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How many of you actually think's your stuff sounds better than what u hear on commerc
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HIGHENDONLY
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#1
24th May 2007
Old 24th May 2007
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How many of you actually think's your stuff sounds better than what u hear on commerc

I have been recently using lavry converter's for a lil while now and to me it just seems the quality of my recording's sound better than what you mostly buy in the store. I'm not talking jazz or classical i'm talking mainstream pop, hiphop kinda music. Now my chain is pretty commercial for my kinda music. C800g, avalon pres sometimes pendulum quartet 2 with a purple mc77 on them. But do alot you other's guy's out there with highend chain's say the same, you think the quality of your recording's are better than what u hear in the mainstream sound.. Now do you think the lavry has alot too do with taken my sound over the top????Let me know what you guy's think...thanks
#2
24th May 2007
Old 24th May 2007
  #2
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What you buy in the store is post-mastering 16bit/44.1k.

I wouldn't break my arm patting myself on the back just yet if that is the yardstick for comparison regarding perceptions of "hi-fi"(if that's what yer referring to).

Just a thought.

Best regards,

SM.
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#3
24th May 2007
Old 24th May 2007
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depends what i'm comparing to. my hip hop generally sounds better, my singer/songwriter is getting there, but the best of the best in that genre is untouchable... the rooms alone make me weep.

in any case, i can't do that huge heavy rock thing for sh¡t.


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HIGHENDONLY
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24th May 2007
Old 24th May 2007
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when u say a good room right, do you think in commercial hip hop they use a dead room?
#5
24th May 2007
Old 24th May 2007
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Ofcourse, it hasn't been mastered online yet
Led
#6
24th May 2007
Old 24th May 2007
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I think no matter how good I get it sounding, I will always hear other stuff that makes me think "f#&k, I wish I'd done that". Commercial or not, so much other stuff blows me away. Bastards.


I won't surrender though.
#7
24th May 2007
Old 24th May 2007
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Quote:
Originally Posted by Led View Post
I think no matter how good I get it sounding, I will always hear other stuff that makes me think "f#&k, I wish I'd done that". Commercial or not, so much other stuff blows me away. Bastards.
Me too....

Quote:
I won't surrender though.
Me either!!

But I can say that the last few things I have mixed have at least started to stand up to the stuff I admire. I know it is not there yet but I do know that after doing this for how many ever years now I am making progress and that is the key. It is nice to at least see an improvement in my crap... that is still crap.... *sigh*



On the other hand I have to wonder if someone like Joe Barresi or Brendan O'Brien ever look at their own stuff and think the same thing. It is really hard to be subjective then you are buried neck deep in a production....
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24th May 2007
Old 24th May 2007
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I don't have any really high-end gear, but I'd like to say that I keep making leaps and bounds in the heavy rock genre to get to where I'd like to be. I always take a listen to somethng else and think I'd like to get closer to 'that' snare... or 'this' guitar tone. Depends on the song, but still...

I also wonder if guys who are constantly in production ever drive home and think "Man, this last session was terrible. I need to work on this and that." I wonder if these guys hear stuff that makes them think less of their own work.
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24th May 2007
Old 24th May 2007
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Quote:
Originally Posted by not_so_new View Post
But I can say that the last few things I have mixed have at least started to stand up to the stuff I admire.

i've been thinking the same about my newest work, but making that assessment in terms of arrangement, groove, and vibe.

interestingly, the production and engineering is kinda taking care of itself, because the pieces fit so well. the working mixes sound better than anything i've ever done, i almost don't need to do anything.

strange...


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#10
24th May 2007
Old 24th May 2007
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Well, since I don't really like the way mainstream pop music is being mixed these days (vox way too loud, super compressed, lots of sampled drums and loops) I'll say yes, I think that all the time. But that's not really an issue of better, that's a matter of personal taste, i.e. my opinion. I'm sure that if one of the Lord-Alge brothers listened to one of my mixes they wouldn't like it. So once again, "It Depends".
#11
25th May 2007
Old 25th May 2007
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Quote:
Originally Posted by u b k View Post
i've been thinking the same about my newest work, but making that assessment in terms of arrangement, groove, and vibe.

interestingly, the production and engineering is kinda taking care of itself, because the pieces fit so well. the working mixes sound better than anything i've ever done, i almost don't need to do anything.

strange...


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#12
25th May 2007
Old 25th May 2007
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lavry

I wouldn't be surprised at all if using a new set of converters is somehow helping you do better mixes. For your room and ears, it could easily be the case that the Lavry is helping you make better mix decisions.

But it also seems to me that our ears and mixing skills tend to plateau for periods and then make big leaps. So you could just be experiencing a big leap right now.

That said, I think there is a lot of stuff out there where the song is good, but the recording/mixing approach is really not to my taste at all.

But then I'll listen to a really good recording/mix and it will totally remind me of how deep the journey is into sonic mastery. Latest example for me is Tchad Blake's mix of Peter Gabriel's "Sky Blue". Jaw dropping from start to finish: song, recording, mix, all of it. I listen to that and I am inspired, awed, and humbled all at the same time!

Cheers
-Jaguar
#13
26th May 2007
Old 26th May 2007
  #13
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i agree with the previous post.
as you hear more with better converters there is a virtuous circle - you hear more, you mix better, you get more excited, up and up.
as for comparing it to what you hear in the marketplace, that's a more complex conversation.

i would say that a simpler, more direct recording can pack a greater wallop than an over-produced, over compressed, lifeless (but expensive) recording.

steven walcott
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#14
26th May 2007
Old 26th May 2007
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Quote:
Originally Posted by Koed View Post
Ofcourse, it hasn't been mastered online yet
#15
26th May 2007
Old 26th May 2007
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Quote:
Originally Posted by HIGHENDONLY View Post
...you think the quality of your recording's are better than what u hear in the mainstream sound..
Now..uh..I can only speak for myself, but uh..what mainstream sound we talkin about?

2000's?.. 90's?.. 80's?... 40's?

Hell yea... I'm totally ballpark, man!

Quote:
Originally Posted by HIGHENDONLY View Post
Now do you think the lavry has alot too do with taken my sound over the top????Let me know what you guy's think...thanks
No, I don't. I think it may have more to do with that $6k microphone, those preamps, that kickass compression, and your ears.

Sure, the Lavry helps, but I'd still loove to hear these mixes you're referring to. Not to throw a wrench in your game, but I've heard similar opinions made by other engineers, only to be ..um...let's say, let down?
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#16
26th May 2007
Old 26th May 2007
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Quote:
Originally Posted by not_so_new View Post
Me too....



Me either!!

But I can say that the last few things I have mixed have at least started to stand up to the stuff I admire. I know it is not there yet but I do know that after doing this for how many ever years now I am making progress and that is the key. It is nice to at least see an improvement in my crap... that is still crap.... *sigh*



On the other hand I have to wonder if someone like Joe Barresi or Brendan O'Brien ever look at their own stuff and think the same thing. It is really hard to be subjective then you are buried neck deep in a production....

I think the hardest thing for me when comparing to major pop releases is reverb/ambience. I will listen to something, usually alternative pop or something, and the vocals sound dry, but if I do mine dry, it sounds...well like BORING dry. Their lead vocal is so IN YOUR FACE and got some vibe about it but you can't really discern what they are using for ambience. Sometimes I get somewhat close with a small model of a closet or "vocal booth" kind of setting but still no cigar. You listen to Avril, or Hilary Duff or any of the pop gals out there and there is something really cool going on with the voices that I just can't find. Very frustrating.

TH
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26th May 2007
Old 26th May 2007
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Quote:
Originally Posted by oceantracks View Post
I think the hardest thing for me when comparing to major pop releases is reverb/ambience. I will listen to something, usually alternative pop or something, and the vocals sound dry, but if I do mine dry, it sounds...well like BORING dry. Their lead vocal is so IN YOUR FACE and got some vibe about it but you can't really discern what they are using for ambience. Sometimes I get somewhat close with a small model of a closet or "vocal booth" kind of setting but still no cigar. You listen to Avril, or Hilary Duff or any of the pop gals out there and there is something really cool going on with the voices that I just can't find. Very frustrating.

TH
I know.... *sigh*

That is one of my hang ups as well.

And as much as people want to tell you it is the singer in the room I think it is more than that. I have recorded some amazing singers in my day and I have never got them to sound like gold no matter what room they were in.

There is something to be said for the gear and the years.

You know, if our defence.....



Something that I notice all the time with my work, I get way too deep into it and loose all objectivity. I start to know where all my little mistakes are, all my bad EQ points and sloppy edits. It might not be as bad as I think it is but I will never really know.

I hear (might be a tall tale) that Yes used to finish a record and then put it away for a year so the band could step away from it. They would come back to it after that year and see if what they had was worth anything. In their heyday they had the luxury to do that... But there is something to be said for being able to step away for a while.

Anyway, as I said above I REFUSE to give in. I may never be JJP or Joe Barresi but I will be the best tracking / mix engineer I can be and I guess striving to be the best you can at any given task is all anyone can ever hope for right?

#18
26th May 2007
Old 26th May 2007
  #18
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Quote:
Originally Posted by oceantracks View Post
Very frustrating.

TH
The trick is that its just not one unit. Its a combination of processors working together to create this effect.
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#19
26th May 2007
Old 26th May 2007
  #19
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I often hear things where I think I can hang, but overall, for the most part, I'm blown out of the water and in awe by a load of stuff out there..

It just drives me to get better...It's like when I used to play a lot of guitar. there was always stuff out there that I couldn't possibly touch, but I think I still managed to support the song, despite my limited chops, and got compliments on the fact that I played for the song and not my ego..If I record, and I'm doing it from integrity and what I think is right for the song(s), I do it hoping if it falls down the stairs, it at least lands on it's feet.

But to answer the question, I don't really think that I'm at a bona fide "commercial level" (yet) but do think that I capture some sounds that are in the ballpark and easily considered "pro."

Oh and I don't put much stock into my gear *gasp* overall...I've listened to stuff that I tracked thru a $70 Alto 6 ch mixer that sounds better than stuff thru a $5k chain, and it was due to the performer and room.This was a great lesson...But I do wish I had the $5k chain available with that same performer in that room
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