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Originally Posted by Znak
Ovo sad pretvara u priču o svrsi posvećivanja pažnje manje bitnim detaljima u produkciji. Znamo da je pesma najvažnija i da su dobri muzičari i naštimani instrumenti ključna stvar. Kod automobila iz onog mog primera najbitniji je motor, onda menjač, šasija, itd. i tek na samom kraju drveni ukrasi u enterijeru. Ima li svrhe nanositi dvadeset slojeva laka na te ukrase? Zavisi od pristupa...
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Evo šta otprilike na tu temu kaže Jamie Tate ("bold" je moja intervencija). Doduše, on priča o korišćenju autotune-a i audio kvantizacije u Nešvilu, ali smisao je isti:
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There's a lot of vocal tuning going on here. In fact, everything is manipulated quite a bit. Drums are aligned to click tracks, mandolin parts are comped from several takes and every word of the vocal is tuned. When autotune was first released Digidesign called it the Nashville plug-in. 
Byron Galimore used to tune vocals until they sounded like vocoders. Listen to Jo Dee Messina or Faith Hill or Tim McGraw to hear it.
Byron is a really great producer, my favorite in town, and he works very hard on these tracks to make them the best he can but it's easier to know when something is perfect than to know when it's cool. I think that's the best explanation I can give. It's easier to know when it's perfect than when it's good. Nashville is into perfection. Labels are incredibly anal about every aspect. Trust me. I've had to recall entire mixes because some secretary at some office didn't understand one word in the fourth chorus and they asked me to remix it so, for example, I could bring up the "D" on the word 'stupid'.
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BTW, Jamie je autor crteža koji je pokrenuo lavinu strasti u
onom drugom threadu.
Pozdrav,
Vasa