"Dave Plowman (News)" wrote in message
...
In article ,
Phildo wrote:
Of course one has to have some talent, geting through a total of 8 + 4
+ 4 years in becoming a tonemeister will weed many non talented out,
dont't you think?

Being good at a subject and managing to get a degree in it is no measure
of competence for the job. I have known engineers with no
qualifications but lots of experience who could knock spots off
Tonmeister graduates and tonmeister graduates who couldn't mix concrete.

Absolutely. Being a musician - ie being capable of playing a musical
instrument to a high standard - just ain't necessary to balance music. And
it's not something that anyone can learn. So a bit like being a musician
in that respect - you need a particular talent.

And yet, it is surprising how many balance engineers, can play an instrument
to a high standard. At the companies where I have worked, one has always
been
expected to be able to mark up a full score, pre session, and edit from one,
post session. I have yet to come across a classical engineer who cannot do
this.

As regards pop music. I have known many tape ops/assistant engineers
who could play guitar, bs gtr, and drums as well as or better than many of
the artists we were recording.

Of course to balance music you have to be able to identify the various
parts of the mix. Reading music - at least to lead sheet level - is also
useful.

Probably essential.
Would you drive in a rally without a map? :-)

Iain

In article ,
Iain M Churches wrote:
Absolutely. Being a musician - ie being capable of playing a musical
instrument to a high standard - just ain't necessary to balance music.
And it's not something that anyone can learn. So a bit like being a
musician in that respect - you need a particular talent.

And yet, it is surprising how many balance engineers, can play an
instrument to a high standard. At the companies where I have worked,
one has always been expected to be able to mark up a full score, pre
session, and edit from one, post session. I have yet to come across a
classical engineer who cannot do this.

I'm afraid my knowledge of such people is more limited being TV and
therefore somewhat lighter music based. [Thinks] Of the half dozen or so
mixers I know or knew who specialised in the classical side I'd say it was
about 50/50 as regards playing an instrument well. Although one of the
best plays piano, organ and sings to a pro standard. And is equally at
home with lighter music.

As regards pop music. I have known many tape ops/assistant engineers
who could play guitar, bs gtr, and drums as well as or better than many
of the artists we were recording.

Yes - again the recording studio side tends to attract more people who
might have wanted a career in front of the microphone if things had gone
according to plan.
Although my next assistant on a drama shoot is a Bay City Roller...

Of course to balance music you have to be able to identify the various
parts of the mix. Reading music - at least to lead sheet level - is
also useful.

Probably essential. Would you drive in a rally without a map? :-)

One mixer famous for the excellent results he got on early Top of the Pops
- where it really *was* live, complete with orchestra and arrangements
such to copy the actual record, played the records a few times before the
studio day, and more or less memorised them.

--
*I believe five out of four people have trouble with fractions. *

Dave Plowman London SW
To e-mail, change noise into sound.

Dave Plowman (News) wrote:
Yes - again the recording studio side tends to attract more people who
might have wanted a career in front of the microphone if things had gone
according to plan.

Or people who are good musicians but who specifically would NOT want
a career as a professional musician...

- Logan

"Logan Shaw" wrote in message
...
Dave Plowman (News) wrote:
Yes - again the recording studio side tends to attract more people who
might have wanted a career in front of the microphone if things had gone
according to plan.

Or people who are good musicians but who specifically would NOT want
a career as a professional musician...

:-)))
I could have probably done either, but I chose the control room as opposed
to the studio. I like to eat regularly:-)

Iain

In article ,
Iain M Churches wrote:
Yes - again the recording studio side tends to attract more people
who might have wanted a career in front of the microphone if things
had gone according to plan.

Or people who are good musicians but who specifically would NOT want a
career as a professional musician...

:-)))
I could have probably done either, but I chose the control room as
opposed to the studio. I like to eat regularly:-)

At one time that was true, but my side of the game is now mainly freelance
too, so lots of time to decorate the spare room. ;-)

--
*Out of my mind. Back in five minutes.

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Iain M Churches wrote:
Yes - again the recording studio side tends to attract more people
who might have wanted a career in front of the microphone if things
had gone according to plan.

Or people who are good musicians but who specifically would NOT want a
career as a professional musician...

:-)))
I could have probably done either, but I chose the control room as
opposed to the studio. I like to eat regularly:-)

At one time that was true, but my side of the game is now mainly freelance
too, so lots of time to decorate the spare room. ;-)

Most of the freelances in my circle have more work than they can handle.
It's nice to be selective, and get someone else in to decorate the spare
room:-)

Iain

In article ,
Iain M Churches wrote:
At one time that was true, but my side of the game is now mainly
freelance too, so lots of time to decorate the spare room. ;-)

Most of the freelances in my circle have more work than they can handle.
It's nice to be selective, and get someone else in to decorate the spare
room:-)

Trouble is there's a fair amount of crossover between film and TV, and the
film side is very quiet at the minute.

--
*INDECISION is the key to FLEXIBILITY *

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...

One mixer famous for the excellent results he got on early Top of the Pops
- where it really *was* live, complete with orchestra and arrangements
such to copy the actual record, played the records a few times before the
studio day, and more or less memorised them.

That's a good method. Most classical engineers familiarise themselves
in some depth with the work which they about to record, by listening to
other well regarded versions. However, differences in interpretation and
tempo can sometimes be alarming. As a producer I often work with
said, when listening to a Naxos recording "Is that Beethoven III?
It sounds vaguely familiar. .. a note here, a phrase there..," :-)

Iain