what's wrong with ITB producers nowadays

[Virtalahde]

Originally Posted by OMNIFEX

Sooner or later ITB only user will show his/her inexperience to those that either use outboard gear only or a combination of the two.

I'm curious, what does the format of the tools have to do with experience?

[OMNIFEX]

Originally Posted by Virtalahde

I'm curious, what does the format of the tools have to do with experience?

There are many who assume buying the best tools is going to make their mixes shine. It is usually years of trial and error that makes someone a great engineer.

Cheers!

[SCDBM]

Not my point. My point is that that there are a lot of "me too" producers, because ITB requires no investment. When investing in outboard, you are generally more committed to get returns out of your investment.

Now, don't twist my words around and conclude that ITB producers are not committed as that's NOT what i am saying. Just saying that there are a lot of "me too's"

[OMNIFEX]

Originally Posted by Raphie

Not my point. My point is that that there are a lot of "me too" producers, because ITB requires no investment. When investing in outboard, you are generally more committed to get returns out of your investment.

Now, don't twist my words around and conclude that ITB producers are not committed as that's NOT what i am saying. Just saying that there are a lot of "me too's"

I am not sure if you were referring this to me. If it was aimed towards me, let me set the record straight by saying I agree with you and did not attempt to twist your words around.

Cheers!

[SCDBM]

I even there have to rephrase myself: no FINANCIAL investment.
And no I was not referring to you

Just being pro-active in general, before people try to rathole instead of sticking to the general debate.

[Bob Olhsson]

Distortion accumulates. Really clean audio can be made really loud with an acceptable distortion level.

Folks who never worry about the "red," who clip their plug-ins and run their converters into clipping are the ones who end up with masters that aren't very loud unless they sound really distorted.

[It'sJoeAgain]

Originally Posted by Raphie

"what's wrong with ITB producers nowadays"
(abbreviated)
I've provided some tips and requested for new mixdowns.
Am i being too critical or do some people just don't hear what the're doing?

i tell u what's wrong wit 'em....they never hav time to clean up the sh*t under ther beds n' so they leave those dirty smelly socks, pizza boxes, stinkin trash bags, beer cans, dog/cat/rat poo way too long 'cause theyre too distracted by the stinking quality of their mixes... yet ....they wonder why an ME like u can't make them sound *pro*...

[SCDBM]

LOL Joe..... you're so right! only the ones who aren't commited
there are others who deliver amazing stuff.

[It'sJoeAgain]

Originally Posted by Raphie

LOL Joe..... you're so right! only the ones who aren't commited
there are others who deliver amazing stuff.

o' course, 'course....there a re some clean minded, very talented ITB producers out here (with clean berdroom studios too) only... WHY THEY DON" COME TO ME??!!

[lerone]

Originally Posted by Delta Heavy

why does 'ITB' instantly equate to smashing your tracks with too much limiting?

Id say a good helping of ignorance. Whether you give a 'muppet' a g series or garage band, you are going to get shite results. You give a talented mix engineer these tools, you will get a good, professional result (the ableton live & headphones guy)......because they work professionally and have put the hours in to warrant the results. Skills & musical intuition are the most professional tools you can have in your arsenal.

[rufus13]

Originally Posted by Bob Olhsson

ITB is generally far less of a problem than bad monitoring.

The problem with ITB is that a lot more signal processing is available which dramatically increases the importance of being able to hear exactly what you are doing.

+1

If you can't hear what is wrong, how can it be fixed? A DAW can be a fine lapping abrasive or a sledgehammer and prybar combination with the same effort.

The most important bits of "gear" are not very portable: a good sounding room for microphones to capture a performance, and a good sounding room for loudspeakers to re-perform a recording in.

Very few parts of these 3 things are "common sense" or intuitive. None are cheap, lightweight, or compact. Even books on the subject of building good rooms are not cheap, or for the time-challenged reader.

As was noted in an above post, headphones are the only reference that is dependable in uncontrolled rooms. We all know that "headphones don't sound like loudspeakers", but they always are what they are, regardless of where. I hesitate to make stereo width decisions by headphones, but performance glitches, poor edits, track EQ/dynamics always are audible on cans. A set of $300 headphones and a mid-quality headphone amplifier will kill $1000 loudspeakers in an untreated room. Move up to $1000 electrostatic headphones and $3000 loudspeakers in an untreated room and it's still true. It's the room.

There are details of monitors, placement, amplifiers, esoteric wire, treated power, etc. These are dwarfed by the power of the room.

A control or mastering room that is well-built, well-treated, and has optimized monitoring loudspeakers is a thing of beauty to hear, but most folks don't have the space, time or money to make such a place.
Thus, renting some time in a good room with a set of good ears who knows the room (probably the owner/operator), is a very good deal. Last chance to find/fix before ordering a thousand copies of the problem pressed.

Cheers.