What do you big mixers hate?

[Sirocco]

Originally Posted by paterno

I don't. It's a guitar amp -- they're noisy, right?

My biggest issue is regions not being crossfaded, or even worse un-crossfaded tracks that have been consolidated. I don't understand how that kind of stuff doesn't get taken care of... CROSSFADE YOUR REGIONS

this is definitly what i hate most...

...specially in urban more...where there is a click after every bassdrum because there was no fade out made..and the track was consolidated...takes way too long too have to sync to tempo, cut everything else, and do mass fades
tutt tutt

[Farview]

Here is something that has happened to me 4 times in the last two months.

Instead of sending my wav files, they burn an audio CD of the tracks. I call them, bitch about it and step them through burning a DATA CD and they still send me another audio CD.

[Baubie]

Originally Posted by monrock halo

When in doubt, a good starting point is to record at 0 dBVU rather than close to digital clipping (0 dBFS).

Thanks Monrock!

I truly appreciate your knowledge and insight. I only need to know one more thing in order to fully understand your advice. I'm not a professional so my experience is limited to a DAW. What is the conversion between dBVU vs dBFS? What is the digital equivalent to 0 dBVU?
Thanks again,
Baubie

[jayfrigo]

Originally Posted by Baubie

Thanks Monrock!

I truly appreciate your knowledge and insight. I only need to know one more thing in order to fully understand your advice. I'm not a professional so my experience is limited to a DAW. What is the conversion between dBVU vs dBFS? What is the digital equivalent to 0 dBVU?
Thanks again,
Baubie

Depends on your reference level. In post, 0 VU = -20 dB FS = +4 dBu, and for reference, 0 dBu = .775v, which generates 1 mw into 600 ohms. In music, reference levels are often higher in practice, and not standardized. It is typically anywhere from -18 to -12 dB FS.

[stevep]

Originally Posted by monrock halo

Hi Baubie,

For me, it's about proper gain staging.

I like - and recommend - to record levels to tape / DAW that express your vision of how the mix should sound with all faders at unity.

.

Nice,..... You got it

[monrock halo]

Originally Posted by jayfrigo

Depends on your reference level. In music, reference levels are often higher in practice, and not standardized. It is typically anywhere from -18 to -12 dB FS.

Yes *

0 dB VU is usually -16 or -18 dB FS in music.

Good to watch both when recording: VU for the levels, Peak to avoid overs.

A VU meter is closer to what our ears hear.

[benelli]

Originally Posted by picksail

Josh,

How are ya buddy. Haven't heard from you in a while.

You in LA now?

Stewart

Hey Stewart!

I'm in Chicago. It's 0 degrees outside... f*** life! Holler at ya boyscout.

So, back to the thread - I first saw Tom Lord-Alge's guidelines just last year, when I basically forfeited a mix on a record I had engineered (definitely some help from Critter!)... I had that revelation "oh fiddlesticks, man, this is going to sound like scheiße if we print it in protools, uhhh, dude, let's get it on a console, uh, dude, i'm slow on an ssl, uh, dude, what about someone like Tom Lord Alge?" I didn't know Tom and was begging for Terry Date, who is such a sweet dude to work with. To his credit, though, I thought Tom knocked it out.

The guys in the band said that they weren't allowed in there DURING the actual mix. They would come in before and after and talk about changes and stuff. Do most of you guys work this way? I like mixing by myself but I also have the privelege of working with alot of musicians that are really gear-savvy and excellent producers on their own, so it's kinda nice having them there for perspective on a mix. Sometimes, at least.

Now, I'm not a big Oscillating Richard in the world of mixing, but I like it when producers (I do this whenever I'm in that seat) take the "Sophia Loren" philosophy about music-making in general - it makes the mix less of a headache:

"After you finish dressing for the evening, and before you leave your house - just before walking out of the door, look in the mirror, and take off at least one accessory."

Now, with that said, I could really give a shit about the condition of the session, as long as the tracks are labelled something meaningful. I have a friend who has a habit of naming his tracks things like "pinis" and "vaginis" and "donke" and myriad other ridiculous things. It's always good for a laugh with someone as immature as I am, but come on... let's get real for a second, right?

joshua eustis

[bassman]

I wish I had an assistant to take care of all this BS, cleaning, labelling, getting rid of the 4 gigs of unused takes etc... Then he (or she ) could start fixing up the missed hits and timing, tune the vocals and make me a sandwich fer chrissakes.....

But hey, I guess that's what I'm getting paid to do, fix shit and make it sound better than it did before. The thing I hate the most is getting paid for a day and it turning into two days since I'm so burnt out after fixing all the crap that mixing is the last thing I need to be doing the first day. Ya just never know until the tracks come in.

Oh, when in doubt, just have them bring in their actual CPU. I mean how much can an MBox weigh anyhow? Makes fixing all the file problems much easier. Plus you get a chance to educate your client on how to use their system so next time it won't be so bad..... hopefully.

-ashley

[mobilemozart]

I know the name of the thread is "what do you ... hate" but my suggestion is to rather not hate anything but to love your job.

Approach every mix you do as if it was the most important project you've ever done (e.g. new single of Justin Timberlake, U2, Korn, 50 Cent, - insert what you consider the biggest possible gig).
In other words, try to make it the most amazing mix that was ever done on earth. At least, it's your mix and the song will be going around the world being played on radio for the next 6 months if not longer and who knows it might be a grammy-winning mix.

If this doesn't work for you, either don't accept the gig or change your job.

If you manage to keep doing this you will eventually be mixing one of the above mentioned artists.

(No offense, just my personal way to look at things)

Peace,
Marc

[Baubie]

Originally Posted by bassman

I wish I had an assistant to take care of all this BS, cleaning, labelling, getting rid of the 4 gigs of unused takes etc...

Do assistants make enough money to pay for Ramen noodles and a closet to live in?