you obvious know your facts here, but what i was trying to say was that you are talking about a small minority of artists when compared to the hundreds of thousands af people working from home studios in the early ninetees. we cant just name a few of the top artists who had the resources, and ignore the others who made equally good music.Martian Telecom wrote:a. Juan's interview on Bleep43 where he talks about bringing all his gear into a studio and tracking No UFOs/Night Drive. He said that it sounded different than it did at home because he had to make patch adjustments in order to make the mix work in the studio.I don't know where you heard that from but almost nobody even back in the day had money to hire an engineer or rent studio time, at least not in Detroit. The only ones that had money for that stuff was the New York guys.
b. Mike Banks met Jeff Mills when he was working as a session musician in a commercial studio for a Final Cut gig.
c. Ade Mainor was also a studio musician in the late 80's/early 90's. His specialty was rerecording tracks so that people could sample the rerecordings and dodge paying the sample fee.
d. Kevin Saunderson discussing producing records in England in commercial studios in Music Technology Magazine circa 1989.
Detroit might have had a tighter economy, but a sh!t ton of classic Chicago records were tracked in Sea Grape Studios and Universal Studios. If you dig through interviews, you will see it mentioned all the time.
I am not trying to start a big fight or say that nobody made records in their bedroom. I am just pointing out that a lot of people would like you to think that they made classic records on a boombox and casio when there was a lot more traditional infrastructure than they admit to.
i think theres a distorted view of that period with everyone focussing on a few icons, when in reality without everyone else there would have been no scene whatsoever.
it was an explosion back then, everyone was putting down their guitars and buying synths and drum machines and banging out vinyl like there was no tomorrow.
this bedroom producer = bedroom music thing is a myth.
you couldnt just skank a copy of ableton, rip off some loops, throw together an unimaginative cloned tune and have it out on beatport a week later. you had to be a dedicated musician who had gathered the equipment and knowledge and put in your own money to go through the long process of releasing vinyl and actually getting it in the shops.
much of the music back then was awesome and original whether it was made in a bedroom or a tracked in a pro studio.
