Brandon probably helped market your products better than he did his own. But yeah, that’s no longer an option. You can ask yourself from both a financial and quality perspective whether someone else can really do the job well for you, or if you’re better off doing it yourself.
Perhaps the cost of hiring someone else to do marketing for you would be better invested in hiring a marketing coach to help you improve your “weakest link”. Doing it yourself is an investment of time too, especially on the front end, but nobody is going to be more of an advocate for BDL than Boz himself.
I have struggled with this, and I know lots of other people have too. It’s a key part of being an entrepreneur and requires a “do or die” attitude and commitment. Sorry to be the bearer of bad news.
I have been fortunate to spend a little time getting to know Bryan (Holster). I can tell you the man is a brilliant, generous and hard working guy. He can explain this much better than I can but here is what I understand. Bryan recognized that most home recording comes from indie artists wanting to get their music heard and have it compete on the same sonic level as the “big names”. Some of us are just starting that journey and some of us have been at that journey for decades. We all have different gear, experiences and priorities. We all have a place here. To hear Bryan explain what IRD is he typically says, recording review focused on recording and missed out on the whole “Indie Music scene”. All the issues “Indie musicians” have are what this place is about. Not just recording.
One of the most striking things about Bryan is that he is entirely self funding this site. Not taking a dime and putting an enormous amount of time into it. We all watched while Rome burned meanwhile Bryan built a new city for every musician with a dream.
I would LOVE for this to be a place where some indie filmmakers and indie gamers could go when they get stuck, they’re audio team members back out on them, or they can’t find anyone on gaming forums that’s even remotely knowledgable about sound. You wouldn’t believe how many people openly struggle with this on other forums. They’re posting the most basic questions about DAW’s, and miniDAW’s like audacity and sound miner. They’re posting questions about what kind of mic to buy to record a voiceover. I’m like…“YOU GUY’S NEED US!!”
I will be launching a new online business in the coming months and have been doing a ton of video practising for it. From what I can see video forums suck:) One of the common themes I here people say on the subject of video is that 70% of a great video is great sound. This was encouraging because I knew I could hit it out of the park at 71% Most people say get a rhode shotgun mic or a blue mic and your good to go. Then you hear their bedroom reflections as they speak into these mics with no compression or eq and its a fail. The video and gamer guys need us and we need them.
Hell, the broadcasters need us just much, and far more than they’d like to admit. That has to be the least exciting genera of all audio, but damn does it keep the bills paid!
i just finished reading a few pages of GEmerick learning from Norman Smith that way on the EMI, 63 Beatles sessions…She Loves You just recorded, Norman used overhead drum mic for first time and two compressors for bass and drums separated as a new thing instead of together. And young little Geoff was watching Norman and learning and asking a lot of questions. …what a environment to learn in?
That’s the claim that’s alway puzzled me. WHAT? I mean, WHAT does the £250k job do that the ITB doesn’t.
I truly want to know.
Sure, it’ll require a learning curve to get to know how to operate it, but oince you’re there, what is it that THAT mixer can do better?
(I’ll probably now get a list of things that it does to get you to the top ten that my ITB can’t do. Only thing is, my ITB did … twice.)
@Coquet-Shack the fact that many top producers are admittingly switching from big consoles to ‘in the box’ for ease and convinience strengthens your point too.
Big rigs are more for big artists to see and think ‘wow, look at all this gear…he must be a top producer to be able to afford and use all this’
[quote=“Coquet-Shack, post:131, topic:322”]
That’s the claim that’s alway puzzled me. WHAT? I mean, WHAT does the £250k job do that the ITB doesn’t.I truly want to know.Sure, it’ll require a learning curve to get to know how to operate it, but oince you’re there, what is it that THAT mixer can do better? [/quote]
Fair question. I realize this thread has gotten messy, so its understandable if no one goes through and re-reads everything. I’ll try and keep the restatement short and concise. The big guy’s don’t compete on sound quality. They compete on project capacity and speed. Bigger consoles allow multiple machines, multiple operators, and different types of data to sync to a central nucleus of control.
Take a look at how the 3 mix stations are set up. Multiple DAWs spread across six or seven computers, all feeding the console. (The A and C mix studios at Disney use the Soundmaster Ion Machine Control system to keep everything together). No one person can manage this kind of job with a single DAW and a mouse, because of the amount data and speed operators need to mix it at is insane.
This is my console…its the System 5.
It can scale to over 1000 channels that any combination of digital and analog. It has onboard DSP which means it has a computer independent of the DAW, yet it can control every feature within a DAW. All mixers have a 2 bus (stereo), and some like an SSL 9000 series have a surround bus (dolby 7.1). The Harrisons and the Avids have 64 channels on the master outputs. They have fully automated recall even for the analog side (including gain staging, aux sends and routing). Most common mixers have 6 or 8 sends and returns. These have 256 sends and returns that can routed with a mouse click, eliminating the need to ever touch a patchbay. The System 5b models like NASA, Oprah, and Jay Leno used (I own Jay’s old one) have a redundant emergency changeover systems. Another thing they do that DAW/itb can’t is tie directly into a multi-user media server to access and edit files stored on an enterprise network without having to move a single folder to a local drive. Avids current enterprise storage system is called the Nexus…the older generation was the Isis.
If you were curious, those are a few things that are a little different than a normal mixer. It’s a good question to ask!
Gotta say, I think this is where it’s all headed too. I mean, digital desks are just contollers for computers. You could just as easily control them through a touch screen or a keyboard and mouse. The manufacturers have made them look like desks for marketing purposes, to ‘compete’ with analogue desks. But peole aren’t idiots. I’ve worked with enough analogue desks to know that digital recording and mixing is superior on every level. Soon the only people left using analogue desks will be the same type of people who buy vinyl records.
The desks mix multiple DANTE and MADI feeds from multiple machines on their own DSP. Those DSP cores function completely independently of the DAW. A Euconized Avid console can double as a DAW controller though.
[quote=“Arber87, post:138, topic:322, full:true”]
We get it Jonathan, you’re kind of an important person because you’ve invested. [/quote]
Hang on man… @Coquet-Shack asked an honest question, and I tried to answer it. That’s all.
[quote]
He just wanted his website to be welcoming to the new amateurs. [/quote]
So do I !! [quote] Boz gets it, after a certain point it becomes a matter of efficiency than a matter of quality. You are efficient, that’s very good for you and your stomach, but let amateurs be amateurs. Don’t take their enthusiasm away.
[/quote] ??? I know @bozmillar got it… but @Coquet-Shack asked the same question so I twice. So I answered it again because this thread got really convoluted and I assumed Shack had skipped past the previous post.
Which when you break it down all that is just networking and connectivity jonathan.
It does t mean at all that the mixing or tracking process is in any way superior to that of an in the box set up.
'Indie recording depot’
As inindipendant recording, as in not a majot corporate high end av chat room.
I appreciate your views and experience @Jonathan but if these threads continue to be like this all the time then i’m outta here.
No offence meant.
Peace
But yeah, that’s no longer an option. You can ask yourself from both a financial and quality perspective whether someone else can really do the job well for you, or if you’re better off doing it yourself.
Most people say get a rhode shotgun mic or a blue mic and your good to go. Then you hear their bedroom reflections as they speak into these mics with no compression or eq and its a fail. The video and gamer guys need us and we need them.
