Originally posted by hoserama:I get your point, I really do. It just doesn't stick that long!
I mix for my ears first and foremost. On a few occasions, I've done some projects for other folks or for a release project (see the 5/15/15 Vancouver2 multicam). But in general, the recording is mixed first, and then a release decision is made indepedently. The scratch mixes were shortcuts--biggest shortcut was the sloppy method I used to get rid of the counts. And then I didn't spend all the extra time dialing in the final automation that would have taken several weeks.
If I throw on some of those scratch mixes, I have to mentally prepare myself to lower my standards. I can HEAR the shortcuts and sloppiness.
(but man, I'll take those scratch mixes over a lot of the 2017 iem/aud bootlegs. ugh. that's another rant for another time)
I've gone away from doing scratch mixes. I've run off a handful of "quick mixes" (more self-created hoserama mixing lingo) which were basic mixes usually created the night of the show before going to bed. I've gotten better/faster at doing some of the other work, so there's only one show I did that would truly qualify as a scratch mix (and that had no AUD or count removal). Beyond that, I've gone back to doing full show mixes like the Vancouver release I did. Up to about 9 shows in that fashion so far.
So the inner perfectionist has won out
would it be possible for you to clean the counts and clicks from the Coimbra IEM version of Boy Falls From the Sky? considering this is the only recording of that song, removing those counts (and the crowd noise at the end, but maybe that's not even possible), it would be as if we have an actual studio demo, so IMHO this is a worthy and outstanding project.
(I'd ask the same about Milan's Glastonbury, but BFFTS is way better)