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Originally Posted by robmix Method #3 is the big change - breaking everything out on individual channels, getting the static mix with the console faders and using DAW automation and gainstaging to hit the console in just the right place. This yielded the most dramatic change. This hybrid method is the coolest because you get so many places to optimize the gain, hit compressors and line amps harder or softer, and drive the stereo bus in different ways.
Chris will mess with the SSL line trims to make sure he's hitting his channel compressors in the right spot and not riding the channel faders too high or low. Swedien rarely touched the line trims. He would do massive offline trims on the SSL to get in the sweet spot. Sometimes you could really hear it open up after a trim. |
Yes! This is the difference I'm looking for. The problem is I don't yet understand it. I may have unknowningly applied this concept in my mixes before, but I wouldn't know how I did it. Are there any calibration tests or listening tests that can help you find the sweet spot of your console? What do you mean by gain staging? I did a search on this forum and I heard
thrillfactor talk about "pain staking gain staging" in ProTools. I've heard CLA say that "every console has a sweet spot. But on digital, the sweet spot is much smaller, but it's still there." I feel like this is something I'm missing.
I feel like a putz for coming up in this day and age where any idiot can buy ProTools and be an "engineer/producer". I still believe that it is the finer points that seperate the men from the boys.
Are there any good resources for learning these things? Is it possible to explain it?
