get it 8 months later
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Post by jimm on Jan 11, 2011 10:42:55 GMT -5
well i could se how u would be tiffed, certain impressions that are left cannot easily be washed away i guess. i still however believe in brian whole heartedly as well as his work ethic. say what u will but the man put off his honeymoon to finish shit with us.
all that aside(like we need more drama here)did the person that posted get a chance to check out some studios? what about gfi?
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Post by benjaminhltc on Jan 11, 2011 13:46:02 GMT -5
Like I said, I don't hate Brian and I can't say he doesn't do great work. I understand my experience is not the same as many others, but just based on what happened to ME personally, I would not recommend Red Booth, nor would I ever go back and it's a damn shame. He lost a good recommendation, and I'd think if you were trying to run a successful studio you wouldn't want that.
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Post by thehamburglar on Jan 11, 2011 20:28:37 GMT -5
Well, I know some of this has been said but, I would absolutely recommend Red Booth. The recording experience and final product value greatly outweigh the mixing wait time.
Brian has been incredibly fair with us the last month and a half. I've been lucky enough to be able to record in a few different studios in the past few years and I can tell you I've never had an Engineer/Producer care so much for a project. He was flexible with his rates. He will at least attempt to work with you on what you're going to pay. Within reason of course. Two HUGE things for me are the fact that he cares equally for each project, and he will take as much studio time as needed to get the best results possible. I can say that Brian cares just as much about our current project as he did for, say for example, Sirens. It doesn't matter what level you're on in your musical career. He understands you wouldn't be recording an album if you weren't serious. It's an awesome feeling knowing that whatever happens with your album, it won't be held back from a n engineering standpoint.
Listen to the last Storm The Bay EP vs. the new Ice Nine Kills album. There wasn't a huge difference in studio time, but you tell me which one sounds better on an engineering standpoint. It's evident which one the engineer cared for more.
The defining moment for me was when Brian scrapped 2 entire days of tracking because he wasn't totally sold on the tones we were getting. He didn't charge us an extra penny for that. You would be extremely hard pressed to find anyone else willing to do that.
I have heard a few complaints about mixing time, but I think it may come from his OCD for perfection. Obviously Ben didn't anticipate waiting so long, and it does suck. But there must be miscommunication because I believe other members of HLTC/Emulet had told him to take his time because of the split. That does only account for the last month though. Regardless, you know that EP is going to be amazing when it is finished.
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Post by thehamburglar on Jan 11, 2011 20:30:08 GMT -5
That was NOT in proper paragraph format.
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Post by benjaminhltc on Jan 12, 2011 0:25:22 GMT -5
At this point I'm content with it now being done. I'm happy with what I accomplished in Emulet and how I was able to grow and find myself as a vocalist and writer. When it's done, it's done so will just wait and see.
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Post by bryanxxxi on Jan 12, 2011 6:06:11 GMT -5
I love the work that Brian does, However there is just something about his mixing abilities that I can't really get past! Some of his tones are a bit "iffy" to me. However I hold all this UNTIL I hear STB's C.D. I think as musicians and and fans of music as well, It it hard to listen to something and separate the quality from the actual music. For instance, Sirens Recorded at REDBOOTH, they are a big name band and a great band at that, however even though there musicianship is unquestionable I feel the mix could have been a bit better. I love doug but yo mate, YOUR DRUMS ARE FUCKING LOUD ! ! ! ! ! Personally, I have recorded at DWS (Mike Hatalak of It Dies Today) twice now and I agree with Rob, His work SPEAKS for itself! I will never go to another studio other DWS, Its worth the drive, it worth the $$$, and it worth the wait! My suggestion is listen to all the band that you know who went to all these various studios, and make you decision based on quality of the recordings not the musicianship of said band.
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Post by thehamburglar on Jan 12, 2011 13:55:25 GMT -5
Bryan! You're a good dude! Excellent advice. Keep in mind though, that Brian didn't master that album. I heard the guy who mastered August Burns Red (confirm?) mastered the Sirens album. So some of those EQ issues could have come from there. Maybe thats what they felt was best? I know August Burns Red drums are super present in their albums. Who knows. It's an each his own thing I think. Gibson builds more than one model of guitar, even though each one is outstanding, because of people's preferred taste. I believe recording is the same. Red Booth is outstanding in my opinion, but it's not like he is the only engineer out there. I think this dude has a lot of information now though. So he will be able to make the best choice. Cheers
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Post by bryanxxxi on Jan 13, 2011 0:22:41 GMT -5
Bryan! You're a good dude! Excellent advice. Keep in mind though, that Brian didn't master that album. I heard the guy who mastered August Burns Red (confirm?) mastered the Sirens album. So some of those EQ issues could have come from there. Maybe thats what they felt was best? I know August Burns Red drums are super present in their albums. Who knows. It's an each his own thing I think. Gibson builds more than one model of guitar, even though each one is outstanding, because of people's preferred taste. I believe recording is the same. Red Booth is outstanding in my opinion, but it's not like he is the only engineer out there. I think this dude has a lot of information now though. So he will be able to make the best choice. Cheers AH!!!! This I did not know, Is it true it was mastered by the same guy as ABR? if so what does Brian's mixing and mastering sound like?
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Post by re to bryan on Jan 13, 2011 0:59:50 GMT -5
check out the new band lapse, their full ep was done by Brian or the new emulet song..to my knowledge thats his latest mixing and mastering iv'e heard.
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Post by kcbsands on Jan 13, 2011 19:57:41 GMT -5
Yes our CD was mastered by the same guy that mastered ABR, The Chariot, Underoath, etc.
To respond to the mixing of our cd... It took us from July to November to record/mix/edit our CD. A lot of that had to do with Brian getting married, and having to move the studio to a new location, which was completely understandable, and we were ok with working around it, or should I say Brian working around it. Whichever way you put it, doesn't matter. The CD release date came closer and closer, and we were getting more pressed for time. Yes, maybe some of this shows in the levels of our instrumentation of the CD, but in the end it is personal opinion. You can sit there and pick apart recordings FOREVER, literally, and you will always find something new you want to change. In fact, you go into the studio with new ears pretty much every time you revisit. We had sent out our CD once for mastering, for what we thought would be the final product, but when it came back we realized the drums were WAY too loud. So we went back and took the levels of the drums down, and edited some other minor details. After spending the $ on getting it mastered the first time, we sent it back yet again for a small fee more. The end result is what you all hear now. Sure, there are minuscule details I wouldn't mind changing about the record, but overall I am very pleased with it. And to be honest, its like listening to a new record every time I hear it in a different set of speakers. I can honestly say I have never sat down and listened to a record and ever said "that is a complete recording masterpiece", because I pick apart things too much, and of course the little flaws are what sticks out most to any listener that is also a musician.
Brian is an up and coming recording engineer, still learning his craft. There is absolutely nothing wrong with that, because the market and sound of the market is always changing. Like a musician tries to sound a certain way, I would say the same applies to someone who records. As far as the time period it took for Brian and ourselves to complete the process goes, it was just a matter of bad timing. A lot happening at once. Same applies to HLTC or Emulet, they were in and out of the studio at the same time as us. One man can only do so much, but Brian's business is a growing business so he must be doing something right. I have never felt so comfortable and eager to work in the studio, and I owe that to Brian. He has done so much for us for so little, and I am forever grateful for that.
So to sum it up, yes I recommend Brian and Red Booth from my experience. Sure I am interested to see what sounds we could get from another studio, but I can always rely and trust that a great product will come from Brian.
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Post by robmccreadytda on Jan 13, 2011 23:15:26 GMT -5
one mic my basement, il make ya famous.
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Post by jimm on Jan 14, 2011 9:45:12 GMT -5
i'm not falling for that again rob!
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