Quote:
Originally Posted by Kadden Heart  i hate to say this, but,..
looking at your craft in such a lackluster way will only perpetuate the poor state our "sonic integrity" and further carry down to the kids who will continue to listen to earbuds blasting 126kbps mp3's all day.
regardless or not of how the consumer looks at our music,..you need to do the ebst you can t preserve that music,..if you dn't care about the microdynamics,..and snare transients, etc... then why are you on GS?
you would obviously know enough about what you're doing to continue making records to you're liking,..no need to learn anything new if you don't BELIEVE if making better music.
this isn't meant to be a personal attack at all by teh way, i just think we should care about getting the BEST possible, mix out of our stuff, whether or not only us engineers will notice it.
EDIT: i obviously don't care enough about typing to do it correctly,..i think everyone on GS has realize my completely abhorable typing skills |
you're missing my point. i care a great deal about how my mixes sound. i'm saying that microdynamics are not always important for the end mix to sound good. the overall mix is not about microdynamics, transients, frequency flatness, etc...to me, it's about the emotive nature of the mix. does the mix produce a feeling in the end listener? does the mix draw you to certain melodies/parts? does it do that in an interesting way? those are the things i'm concerned with. sometimes, in certain styles of music, the transients of certain instruments can definitely play a part in the mix being good, but they are not necessities. nor should you make rules about mixing...
if i were trying to tell someone what my job was, it would not include "preserving transients." look at the big picture, not the minutia. the technical aspects of a mix should serve the mix...not the other way around.