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Serban Ghenea Mixes - all ITB?
Old 7th August 2020
  #1921
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CanadaSC1's Avatar
Quote:
Originally Posted by TheHanes View Post
Ok, I just played our copy of "billy" here. (mixed here by Serban) Turned it up quite loud.

On my ProAc I don't feel any air blasts coming out of the ports even on the low 40Hz and 50Hz big notes. If I put my hand over the port, I can feel air moving, but it doesn't make a sound or "puff" in my face.

If no extra low frequency info is being created by your monitoring chain, You might want to look for torn woofer surrounds, or perhaps a problem in the amplifier?
Thanks for that John.

I've been in contact with my ProAc dealer, hopefully get it all figured out. I'm absolutely loving the mids and highs on the ProAc's! Watching the woofer dance on some of your mixes is simply mesmerizing though I sometimes feel like they're going to come flying into my face on some of the big transients!

Cheers
Old 7th August 2020
  #1922
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TheHanes's Avatar
Quote:
Originally Posted by CanadaSC1 View Post
Thanks for that John.

I've been in contact with my ProAc dealer, hopefully get it all figured out. I'm absolutely loving the mids and highs on the ProAc's! Watching the woofer dance on some of your mixes is simply mesmerizing though I sometimes feel like they're going to come flying into my face on some of the big transients!

Cheers
Yes, get that checked out. Seeing that woofer bounce IS fun!
Old 7th August 2020
  #1923
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Fidelis's Avatar
 

Hi John, thank you for all the info.

I'd like to know what kind of files are you sending to your clients. Mostly wav files or MP3? And how do you guys send it? A private server or things like dropbox, etc...

Thanks again.

Best!
Old 8th August 2020
  #1924
Here for the gear
 

Quote:
Originally Posted by CanadaSC1 View Post
Hi John, I got me all set up with a pair of ProAc monitors.
Awesome man, I hope I can check them out in my room at some point too. Curious if you got the Studio 100 or the current SM100? Thank you.
Old 9th August 2020
  #1925
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Oroz's Avatar
 

Quote:
Originally Posted by bobbl View Post
Awesome man, I hope I can check them out in my room at some point too. Curious if you got the Studio 100 or the current SM100? Thank you.
Was going to ask the same thing.

Was wondering if you’ve tried out the new model (SM100) @ TheHanes ?
Old 9th August 2020
  #1926
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TheHanes's Avatar
Quote:
Originally Posted by bobbl View Post
Awesome man, I hope I can check them out in my room at some point too. Curious if you got the Studio 100 or the current SM100? Thank you.
Have not tried the new versions. We’re using the Studio 100 versions And have one pair of the previous center tweeter Studio 1 hanging around.

We stocked up on Scanspeak woofers for replacements a while back so don’t have the ProAc branded ones inany longer. These were the direct replacements.
Old 13th August 2020
  #1927
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CanadaSC1's Avatar
Quote:
Originally Posted by bobbl View Post
Awesome man, I hope I can check them out in my room at some point too. Curious if you got the Studio 100 or the current SM100? Thank you.
Went with a new set of ProAc SM100 monitors in black ash. One of the monitors has some mid-range distortion from the binding-posts/cross-over board vibrating, can't seem to fix it by tightening things inside. Thankfully the dealer is awesome and I hope to get the issue resolved soon. I plugged the ports on them and the port noise went away entirely, but this did change the frequency response. I can't decide if I'll keep them or not. I have a client coming soon, maybe he'll decide for me

I was hoping to sell our main monitors and use these wherever I go in the future, but I don't think that's going to happen. I will say that the frequency response measurements of the ProAc's really suck. I have my main monitors dialed in our room to be amazingly linear, but we cannot get these ProAc near-fields to anything close to linear, no matter where we move them in our rooms. But then I had a thought... Who cares if they are linear or not. If I can make a mix sound good on the mains, then switch to near-fields and make it sound good on the lumpy ProAc's, then I go back to the mains... holy jumpins the mix sounds *** insane on the linear mains!

It seems like the ProAc's have an innate ability to highlight all the gnarly things (mud, harshness, frequency overlaps, looseness, clutter, etc. in a mix... very efficiently. But to make a mix from scratch on them... That's not going to happen... not until I learn their voicing and spacial tone and that will take a long time. Guess I have to keep the big Genelec's
Old 13th August 2020
  #1928
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CanadaSC1's Avatar
Quote:
Originally Posted by TheHanes View Post
Have not tried the new versions. We’re using the Studio 100 versions
Huge respect for being able to mix low-end on the ProAc's, I don't know how you do it.

p.s. got any tips?
Old 13th August 2020
  #1929
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Quote:
Originally Posted by CanadaSC1 View Post
It seems like the ProAc's have an innate ability to highlight all the gnarly things (mud, harshness, frequency overlaps, looseness, clutter, etc. in a mix... very efficiently. But to make a mix from scratch on them... That's not going to happen... not until I learn their voicing and spacial tone and that will take a long time. Guess I have to keep the big Genelec's
I haven't listened to the ProAc's so I can't comment on their sound, but some thoughts about new speakers.

IMHO, you can't judge new speakers because they need at least 500h burn-in before they start to sound as they should sound. New speakers usually sound flat as a pancake and the low-end is usually 'detached' from the rest of the frequency spectrum.
So, make a playlist with an hour of music and then a track with five minute silence, and put it on repeat whenever you are not in the studio.

As you know, it takes time to learn to mix on a new pair of speakers. So, give them some time.


Cheers
Fred
Old 13th August 2020
  #1930
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Quote:
Originally Posted by CanadaSC1 View Post
Huge respect for being able to mix low-end on the ProAc's, I don't know how you do it.

p.s. got any tips?
If you're using the SM100, the crossover and drivers are different from the S100 and basically none of us have heard or used the newer SM so I'd assume any help only has limited application in this case. Could be the source of, or at least part of the issue.
Old 13th August 2020
  #1931
Gear Addict
 

Hi John. Just curious, from the point of view of mix engineer, it is possible mix any kick drum with any bass sound and still got nice low end? Thanks for your help.
Old 13th August 2020
  #1932
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bambamboom's Avatar
Quote:
Originally Posted by CanadaSC1 View Post
Huge respect for being able to mix low-end on the ProAc's, I don't know how you do it.

p.s. got any tips?
The answer is simple. You need to spend hours and hours and hours and hours with them until your brain is intimately familiar with them and they become 2nd nature.

Changing to new monitors is a total nightmare, I hate doing it. I'm on my Amphions now and vow not to change this anytime soon for this very reason.
Old 14th August 2020
  #1933
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dandeurloo's Avatar
You need a great clean power amp to drive them. Once you have that you can hear lowend. It's not loud but you can hear it. I also feel it.



Quote:
Originally Posted by CanadaSC1 View Post
Huge respect for being able to mix low-end on the ProAc's, I don't know how you do it.

p.s. got any tips?
Old 4 weeks ago
  #1934
Gear Nut
I'm using Proac Studio 1 mkii's, almost the same as the 100s with a modded JW adcom 545 and Sonarworks, and I love them sooo much! They translate so well with sonarworks and there musicality is second to none. I had some Unity Audio the Rocks and I just couldn't get used to the ribbon tweeter even though they had more depth and extension both ways....the Proacs are just way more fun to work on and sound like music.
Old 4 weeks ago
  #1935
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Anyone have experience with the SM100s vs. the classic Studio 100s? The new ones were marketed as an improvement in every way over the old ones, but it seems a little peculiar that very few people have made the switch despite how popular the originals are…

I did a shootout of a bunch of popular high end nearfields at VK LA last year, and as soon as I switched to the SM100s (with an ATC amp), my first reaction was “woah”. They sounded incredible… Super smooth, stunningly detailed, and not fatiguing in the slightest. Such a strong center image- the vocals felt like you could reach out and touch them. Incredibly revealing and great for hearing reverb tails and stuff like that. As an NS10 user, the ProAcs seemed to have quite a bit more low end extension. Also they seem to have a little bump in the upper midrange- not the 2k thing like the NS10s but somewhere a little higher up the spectrum than that and much less pronounced. I haven’t had enough experience on the original Studio 100s to know how they stack up, but the new ones were pretty damn impressive. They beat out every other set of nearfields they had there in my opinion (by a large margin). Not sure how they’ll be for mixing duties, but they were a lot of fun to listen to

Last edited by OwensDrumming; 4 weeks ago at 05:06 AM..
Old 4 weeks ago
  #1936
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H-Rezz's Avatar
 

Great bottom end, sounds like tape compression here! Great song from Miley Cyrus and mix from SG...

https://www.youtube.com/watch?v=aS1no1myeTM
Old 4 weeks ago
  #1937
Gear Head
 
CanadaSC1's Avatar
If you ever have issues with your ProAc's, let them burn in a bit before you judge them (great advice from some of the posters above).

I never believed in letting speakers "burn-in" or "relax" or "run in" or "break in" or whatever you want to call it... but after letting these speakers play music for days in an iso-booth (aimed at each other with one phase-flipped), I brought them out and set them up again. Wow. Big change. The low-end port noise is less and the mid-range distortion is nearly gone. Hopefully it all goes away over the next few weeks.

Checking the REW measurements in the room, there was a large spike around 60Hz which caused a lot of port noise. Now that the cones have relaxed a bit, I am shocked to see the spike is WAY less now, and the proof is in the pudding that the port noise is less. If these ProAc's continue to smooth out a bit, then they are keepers.

A big THANK YOU to John (and Serban on IG) for sharing one of their mixing tools! The more I use these to mix, the cleaner my mixes become!
Old 4 weeks ago
  #1938
Lives for gear
Quote:
Originally Posted by CanadaSC1 View Post
If you ever have issues with your ProAc's, let them burn in a bit before you judge them (great advice from some of the posters above).

I never believed in letting speakers "burn-in" or "relax" or "run in" or "break in" or whatever you want to call it... but after letting these speakers play music for days in an iso-booth (aimed at each other with one phase-flipped), I brought them out and set them up again. Wow. Big change. The low-end port noise is less and the mid-range distortion is nearly gone. Hopefully it all goes away over the next few weeks.
Glad to help out. I've been reviewing sound equipment for twenty years for various magazines, and I can still be amazed how crappy and 'detached' a pair of brand new speakers or headphones actually can sound. Both should have at least 500h of burn-in before any serious sound quality can be evaluated.

When other reviewers use descriptions like "lack a bit of depth", "lacks a bit of low-end", "the upper mid-range enhance sibilance" etcetera - I kind of know that they have reviewed speakers or headphones that haven't been properly burnt-in. It's not their fault, it's the manufacturers and distributors fault that the review units are not prepared for testing.

Then again, opinions differ. ATC have been making speakers since 1974 and they claim that 24h is all that is needed for their speakers to break-in.
I own a pair of ATC SCM12 PRO and just like other speakers, they needed proper burn-in before the upper mid-range opened up and the low-end fell into place.

And don't get me started on the sound of brand new headphones.

Anyway, I went off topic.

Back to my morning coffee.

I'm going to crank some Serban mixes in the control room, to get the Weeknd going. :-)


Have a nice weekend
Fred
Old 4 weeks ago
  #1939
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b0se's Avatar
Very nice of @ TheHanes to hang around and answer more questions post Q&A. Thanks fella!
Old 4 weeks ago
  #1940
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Does Serban use stereo widening? What type of plugin? On the whole mix, separate tracks, or both?
Old 4 weeks ago
  #1941
Here for the gear
 



Another great mix from Serban... threw me off at first because I expected the usual "BTS" sound (fan since 2012, super hyped up mix) but this is super duper even dynamics wise.

Always wondered how Serban gets really tight sounding exciting upper highs (5k) without fatiguing the listener. Truly awesome
Old 1 week ago
  #1942
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TheHanes's Avatar
Quote:
Originally Posted by SPORT View Post
Hi John. Just curious, from the point of view of mix engineer, it is possible mix any kick drum with any bass sound and still got nice low end? Thanks for your help.
I’d say no to this. Hopefully the producer has chosen the sounds wisely so that they sound good Together. A kick can always be layered in with a sample or sample replaced if needed to match the bass (which you are stuck with as a mixer) and the bass can be manipulated to some degree with MaxBass or LoAir or BassAmpRoom as examples.
Old 1 week ago
  #1943
Gear Maniac
 

Quote:
Originally Posted by TheHanes View Post
I’d say no to this. Hopefully the producer has chosen the sounds wisely so that they sound good Together. A kick can always be layered in with a sample or sample replaced if needed to match the bass (which you are stuck with as a mixer) and the bass can be manipulated to some degree with MaxBass or LoAir or BassAmpRoom as examples.
Hi John,

I was curious, do you ever utilize any of the plugins from Acustica Audio? I have really been enjoying a lot of their stuff, like the Taupe plugin.
Old 5 days ago
  #1944
Here for the gear
 

Hi John,

I was wondering if you could share a bit about your approach to compression?

Your & Serban's mixes have great transient detail without feeling too 'pokey'. Also there is energy & movement without elements feeling overly 'long'.

I'm curious how much of that result you would attribute to compression, or if it's more about EQ and volume balance?

How do you decide what attack & release are appropriate for a particular element? Do you tend to favor certain settings as one might on an SSL?

Thanks for taking the time to answer all these questions!
Old 5 days ago
  #1945
Quote:
Originally Posted by AnHonestMix View Post
Hi John,

I was wondering if you could share a bit about your approach to compression?

Your & Serban's mixes have great transient detail without feeling too 'pokey'. Also there is energy & movement without elements feeling overly 'long'.

I'm curious how much of that result you would attribute to compression, or if it's more about EQ and volume balance?

How do you decide what attack & release are appropriate for a particular element? Do you tend to favor certain settings as one might on an SSL?

Thanks for taking the time to answer all these questions!
Have you read through John’s Q and A forum? He might have already answered there...apologies if you have.
Old 5 days ago
  #1946
Here for the gear
 

Quote:
Originally Posted by psycho_monkey View Post
Have you read through John’s Q and A forum? He might have already answered there...apologies if you have.
Read through it all and it was truly awesome. The question came to mind as unanswered in the forum

Thank you for setting up & moderating the Q&A as well. Super inspiring & helpful.
Old 4 days ago
  #1947
Quote:
Originally Posted by AnHonestMix View Post
Read through it all and it was truly awesome. The question came to mind as unanswered in the forum

Thank you for setting up & moderating the Q&A as well. Super inspiring & helpful.
Fair enough - if John sees this maybe he'll be able to reply!
Old 1 day ago
  #1948
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TheHanes's Avatar
Quote:
Originally Posted by AnHonestMix View Post
Hi John,

I was wondering if you could share a bit about your approach to compression?

Your & Serban's mixes have great transient detail without feeling too 'pokey'. Also there is energy & movement without elements feeling overly 'long'.

I'm curious how much of that result you would attribute to compression, or if it's more about EQ and volume balance?

How do you decide what attack & release are appropriate for a particular element? Do you tend to favor certain settings as one might on an SSL?

Thanks for taking the time to answer all these questions!
I’ll try to tackle this generally because, as always, each situation has its own problems and solutions.

I’d say we do a lot more volume rides to fix levels than trying to apply a compressor to solve these kinds of issues. I tend to think of a compressor as a sound design tool rather than a level control tool.

So I’ll get the compressor doing it’s thing to make the sound the way I like, and then use volume throughout the song to keep that sound in its lane. If I want a different version of a sound somewhere I might automate compressor settings (or more likely duplicate the track and apply different settings). So a hook vocal might be squashed by compressor more than a verse vocal just for the feel that gives it, but I would not want the compressor to squash the hook vocal harder just because it is sung louder. I want to make sure it still sounds right.

As far as attack / release I think it is good to play with those as sound design elements as well. I’m not one to apply presets to things right away. I need to hear in each situation where those knobs sound best for a particular instrument or vocal and songs energy.
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