on the subject of errors:
I have never claimed that you should not improve your technique by working on imperfections. In my opinion, however, going to the other extreme does not serve the growth. I can't count how many remixes I didn't publish because the ratio of imperfection was too great for me. Whether it's about playing or the insufficiently sounding MIX.
Of course, we should all strive for perfection, but we must be aware that not many of us will be close. I also realize that many professional musicians have not reached the level at which a sound director during a recording session can indulge in carefree nose picking. Recently, during a conversation with one of the best engineers in my country, I heard that out of several dozen vocalists, whose recordings he performs regurally, only one has skills at this level, that there is absolutely no need to interfere in the tracks with AUTOTUNE.
All these experiences and conversations have led me to the conclusion that on a website such as WIKILOOPS, you should play your instrument as best you can... And that's it... Draw conclusions, try to improve what didn't work out. Maybe next time you will be able to avoid mistakes. Personally, as an extreme idealist, I am against interfering in the recorded tracks in order to mask imperfections such as false note or bad timing. I don't record my own tracks, creating a separate file for the chorus, verses, bridges.
I think that in the final phase of the recording of their own tracks, every amateur, only in this way is able to learn to play the whole song.
I write it all because the easy access to advanced recording technology, which we didn't have ourselves, makes the young generation very often take shortcuts, because it's easier to artificially mask their imperfections than to try to eliminate them.
I'll give you a life example:I recently worked as a sound engineer, on a small concert, young hip-hop bands, on a very limited sound system. A duo of young rappers had just had a tryout/soundcheck. In one moment it was a melancholic recitation of their lyrics, and after a while there was a chorus in which both of them yelled their faces at the whole city. It was quite difficult to control this mess, so that the listeners wouldn't get rid of misunderstood gibberish on the one hand, and serious acoustic demage on the other.
After soundcheck, I kindly asked them if they needed anything else.
In response, I heard that if I don't have a decent compressor at my disposal, there's nothing I can do. I had a terrible laugh because I don't remember any of the musicians I knew having access to any professional equipment to improve the end result at the beginning of their adventure with music. In response, I told those young guys that if they first learned how to run compressors powered by their own throats, then we could talk about the use of electrically powered compressors.
Then it was the turn of a completely young boy, who was so stoned that I don't even know if he had eyes.The boy was so musical and naturally talented that I could leave the volume controls alone and take care of his vocals with the delays and reverbs available to me.
As it turned out, the basis of his work was the contact with the microphone and a piece of paper in the garage, and not recording 70 tracks, from which in the end one is assembled in the finest detail.
I'm sorry, but I definitely prefer to listen to something imperfect than to be deceived by someone who can boast about his work and let me play it on youtube, than even imperfectly, but still sing it.